Where does a clown fit in the revolution?
Where does a clown fit in the revolution? Experience US artist Andie Flores, self coined “embarrassment artist”, as she shares her practice of embarrassment and failure as a means to revolution. Andie Flores is artist-in-residence as part of Warehouse9, Museum of Human Achievement and Unlisted Projects international residency exchange initiative called CopenhAustin.
Format: Workshop
Place: Roskilde Festival, Flokkr, Container #1
Accessibility: https://faq.roskilde-festival.dk/hc/en-gb/sections/11297582362781-Accessibility
NOTE: this workshop takes place at Roskilde Festival and therefore requires a Roskilde Festival ticket to attend.
Andie Flores
ANDIE FLORES (b. 1990) (she/her) is a performance artist in Austin, Texas, who uses embarrassment as a medium for investigating hyper, almost obsessive, visibility in a racialized body across barriers of border, history, and capital. Her practice works to unsettle categorical, site-specific expectations of genres of performance (femininity, Latinidad, drag, citizenry) and aims to recontextualize the mechanisms required to do the work of the absurd. Flores creates experimental live performances that pair identity and comedic culture moments with over-exaggerated, often grotesque shapes and sounds. She is fascinated by the urgent task of world-building at the edge of the limits of art-making.
Her work has been shown at Bushwig, Presa House Gallery, The Museum of Human Achievement, Ivester Contemporary, MASS Gallery, Future Front Film Fest, Contrast Film Festival, Fusebox Festival, and The Dallas Latino Cultural Center; and her writing has appeared in fields, Precog, Jezebel, and Remezcla. She was named one of Remezcla’s ‘40 Emerging, Texas-based Artists to Know’ in 2020, and made Glasstire’s ‘Best of 2021’ list. She debuted her first solo stage show, To Get There… You Must Undergo… A Radical Transformation at OUTsider Festival in February 2023 and produced a sold-out 6-show run at Crashbox in November 2023. She was voted best performance artist and among the top three art writers in Concept Animals’ Community Favorites poll of December 2023.
Performative ritual for the bat species (ATX,USA)
Note: This event takes place in Austin, Texas (USA)
Connect with a bat species and feel the freedom of flying and screaming!
In our time of biodiversity crisis where 52 % of bat species in North America are at risk of populations declining severely in the next 15 years, we meet up to celebrate the magical creatures of the night and the diversity of life.
This is the final presentation of performance artist and climate activist Linh Le who has reached her end of the 1-month residency as part of Unlisted Projects, a collaboration between Warehouse9 and MoHA. During her stay, she has been volunteering at the Austin Bat Refuge, collaborating with visual artist Laura M Cañas P, opera singer Sir Beauregard Elliot, Esquire and artist Andie Flores.
Linh Le is inviting everyone to take part in her performance ritual 7-8 pm and join for dinner and talk 8-9 pm.
Giorgia Ohanesian Nardin: Talk body to me – how would you move if you had everything you need?
Giorgia Ohanesian Nardin is an italian artist of Armenian descent practicing in the fields of dance and performance. Over the past 7 years they have been facilitating Pleasure Body, a space for theoretic/perceptive/somatic research and discovery around pleasure.
Talk body to me is the opening, in the form of a conversation, of the research around Pleasure Body, starting from some of its key questions:
- what are the ways in which the body assimilates/internalizes sistemic oppression?
- how, subsequently, do these structures become ways of being in the body? and in relationships? and in community?
- from this standpoint, what do we mean when we talk about care?
- what have we internalized? and how do we free ourselves from what we have internalized non-consensually?
- how would are lives, societies, worlds be if they were based on pleasure instead of profit?
During the talk we will traverse these and other questions trying to approach the discussion from a somatic perception.
ACCESS NOTES
Language: English.
Warehouse9’s workspace has level free entrance to the space and an accessible toilet that can be accessed via a stairlift.
All events at Warehouse9 are considered “relaxed”.
Duration: approx 90 minutes.
ABOUT
Giorgia Ohanesian Nardin is an Italian artist of Armenian descent working in the contexts of dance and live performance.
Trained in dance, their work exists in the shape of movement video text choreography sound gatherings and deals with the relationship between dancing, divination and writing; with geography and the opposite of belonging; with a fetish for language, its politics and its many frictions.
They began making work in 2010 in collaboration with artists Marco D’Agostin and Francesca Foscarini, with whom they founded Associazione Culturale VAN (2014).
Since 2018, Giorgia periodically holds Pleasure Body, a space for facilitating practices and conversations associated with pleasure and rest, questioning the narrations around labors of care and hosting critical thinking around words like well-being, health, healing, recovery. Pleasure Body is currently touring extensively, being held in a variety of situations, from cultural institutions to queer occupied spaces. Giorgia was invited to hold Pleasure Body at, amongst others: Harvard University in the context of Chiasmi – Queering Italian Studies, Siobhan Davies Studios, Saison Foundation Tokyo, Short Theatre Roma, Gropius Bau, Sophiensaele.
