Dancehouse

KCA - DANCEHOUSE PUBLIC PROGRAM - THE BODY. NOW

THE BODY. NOW
A Series of Conversations

A series of conversations aimed at contextualising the deep and subtle connections that the choreographed body fosters, in its multiplicity of forms and meanings, with the social, the ethical and the political.

APRIL 26 - AT VCA
WRITING CRITICALLY ON DANCE
Deborah Jowitt in conversation with Alison Croggon

April 27- AT VCA
THE COMING OF THE BODY
in partnership with DISSECT JOURNAL

April 28 - AT VCA
EXHIBITING CHOREOGRAPHY
Sarah Michelson in conversation with Becky Hilton

April 29 -  AT VCA
THE MONEY ISSUE
with Fionna Winning and Anitra Nelson in conversation with Angela Conquet

April 30 - AT ACCA
CHOREOGRAPHING EXHIBITIONS
Pierre Bal Blanc and Hannah Mathews in conversation with Phillip Keir

Date: APRIL 26 - 29
Time: 5pm-6pm
Where:
April 26 to 29
Studio 221/Dance Building, Victorian College of the Arts
234 St. Kilda Road
April 30
ACCA
111, Sturt St, Southbank
Cost: FREE (BOOKINGS ESSENTIAL)*

*NB: Dancehouse members will be given priority

 

APRIL 26 - 5pm-6pm
WRITING CRITICALLY ON DANCE
Deborah Jowitt in conversation with Alison Croggon

Deborah Jowitt is arguably the most world-renowned dance critic and author. For years, she has been the voice of NY dance criticism with regular columns in the Village Voice (since 1967), New York Times and the Arts Journal.  She is also a faculty member at the Tisch School of the Arts at New York University (NYU). She was awarded a "Bessie" in 1985 for her contributions to dance criticism, and the American Dance Guild honored her in 1991. In 1998, she received an "Ernie" -- an award reserved for dance's "unsung heroes" -- from Dance/USA. The Congress on Research in Dance (CORD) made her its 2001 honoree for her "Outstanding Contribution to Dance Research." She was granted a Guggenheim Fellowship in 2002.

Alison Croggon is a fantasy novelist, poet and critic who lives in Melbourne, Australia. She writes in many genres, including criticism, theatre and prose. She is the author of the acclaimed young adult fantasy quartet, The Books of Pellinor. She has until very recently published reviews and critical texts on her blog, Theatre Notes, and more recently on her Tumblr. More information on Alison Croggon can be found on her website.

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APRIL 27 - 5pm-6pm
THE COMING OF THE BODY
in partnership with DISSECT JOURNAL

The cultural framework and biopolitics of capitalist globalisation has resulted in an increased concentration on the body as a site of production—in contemporary art as in life. Just as the historical avant-gardes sought to overcome art's autonomous and isolated relationship to society by way of inviting in the "praxis of life"; so do contemporary artists whose focus is bodies and subjectivities. In an ever-emergent bio-economy, it is not just the body, but subjects and their lives that are crucial to value creation.

This Dissect Journal x Dancehouse discussion will focus on the aforementioned theme for the forthcoming issue of Dissect Journal and will include performance artist Anastasia Klose; dancer and choreographer Atlanta Eke; and two of the three co-editors for Dissect Journal - Audrey Schmidt and Zoe Theodore.

Anastasia Klose is a Sydney-based video/performance/installation artist. She grew up in Melbourne, attained a degree in Philosophy and English from Melbourne University in 1998 before undertaking a Bachelor of Fine Art (achieving first class Honours in Drawing) from the Victorian College of the Arts in 2005. After experimenting with installation using found objects/detritus and cardboard, she developed an interest in video art. Since then, she has developed her video practice by further experimenting with public performance, text, and music in her videos. Anastasia's use of her personal history, combined with humour, pathos and her lo-tech aesthetic result in short, highly accessible video works. Klose's work has featured at the Australian Centre for Contemporary Art and the Biennale of Sydney. She is represented by Tolarno Galleries in Melbourne, who represent other high profile Australian artists such as Bill Henson and Patricia Piccinini and in 2008 Klose was listed in Australian Art Collector as one of "50 of Australia's Most Collectable Artists".

