It’s a special version of the Day for Night series, the fourth performance in the series of my collaborations with the night sky titled: Night Sky: Further Investigations Into Choreography, part of the larger cycle of collaborations with the weather titled Telling Future.

Performance time:

21 June 2020

Beginning: 3:45
Peak:06.40
End: 09:34
UTC Time

Latecomers admitted.

For the seats distribution overview, click here

Cloudy where you are?
Watch the live broadcast here

! Warning:
Looking at the Sun is harmful to your eyes at any time. Do not look at the Sun directly without protection! Doing so may result in immediate and permanent blindness.

Viewing instructions:
For instructions on how to build your own pinhole camera for safe viewing, click here
If you are not the D.I.Y. type, check in with your local natural history or space museum or your local astronomy club for where to rent or buy eclipse glasses.
In Benelux, order your glasses here

Day for Night is an immersive dramatic spectacle for three celestial bodies and an observer.

From the press:
‘When the lights, the Sun and the Moon are ‘eclipsed’, we are in the dark and events are hidden and shadowy. Secrets emerge and what’s unknown comes to light.’

‘Stunning and awe-inspiring.‘

‘Many cultures have perceived eclipses as change-inducing events. The eclipse of the sun is always a disruption of the normal order and a possibility of a new beginning.’

 

 

Note (!): Billy’s Tarot readings start already the night before and take place for 28 continuous hours, every half hour from Friday 6 December at 20.00 to Saturday 7 December at midnight. Please check availability via this link and reserve your preferred time slot by sending an email to billymullaney@gmail.com

Entrance free. Donations welcome.

Updates via this link
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Programme

Beginning: 19.00 hrs

Future Present by Tchelet Pearl Weisstub with Haian Arshied
Performance at around 20.15

Welcome, I Have Been Expecting You – the hermit crossed with the three of cups by Billy Mullaney
Tarot readings, one-to-one durational performance – ongoing from 6 December at 20.00 to 7 December at midnight (every half hour for 28 hours)

Zandloper (Hourglass) by Andrea Božić and Julia Willms
Audio-visual installation – ongoing

A response and a conversation with Konstantina Georgelou and the artists
Around 21.00
***

Welcome, I Have Been Expecting You - the hermit crossed with the three of cups by Billy Mullaney

I have read tarot cards for over twelve years, but only recently initiated a dramaturgical analysis of tarot readings as a performance practice, and even more recently was convinced to situate this practice in aesthetic spaces such as visual art galleries or theatres.

Of course all reality is unverifiable--however, tarot cards are perfectly suited (no pun intended) to take advantage of this condition. They encourage syllogistic thought by presenting a recombinant set of images, idioms, and statements that we commit to reading as self-representational.

Like any projective test, the mode of spectatorship promotes a gaze that unfolds and immediately prunes a web of connotations from its dense, arbitrary (but not random) symbology.

Unlike a projective test, it is spooky.

"Unverifiable Reality" points to a crucial mechanism of tarot readings as a site of performance. Because it's unverifiable, we are able to individually commit to reading each spread--after all, the unverifiable is also un-disprovable.

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Future Present by Tchelet Pearl Weisstub with Haian Arshied

These days, together with Haian Arshied (a musician I have been working with for the past few years), I am developing an immersive sculpture and performance called: Future Present.  In the coming Salon we will share the first baby steps of this new work.
Haian will be playing a theremin on low frequencies from The Schumann resonances  spectrum (7.38 HZ- 30 HZ) that are a set of peaks in the Earth's electromagnetic field. At the same time I will be amplifying the sound of my now pregnant body.

In our research, we summon ancient female deities in order to help us evoke a cyclical and maternal experience of time. We do this in order to counter an accelerating experience of time in which the landscape is increasingly occupied with Earthing Technologies. (Innovations that attempt to regulate environmental changes).

