Analphabet Orchestra is a project I have been working on for the past two years, which aims to create a common stage for artistic and philosophical interests, and to narrow and interlink the relationship between practice and theory. The dispositif attempts to listen to “famous” songs and try to copy them on instruments without knowing how. This creates a space for sensitive, common investigation.
Exercises to do together on the instruments will be proposed and presented with documents on ways of learning, detonators for transformation, and subaltern positions. Aziza Harmel and Gelen Jeleton will be taking part in the session and will also present their most recent projects, which deal with alternative pedagogical processes and other issues.
Analphabet Orchestra 10 workshop-session
Exhibition of Analphabet Orchestra exercise, by Maite Vélaz
Presentations by Aziza Harmel and Gelen Jeleton
Please contact firstname.lastname@example.org if you wish to take part in the workshop.
Analphabet Orchestra will continue in Bilbao over the next few days with:
Saturday 12 December, 19:30: Sergio Prego and Jorge Nuñez will present texts and a recent publication. At Larraskito Kluba.
Saturday 12 and Sunday 13 December, 12:00-22:00: Exhibition of Analphabet Orchestra exercises by Sandra Cuesta and Claudia Lorenzo+Olatz Otalora. At Larraskito Kluba.
Friday 18 December: Trailer for Analphabet Orchestra performance at Zarata Fest 2015. At Hika Ateneoa
Analphabet Orchestra is a long-term project by Larraitz Torres which seeks learning and experience which is common but singular for each individual through a medium nobody is an expert in. The project has diverged into several proposals, such as talks, sessions, performance or publication, and has included collaborations by artists and art workers such as Valeria Grazziano, Blanca Calvo, Mårten Spångberg, Aimar Arriola, Paula Caspao, Sandra Cuesta, Jesús Jeleton, Casco, Azucena Vieites, Azala and Jorge Núñez
Aziza Harmel is a graphic designer and artist based in Tunis. She was awarded her Masters of Fine Art by the Dutch Art Institute in the Netherlands, August 2015, after completing her Bachelor of Graphic design at the Royal Academy of Arts in The Hague in 2012. She is currently working on creating a research platform on the position and current significance of the idea of the intellectual. She has recently worked on a publication with Casco (Utrecht) on a specific place, a house in Tunisia. During the Tunisian dictatorship, the house hosted learning practices which worked as forms of resistance through readings and conversations on exercises in decolonisation and anti-doctrine. The publication attempts to reinvoke the situation by working as a call to an event which recreates a still-necessary situation.
Gelen Alcántara. My practice has been shared with Jesús Arpal Moya in Equipo Jeleton since 1999. I studied Fine Art at the Universidad de Cuenca and post-graduated in Simbolismo renacentista y Alquimia (Renaissance Symbolism and Alchemy) at the Drawing Department in the Barcelona Faculty of Fine Art. I carried my knowledge from there into practice in my PhD thesis Una Archiva del DIY: la fanzinoteca feminista-cuir (A DIY Archivess: the feminist-cuir fanzinoteque) after a period in the PUEG (University Gender Studies Programme), UNAM (Universidad Nacional Autónoma de México). There, I was also involved in the Mujeres en Espiral (Spiralling Women) project with a fanzine workshop at the Santa Martha Acatitla women’s prison, having already produced two issues of the Leelatu fanzine, which is what I’ll be talking about at Bulegoa.