Atlanta Eke is a dancer and choreographer working internationally. Atlanta was a DanceWEB Europe scholarship recipient 2010 in Vienna, and received Next Wave Kickstart 2011, Dancehouse Housemate residency 2012 in Melbourne, and ArtStart Grant recipient. She performed for Sidney Leoni in Undertones at Tamz in August Berlin and Marten Spangberg's Page 74, ImPulsTanz Festival Vienna. Atlanta performed in Jan Ritsema's Oedipus My Foot throughout Europe as well as in Allianz-The Agora Project (Performing Arts Forum). Her solo MONSTER BODY has been presented at the 2012 Next Wave Festival, SEXES Festival Performance Space Sydney, 2013 Dance Massive Festival at Dancehouse, MONA FOMA Festival Hobart, MDT Stockholm, BACKFLIP Feminism and Humour in Contemporary Art, Margaret Lawrence Gallery and the Fierce Festival in Birmingham. Atlanta presented her work Untitled at the NVG for the Melbourne Now exhibition; she performed the work of Marina Abramovic and Joan Jonas at the Kaldor Public Art Project #27: 13 Rooms in Sydney and was part of Maria Hassabi's work Intermission for the Melbourne Festival. Atlanta premiered her works Fountain at Chunky Move, and Organ, made in collaboration with composer Daniel Jenatsch, at Liquid Architecture Festival. She is an Arts House Culture Lab resident for her work I CON and is the recipient of the 2014 inaugural Keir Choreographic Award for her latest work Body Of Work which has since toured to Dance Massiv/Dancehouse Melbourne, Adelaide Festival, 
Dark Mofo Festival MONA Hobart and Les Plateaux de la Briqueterie Paris. More recently, Atlanta premiered her work MISS UNIVERSAL at Gertrude Contemporary and Chunky Move Next Move program.

Audrey Schmidt is currently the co-editor of Dissect Journal, alongside Zoe Theodore and Chloe Sugden, and curator of the concurrent exhibition tell me what you have and I will know what you are opening in August 2016. In addition to her role as Administration and Communications Coordinator at Dancehouse, Audrey is regularly considered in discussions on the body in contemporary art and in 2014 Audrey spoke on a Simone's Boudoir Dancehouse panel -The Body. Now - held at the National Gallery of Victoria. In 2015, Audrey was invited to write for the Gertrude Contemporary Emerging Writers program under the mentorship of Art Historian Rex Butler and presented a paper at the Art Association of Australia and New Zealand Conference. Her continuing research centres on contemporary art, gender, biopolitics and 'identity' in late capitalism.

Zoe Theodore is currently the co-editor of Dissect Journal, alongside Audrey Schmidt and Chloe Sudgen. She is a recent graduate of The University of Melbourne art history program, receiving First Class Honours for her Minor Thesis, which investigated the recent curatorial trend of exhibiting choreography within visual art museums. This thesis was a product of working together with curators and producers in the execution of the 2014 major fall exhibition at MoMA PS1, Retrospective, by Xavier Le Roy. Zoe has also held a range of professional roles at local and international art institutions such as MoMA PS1 and is currently working with the Australian Centre for Contemporary Art.

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APRIL 28 - 5pm-6pm
EXHIBITING CHOREOGRAPHY
Sarah Michelson in conversation with Becky Hilton

Choreographer Sarah Michelson's work has been presented by The Whitney Museum of American Art, MoMA, BAM, PS 122, The Kitchen, The Walker Art Center, Chapter Arts (Cardiff, UK), On the Boards, Venice Biennale, SommerSzene Salzburg, Tanz im August (Berlin) and Zurich Theater Spektakel Festival. She has received three Bessies, 2012 Bucksbaum Award, 2012 Doris Duke Artist Award, 2009 Guggenheim Fellowship, 2008 Foundation for Contemporary Arts Award, 2006 Alpert Award in Dance and Der Foerder prize. Sarah Michelson has created several evening-length works and modular works including her most recent works tournamento (2015) for the Walker Arts Center, 4 for The Whitney Museum of American Art (2014); Devotion Study #3 (work in progress), MoMA for the Some sweet day series curated by Ralph Lemon (2012); Devotion Study #1, The American Dancer, The Whitney Museum of American Art (2012) and  Devotion, which premiered at The Kitchen, New York (2011).

Becky Hilton is an Australian dancer. She also choreographs, teaches and writes about dance, dancers and dancing.
In a practice spanning three decades she has contributed to the work of an array of artists, including Russell Dumas, Stephen Petronio, Mathew Barney, Michael Clark, Tere O'Connor, Jennifer Monson, John Jasperse, Lucy Guerin, Tino Sehgal, Chrysa Parkinson, Xavier Le Roy among others. She works with dance in many different environments, situations and circumstances both locally and internationally, including but not limited to, universities, dance companies, arts institutions, festivals, conferences and community based organisations. As the recipient of a Fellowship from the Dance Board of the Australia Council, she is writing a book on DANCERNESS.