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Zandloper (Hourglass) by Andrea Božić and Julia Willms

Glass is made of sand. Windows are made of sand. Bulbs are made of sand. Wineglasses are made of sand. Concrete is made of sand. Asphalt is made of sand. Roads are made of sand. Parking lots are made of sand. Runways are made of sand. Swimming pools are made of sand. Railroads are made of sand. Walls are made of sand. Houses are made of sand. Buildings are made of sand. Electronics are made of sand. Cellphone screens are made of sand. Monitors are made of sand. Beaches are made of sand. Coasts are made of sand. Sea bottom is made of sand. River bottom is made of sand. Sand castles are made of sand.  Sand play is made of sand. Filtration in water-treatment facilities is made of sand. Septic systems are made of sand. Paint is made of sand. Nail polish is made of sand. Solar panels are made of sand. Wind turbines are made of sand. Billion dollar business is made of sand.

Produced by TILT. Spectra | Salons are made possible by the financial contribution of the Gemeente Amsterdam / Stadsdeel Oost. Supported by Marci Panis.

 

 

Performance:

For the occasion of this conference and to celebrate the anniversary of the Post Dramatic Theatre book, we have prepared a special spectacle in collaboration with the Moon and the night sky. Especially for the occasion, we have prepared the exact same night sky image here in Berlin as it was in 1696, the year of the founding of the Academy of the Arts which is hosting the conference. Today, the moon is in the exact same phase (waning crescent) in the exact same spot in the sky and against the backdrop of the exact same constellation of the stars, making the exact same replica of the night sky as it was on 23 November 1696 – 323 years ago.

For the performance, we have collected real nighttime dreams, memories, scientific facts and future projections and woven them into a tapestry. The performance is based on the Metonic score: the Moon's 19 year cycle where the Moon returns to exactly the same place in the sky with the same phase every 19 years. How To Exit a Reality (Attempt 1 of 19) is the very first version and an excerpt from what is to become a larger durational performance in collaboration with the moon.

 

 

During our time at DE-CONSTRUKT, Andrea and Julia will work on our current research into darkness and illumination as part of our project in collaboration with the night sky. We will work on some elements of our new performance in collaboration with the Moon - mapping, repairing and navigating dreams, histories and future projections into an urban environment. We will combine this with collecting video footage, photography and audio material of the urban cityscape and architectural environments working with the Red Hook area as a site of research and a case study. The research and material will later be processed for our upcoming installation and performance in collaboration with the Moon we will be developing in 2020.

On Sunday, 27th of October, we will host a DIN DIN dinner from 18-21 hrs. For DIN DIN, they will share their research in the form of a live dream mapping and dream navigating session with the guests. The guests are warmly invited to bring a night time dream that has made a particular impression on them and that they would be happy to share and explore in the session. Check FB event here

DE-CONSTRUKT projekts develops projects with local and international artists that support the cross pollination of ideas and experimentation among cultural diverse artists and audiences. Artists have an opportunity to produce new works individually or collaboratively with a focus on experimentation.

DE- CONSTRUKT provides space to create temporary work and encourages the formation of new networks. Our interest is in the process rather than final outcomes. We serve to support new ideas and new ways of expression to share with the local community at large and abroad.

 

Sharing a poetic approach in embodying experiences moving between the physical world and that of the mind, five artists have created works in media ranging from painting and photography to video and installation. Under the title taken from Anais Nin’s diary, works navigate through multiple realms with different modes and densities of time, questioning and investigating borders between what is perceived as internal and external; and how these may fold and ripple into each other.

‘Language is a virus from outer space.’ William S. Burroughs  ‘That's why I'd rather hear your name than see your face.’ Laurie Anderson  

William S. Burroughs proposes the theory of ‘the unrecognized virus’ present in the language, suggesting that, "the word has not been recognized as a virus because it has achieved a state of stable symbiosis with the host.’ ‘My basis theory is that the written word was literally a virus that made the spoken word possible.’ This virus came from outer space.