In 2020 they created Գիշեր | gisher, a multimedia piece that focuses on their experience as a diasporic Armenian. The work has been selected for LIFT Concept Touring and is currently on tour.
In 2022-23, Giorgia’s work is produced and supported by VIERNULVIER; they are also a selected artist for Breaking the Spell, research project that deals with ethics of care and feminist discourses in artmaking. As an independent writer and poet, Giorgia’s work has been included in L’Ano Solare – a year long programme of sex and self display (axis axis editions), curated by Il Colorificio.
They hold an ongoing writing/thinking practice with London – based artist Jamila Johnson-Small, with whom they have curated several events that focus on holding/facilitating/questioning space as/for subaltern subjectivities in institutional contexts.
Their work is produced and supported by, amongst others: Associazione Culturale VAN, VIERNULVIER, Centrale Fies Art Work Space, AtelierSi, BASE Milano, Lavanderia a Vapore, Milano Mediterranea ميلانو المتوسّطيةّ
Jessica Karuhanga: ground and cover me
Jessica Karuhanga
Artist talk @ 19:30 followed by performance @ 20:30
ground and cover me engages with the physical and figurative contours of the institutional space. Karuhanga enacts gradual movements that are intuitive and deliberate responses to the walls, windows and ground. This piece is a choreographic rupture to institutional spaces that otherwise insist upon Black Queer people’s disappearance.
Bio
Jessica Karuhanga is a first-generation Canadian artist of British-Ugandan heritage whose work addresses the cultural politics of identity and Black diasporic concerns through lens-based technologies, writing, drawing and performances. She explores individual and collective concerns of Black subjectivity and embodiment through her practice.
Karuhanga has exhibited her work at the Kitchener-Waterloo Art Gallery (2023), Mitchell Art Gallery (Edmonton, 2022), the Robert McLaughlin Gallery (Oshawa, 2021), Varley Art Gallery (Markham, 2020), The Bentway (Toronto, 2019) and Nuit Blanche (Toronto, 2018). She has performed at Remai Modern (Saskatoon, 2023), Pallas Art Projects (Dublin, IE, 2022), WNDX Festival of Moving Image (Winnipeg, 2020), Long Winter (Toronto, 2019), Royal Ontario Museum (Toronto, 2018), Cooper Cole (Toronto, 2017), Goldsmiths (London, UK, 2017) and DoubleDouble Land (Toronto, 2016). C Magazine, BlackFlash, Susan Hobbs Gallery, Blackwood Gallery and Founderie Darling have published Karuhanga’s writing. She has been featured in AGO’s Artist Spotlight, i-D, DAZED, Visual Aids, Border Crossings, Toronto Star, CBC Arts, ESSE, and the Globe and Mail. She earned her BFA from Western University and MFA from the University of Victoria. She is an Assistant Professor in Studio Art in the Visual Arts Department at Western University (London, ON, Canada).
Presented as part of QALEIDOSCOPE QUEER FILM AND PERFORMANCE ON TOUR 2024
OBSIDIANA, ESTRANHA, ERÓTICA E ULTRAVIOLETA: Sall Lam Toro
IPAF & Managing Discomfort presents: OBSIDIANA, ESTRANHA, ERÓTICA E ULTRAVIOLETA by Sall Lam Toro
Live performance rework from Obsidian Dream Love Letters series (2023)
The live performance piece “obsidiana, estranha, erótica e ultravioleta” (2024) is a rework of the multimedia installation performance Obsidian Dream Love Letters series (2023) universe of surrealist ecoerotic poetics of queer blackness, archiving and rituals situated in multi-cosmologies of space. The previous version was developed for Close Encounters: Embodied Journeys festival co-produced by Danshallerne and Den Frie Udstillingsted Bygning and curated by Julienne Doko last year. And the multimedia installation was also shown at Fear and Fauna group exhibition curated by Ariel Feminisms ending with another performance version as well at the finissage. Drawing upon a love letter to black ecoerotic consciousness built upon universes of phantasmagoria, the space is inhabited by sculptures, light and soil companions. The piece materializes manifestos of atemporal and multidimensional fugitivity with the support of sensuous rituals channeled by the presence of obsidian and rose quartz raw living bodies within the sculptures and soil trails.
In this rework without video nor mapped visuals, the scenographic space shifts into a green, ultraviolet light glitch, concentrated immersing space with an assemblage of two poles and sculptures-podium of obsidian and rose quartz leveled onto them. The performers not only move backwards in different positions grounded on the floor in possession-like modes as the previous version, but also lift their own bodies up supported by the pole moving upside down in twists and distorted body positions. This version contrasts with the previous ones offering a heightened physicality of the performative with an abundant hypererotic descent into the sensuous vibrational frequencies of obsidian and rose quartz.