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APRIL 29 - 5pm-6pm
THE MONEY ISSUE

Anitra Nelson is an Associate Professor (Centre for Urban Research, RMIT University) whose doctoral thesis Marx's Concept of Money: The God of Commodities (1999, Routledge, London) was released in paperback in 2014. She co-edited Life Without Money: Building Fair and Sustainable Economies (2011, Pluto Press, London — http://www.lifewithoutmoney.info/), which has been translated and published in Korean (2013, Booksea, Paju) and is writing Small is Necessary: Shared Living on a Shared Planet (2017, Pluto Press, London). She has made a few short films, had poetry published and a play produced. She regularly speaks on collective sufficiency, degrowth and non-monetary economies.

Fiona Winning is Head of Programming at Sydney Festival. Prior to that she was an independent producer and consultant working in contemporary arts – across theatre, dance and visual cultures. She curated the 2011 Australian Theatre Forum Convictions + Connections; co- convened Siteworks 2009-12 (with Deborah Ely); and worked with the National Association for the Visual Arts and Sydney Harbour Foreshore Authority on strategic projects. She produced intercultural exchange projects with La Pocha Nostra (US/Mexico) and Pacitti Company (UK), co-curated/produced the Breathing Space exchange between Australian and UK artists with Helen Cole from Arnolfini in Bristol (UK), collaborated with Arts House on TransLab a national intercultural residency program and produced the inaugural LiveWorks Festival in and around CarriageWorks in 2008.

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APRIL 30 - 5pm-6pm
CHOREOGRAPHING EXHIBITIONS
Hannah Mathews and Pierre Bal Blanc in conversation with Phillip Keir

Pierre Bal Blanc is an independent curator and art critic based in Athens and Paris. He is currently curator for the Documenta14. He was director of CAC Brétigny (Contemporary Art Centre of Brétigny, greater Paris in France). There from 2003 to 2014, echoing the societal thought of Charles Fourier, he has run the "Phalanstère Project," a series of site-specific proposals aiming at critical rethinking of the logic behind accumulation of art works. His exhibition sequences La monnaie vivante/Living Currency adapted from Pierre Klossowski essay (CAC Brétigny/Micadanses, 2005–06; Stuk Leuven, 2007; Tate Modern London, 2008; MoMA Warsaw and Berlin Biennale, 2010) and Draft Score for an Exhibition(Le Plateau Paris, Artissima Torino, Secession Vienna, 2011; Index Stockholm, 2012; catalog Draft Score for an Exhibition, NERO Publisher Rome, 2014) negotiate the current and historical analysis of the body and the strategies related to performance in visual arts.

Hannah Mathews is a Melbourne-based curator with a particular interest in contemporary practice and arts advocacy. She graduated with a Master of Art Curatorship from the University of Melbourne in 2002 and has worked in curatorial positions at the Australian Centre for Contemporary Art, Melbourne (2008-16); Perth Institute of Contemporary Arts (2005-07); Monash University Museum of Art (2005); Next Wave Festival (2003-04); The South Project (2003-04); Vizard Foundation Art Collection of the 1990s, the Ian Potter Museum of Art (2002); and the Biennale of Sydney (2000-02). She is currently Senior Curator at Monash University Museum of Art.

PHILLIP KEIR. Phillip worked in theatre and performance in New York, London and Cologne before returning to Australia to join Sydney Theatre Company as Associate Director. In 1987, he developed NextMedia, a consumer magazine company, which went on to become the 4th largest consumer magazine company in Australia, publishing popular culture titles including Australian Rolling Stone Magazine. In 2005, he established the Keir Foundation to provide grant support in the arts and human rights. The Foundation has been active in the areas of Visual Arts and Dance, particularly with projects that have involved the commissioning of new work with an international dimension. He is a collector of international contemporary art. He speaks regularly on contemporary collecting; most recently at Art Basel HK. Phillip has had a particular interest in contemporary dance since studying at the Merce Cunningham studios in the late 1970s. He is the founder of the Keir Choreographic Award.

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Date: APRIL 26 - 30
Time: 5pm-6pm
Where: Studio 221/Dance Building, Victorian College of the Arts, 234 St. Kilda Road
Cost: FREE (BOOKINGS ESSENTIAL)*

*NB: Dancehouse members will be given priority

BOOK NOW!

 

 

SEE THE KCA FULL PUBLIC PROGRAM

SEE THE 2016 KCA ARTISTS & BOOK TICKETS FOR THE SEMIFINALS

 

The Keir Choreographic Award Dancehouse Public Program is presented by Dancehouse in partnership with the Victorian College of the Arts at the University of Melbourne, Lucy Guerin Inc. and Deakin University and in association with the 20th Biennale of Sydney.

Dancehouse would like to warmly thank Phillip Keir and the Keir Foundation, Stephanie Rosenthal and Jenny Kinder for making this public program possible.

The 2016 Keir Choreographic Award is presented by Dancehouse, Carriageworks and the Keir Foundation, with support from the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.