“A virus operates autonomously, without human intervention. It attaches itself to a host and feeds off of it, growing and spreading from host to host. Language infects us: its power derives not from its straightforward ability to communicate or persuade but rather from this infectious nature, this power of bits of language to graft itself onto other bits of language, spreading and reproducing, using human beings as hosts. Georges Bataille similarly argued that communication was best understood from the perspective of contagion. In Bataille any human being is no more than a conduit for communicative process, a channel for ideas which pass through him/her.” Bernardo Attias

***

Programme:

For best experience of the full contamination, we recommend to join us for the whole evening! For those who asked: yes, it is possible to come later or stay for a part of the programme. Times are approximate!

18.00-19.00 The Avant-Garde Never Gives Up by Andrea Božić and Julia Willms (installation, part 1)
19.00-19.45 SEMESTER by Billy Mullaney (live performance)
19.45-21.00 The Avant-Garde Never Gives Up (installation, part 2)
20.15-20.30 GEOMETRY by Billy Mullaney (poetry reading)
21.00-22.00 collected screams by Sarah Vanhee (live performance)
22.00 Avant-Garde Never Gives Up (installation, part 3)
22.10 Language Is a Virus From Outer Space (pop song) by Laurie Anderson
22.15-23.00 A conversation

The Avant-Garde Never Gives Up by Andrea Božić and Julia Willms (audio-visual installation) – two painters are invited to paint a painting they have never seen listening to art historian describe it in words.

SEMESTER: Lecture 1 by Billy Mullaney (live performance) - the word-for-word and equation-for-equation delivery of a semester’s worth of relativistic quantum field theory lectures. The performer has no idea what he is saying: The lectures were memorized phonetically, choreographically.

Collected Screams by Sarah Vanhee (lecture performance) – different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds, moving from socially accepted, contextualized and collective screaming to darker, more intimate territories, uncontrolled leakages with no attempt at articulations, infinite screams.

GEOMETRY by Billy Mullaney (poetry reading) - a series of poetry generated by appropriating the "real world" exposition from geometry word problems.

Language Is a Virus by Laurie Anderson (pop song) - a pop song video by Laurie Anderson from 1986 quoting and commenting on W. S. Burroughs taken from Collected Videos (1990) without permission

A conversation, soup and drinks.

Spectra | Salons is a series of experimental in-disciplinary evenings across performance and visual arts Andrea Božić and Julia Willms are hosting at Spectra Studio and the Salon in Marci Panis. For each of the Salons, we depart from questions that drive our artistic work and invite other artists into a constellation of perspectives for the evening.

Soup and drinks are available for an affordable price. Cash preferred.
How to get there: http://marcipanis.nl/wordpress/contact

More about the works:

SEMESTER: Lecture 1, performance by Billy Mullaney (45 min) – SEMESTER is the word-for-word and equation-for-equation delivery of a semester’s worth of relativistic quantum field theory lectures. The performer has no idea what he is saying: The lectures were memorized phonetically, choreographically. The lectures were originally delivered by Professor Alan Guth at MIT in the spring semester of 2004, as part of the course Relativistic Quantum Field Theory I. SEMESTER exploits the academic lecture as a performance form, foregrounding the recombinant language and cadence of the lecture as poetry, the hieroglyphics of the equations for their visual aesthetics, and the conceptual value of "performing" knowledge uncoupled from conventional understanding, divorcing the symbols and language from their bundled informational content. An embodiment of Ranciere’s Ignorant Schoolmaster, SEMESTER is a meatspace “artificial intelligence” that is equal parts cautionary tale and how-to. If embodied performance generally and choreography specifically can index a regime of discipline on the body--through compliant bodies' surrender to outside forces--SEMESTER proposes a choreographic mode of knowledge and its performance, devaluing conventional standards of expertise and mastery. The piece follows the logic of the standardized testing structure to a conclusion many students recognize and perform themselves: A perverse incentive to (re)produce the trappings of knowledge within a disciplinary scopic regime. www.billymullaney.com