Notes for audience
TBA
Double Bill: This performance is a DOUBLE BILL showing with Martin O’Brien. 1 ticket = access to 2 performances.
Language
Non-Verbal
Access
Husets Teater does not have level free access and is not equipped with stairlifts, and is therefore not accessible for wheelchair users. We recognise that this is not good enough.
Credits
Concept, development, artistic direction, performance, & choreography: Sall Lam Toro
Co-development, co-performance, & co-choreography: Suziethecockroach
Choreography consultant & assistance: Tabatha Araujo
Sound composition: Warren Jones
Sound remixing: Suziethecockroach
Sculpture work: Sall Lam Toro
Scenography and light design: Bella Jensen
Costume design: Serena Coelho
Additional re-styling: Sall Lam Toro and Suziethecockroach
About the artists:
Sall is a black trans queer unbinary antidisciplinary multimedia performance artist and organizer based in Copenhagen, Denmark, and, born and raised in Portugal to immigrant parents from Guiné-Bissau. They work with the mediums of performance, movement, sound, textual and visual art. Their work relates to claiming the ecoerotic as a way into decolonizing body(ies) while finding strategies to create more accessibility to multiple, non-linear, poetic universes of the sensual through equally disruptive, emotional and dissident forms.
Their pieces strive to break with/interrupt the consequences of coloniality-based inherited violence and oppression in the becoming of the body through rituals, economies of care and the senses while establishing intentional relationships with grief and death.
Their interactive and collaborative visual works indulge within meta-universes of meaning, body and spirit erupting shifting transcendental states within the body of the viewer/participant attempting to defy capitalist modes of operating and sensing.
They are part of (Co)Opulence, and Humus Collectives working mainly in Denmark and Scandinavia.
OBSIDIANA, ESTRANHA, ERÓTICA E ULTRAVIOLETA is co-presented with TOASTER and Live Art DK and also a part of their Managing Discomfort Performance Festival.
OBSIDIANA, ESTRANHA, ERÓTICA E ULTRAVIOLETA is part of IPAF: an international festival for contemporary performance presenting artists from different cultural contexts, whose work engages identity politics, sexual expressions, and body representations, facilitated by Warehouse9.
The festival is supported by the Danish Arts Foundation, the City of Copenhagen and Bispebjerg Lokaludvalg.
AN AMBULANCE TO THE FUTURE (THE SECOND CHANCE): Martin O’Brien
IPAF & Managing Discomfort presents: An Ambulance to the Future (The Second Chance) by Martin O’Brien
The grim reaper stood there, finally I saw him. His skeletal form sparkled in the moonlight and nothing else existed. This was the deal. He reached out and wrapped his cold, bone hand around my skull. I was lost in the darkness of his cape. He drew me near and kissed me. He tasted like death, and I loved it.
In ‘An Ambulance to the Future (The Second Chance)’, Death pays a man for sex. The price is immortality.
Mixing video, live performance action and parables, the work paints the picture of life lived over and over again, a life that doesn’t need water or oxygen, a life without the promise of an end point. It is a meditation on endings and new beginnings. With his usual intensity and wit, this work continues Martin O’Brien’s explorations of the politics of death by asking what the idea of immortality can help us understood about being mortal.
‘An Ambulance to the Future (The Second Chance)’ premiered at Whitechapel Gallery in May 2023 and was presented as part of Martin O’Brien’s year as ‘Writer-in-Residence’.
Notes for audience
An Ambulance to the Future (The Second Chance) contains nudity, footage of scrotal piercing, discussion of sex and death and spanking.
Double Bill: This performance is a DOUBLE BILL showing with Sall Lam Toro. 1 ticket = access to 2 performances.
Language
English
Access
Husets Teater does not have level free access and is not equipped with stairlifts, and is therefore not accessible for wheelchair users. We recognise that this is not good enough.
The text that Martin O’Brien will be performing in English will be available as limited quantity handouts at the venue.