The Avant-Garde Never Gives Up (2 hrs 10 min), audio-visual installation by Andrea Božić and Julia Willms – For this project, Andrea  and Julia invited two painters, Yvonne Grootenboer and Emile Miedema, to paint a painting they had never seen by listening to art historian Jan van Adrichem describe it in words. The original painting was made by Asger Jorn, one of the founders of Situationism:  L'Avant-garde se rend pas, made in 1962, is one of his Modifications (détournements) in which he took a painting found at the flea market by an anonymous painter and painted it over. Ultimately, L’Avant-garde se rend pas is a painting made by two authors. The Avant-Garde Never Gives up is a project made by seven authors exposing the process of creation, authorship, image-to-language-to-image translation and knowledge transfer. The Avant-Garde Never Gives Up is a derivation of the performance After Trio A by Andrea Božić, based on Yvonne Rainer’s minimal dance Trio A (1966) and No Manifesto (1965).  In After Trio A, two dancers are asked to learn the original Trio A dance phrase live in front of the audience during the performance, copying from the monitor on stage within a strict theatrical setup and choreographic score.

Collected Screams, lecture performance by Sarah Vanhee (60 min) - A voice is as singular as a fingerprint. When we scream, we catapult ourselves inside out, revealing that dimension of ourselves in between body and mind, maybe closest to our soul. “To open our mouth and let out sounds from a hole in the middle of our face” (Jonathan Ree), revealing both our strongest power and deepest vulnerability. In “collected screams”, Sarah Vanhee shares different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds, moving from socially accepted, contextualized and collective screaming to darker, more intimate territories, uncontrolled leakages with no attempt at articulations, infinite screams. She wonders why we did not scream when we could have screamed and, against the background of patriarchy, re-claims screaming as a tool, a weapon, as instant healing, as a way to unwind or means to express pain, excitement, fear, anger, joy or anything unspeakable. We deserve to scream. www.sarahvanhee.com

GEOMETRY, a poetry reading by Billy Mullaney - GEOMETRY is a series of poetry generated by appropriating the "real world" exposition from geometry word problems. The first volume takes material from Glencoe McGraw-Hill 2010 edition of Geometry without permission.

Language Is a Virus is a pop song by Laurie Anderson from 1986 quoting and commenting on W. S. Burroughs taken from Collected Videos (1990) without permission.

Produced by TILT. Spectra | Salons are made possible by the financial contribution of the Gemeente Amsterdam / Stadsdeel Oost. Supported by Marci Panis.

Follow our FB page for the dates of the other upcoming Spectra | Salons

www.willmsworks.net    www.andreabozic.com

 

 

 

PoroCity takes the audience on a journey through its labyrinth of spaces inside and outside. We are also presenting Through the Looking Glasses both as part of the performance at the Stadkantoor and at the festival centre, Stadsschouwburg Utrecht, Hekmanfoyer, throughout the whole festival.

PoroCity at Stadskantoor:

Saturday, 18 May at 19:00 hrs and 21:30 hrs
Sunday, 19 May at 17:00 hrs and 19:30 hrs
Monday, 20 May at 19:00 hrs (sold out)
Saturday, 25 May at 16:00 hrs

Through the Looking Glasses at Stadsschouwburg Utrecht:

16-26 May 2019

SPRING Performing Arts Festival, Utrecht (NL)
More info here

 

I am making a new performance with the graduating students of the dance deparmtent of the Academy of Dramatic Arts in Zagreb. The performance explores the concept of weaving and consists of two performance worlds intervowen into each other and the world outside. A mile of wool is pulled through the architecture of the space. The dancers bodies resonate through this new woolen organism. The dancers dreams mapped into the building reorganise the logic of where we are. The audience navigates through these porous and resilient spaces. Read about it here

Exhibition: 23 March – 20 April 2019
Arti et Amicitiae, Amsterdam (NL)
Rokin 112, 1012 LB Amsterdam
More info here