Credits
Lead artist: Martin O’Brien
Producer: FUTURE RITUAL
Videography: Baiba Sprance and Marco Beradi
Performers (Live): Zack Mennell
Performers (Film): Ali Campbell, Ash McNaughton, Carolyn Naish, Ewan Hindes, Pianka M, Regina Jay
About the artists:
Martin O’Brien is an artist and zombie. He works across performance, writing and video art. His work uses long durational actions, short speculative texts and critical rants, and performance processes in order to explore death and dying, what it means to be born with a life shortening disease, and the philosophical implications of living longer than expected. He has shown work throughout the UK; Europe; USA; and Canada, and is well known for his solo performances and collaborations with the legendary LA artist and dominatrix Sheree Rose. His most recent works were at Tate Britain in 2020, and the ICA (London) in 2021. He is winner of the Philip Leverhulme Prize for Visual and Performing Arts 2022. He is Writer-in-Residence at Whitechapel Gallery throughout 2023. Martin has cystic fibrosis and all his work and writing draws upon this experience. In 2018, the book ‘Survival of the Sickest: The Art of Martin O’Brien’ was published by Live Art Development Agency. His work has been featured on BBC radio and Sky Arts television. Martin O’Brien is currently senior lecturer in Live Art at Queen Mary University of London
An Ambulance to the Future (The Second Chance) is co-presented with TOASTER and Live Art DK and also a part of their Managing Discomfort Performance Festival.
An Ambulance to the Future (The Second Chance) is part of IPAF: an international festival for contemporary performance presenting artists from different cultural contexts, whose work engages identity politics, sexual expressions, and body representations, facilitated by Warehouse9.
The festival is supported by the Danish Arts Foundation, the City of Copenhagen and Bispebjerg Lokaludvalg.
IPAF Festival
IPAF is back with its 2024 edition taking place 14th – 17th March 2024.
IPAF is a biannual international performance festival. The festival is an extension of Warehouse9’s focus to support LGBTQIA+ artists and cultural practitioners practice. The festival supports development opportunities, live performance encounters, and creates spaces for dialogue and gatherings.
The Festival unfolds across the city of Copenhagen and presents genre-blurring work that engages with identity politics, sexual expressions and body representations. The Festival is based on the belief that performance can provide different perspectives and ways to understand reality, inspire collective imagining and advocate for better and more just futures.
IPAF creates spaces for gathering around live work made by queer artists. Spaces that celebrate learning, risk taking and embrace failure. Spaces for artists and audiences to meet. Spaces that hold artist-, audience-, and collective-care at the heart of the festival.
Artists & Performances
Krishna Istha: First Trimester
Louis Schou-Hansen: Afterlife
Martin O’Brien: An Ambulance to the Future (The Second Chance)
Sall Lam Toro: obsidiana, estranha, erótica e ultravioleta
Teo Ala-Ruona: Enter Exude
Artist-in-Residence: Alba&Linn: Out of The Coffin
Artist-in-Residence: Filip Pawlak: Sewing Pride
Tickets:
Book your tickets here: https://billetto.dk/users/warehouse9
&
Here: https://teaterbilletter.dk/forestillinger/obsidiana-an-ambulance-to-the-future-117928
Programme overview
14 March
Managing Discomfort – DOUBLE BILL (@ Husets Teater)
Sall Lam Toro: obsidiana, estranha, erótica e ultravioleta
Martin O’Brien: An Ambulance to the Future (The Second Chance)
15 March
Alba&Linn: Out of The Coffin (@ Dansekapellet)
Teo Ala-Ruona: Enter Exude (@ Warehouse9)
Managing Discomfort – DOUBLE BILL (@ Husets Teater)
Sall Lam Toro: obsidiana, estranha, erótica e ultravioleta
Martin O’Brien: An Ambulance to the Future (The Second Chance)
+post show Festival Bar Night
16 March
Krishna Istha: First Trimester (@ Dansekapellet)
Louis Schou-Hansen: Afterlife (@ Dansekapellet)
Filip Pawlak: Sewing Pride (@ Dansekapellet)
Teo Ala-Ruona: Enter Exude (@ Warehouse9)
+post show celebration
17 March
Breakfast Club
Krishna Istha: First Trimester (@ Dansekapellet)
PROGRAMME
FESTIVAL TEAM
Co-Director: Emma Castro Møller
Co-Director: Jørgen Callesen
Production Manager: Zep Andersen
Lead Producer: Anne Mai Slot Vilmann
Producer: Caroline Blomqvist
Assistant Producer: Elias Ståhl
Assistant Producer: Jasmin Ingemansen
PR & Marketing Manager: Carla Rafaella Denalie Gianetti
SoMe Manager: Sarah Wegeberg
Graphic Designer: Alix Smed Dawids
Photographer: Søren Meisner
PARTNERS
Dansehallerne (co-presenting Afterlife)
TOASTER (co-presenting Martin O’Brien and Sall Lam Toro)
Live Art DK (co-presenting Martin O’Brien and Sall Lam Toro)
The Finnish Cultural Institute in Denmark (co-presenting Enter Exude)
HIMHERANDIT Productions (co-producing Out of The Coffin / Residency)
The Genderhouse Festival (co-producing Out of The Coffin / Residency)
Malmö Theatre Academy (Residency)
Dansekapellet (venue)
SUPPORTED BY
Danish Arts Foundation / Statens Kunstfond
City of Copenhagen / Københavns Kommune
Bispebjerg Lokaludvalg
Arts Council England
