{"id":1330,"date":"2013-11-07T00:00:00","date_gmt":"2013-11-06T23:00:00","guid":{"rendered":"https:\/\/bulegoa.org\/web\/18-pictures-and-18-stories-seventh-stage-of-performance-in-resistance-by-isidoro-valcarcel-medina-at-mac-usp-museum-of-contemporary-art-university-of-s-2\/"},"modified":"2017-09-11T12:47:51","modified_gmt":"2017-09-11T10:47:51","slug":"18-pictures-and-18-stories-seventh-stage-of-performance-in-resistance-by-isidoro-valcarcel-medina-at-mac-usp-museum-of-contemporary-art-university-of-s-2","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/en\/18-pictures-and-18-stories-seventh-stage-of-performance-in-resistance-by-isidoro-valcarcel-medina-at-mac-usp-museum-of-contemporary-art-university-of-s-2\/","title":{"rendered":"\u201c18 pictures and 18 stories\u201d: seventh stage of \u201cPerformance in Resistance\u201d* by Isidoro Valc\u00e1rcel Medina at MAC-USP \u2013 Museum of Contemporary Art- University of S\u00e2o Paulo, S\u00e2o Paulo"},"content":{"rendered":"

18 pictures and 18 stories<\/em> is a project of Bulegoa z\/b, realized in collaboration with If I Can\u2019t Dance I Don\u2019t Want To Be Part Of Your Revolution of Amsterdam, that presents and accompanies Performance in Resistance<\/em> by Isidoro Valc\u00e1rcel Medina through 18 stories and on a journey to 7 cities.<\/p>\n

In Autumn 2010, If I Can\u2019t Dance invited Valc\u00e1rcel Medina and Bulegoa z\/b to take part in Performance in Residence,<\/em> a program that studies and researches performances from the past from the perspective of current artistic practice, and that includes the participation of Fl\u00e1vio de Carvalho e Inti Guerrero, Guy de Cointet and Marie de Brugerolle, Matt Mullican and Vanessa Desclaux. Valc\u00e1rcel Medina responded to the invitation with Performance in Resistance,<\/em> 18 photographs mounted on passe-partout that show as many actions carried out by the artist in different cities between 1965 and 1993. The resulting set of images blurs the limits between the lived moment and the document, between what happened and fiction. Performance in Resistance<\/em> also shows the guiding principle of Valc\u00e1rcel Medina\u2019s practice, his refusal to submit to the conventions of any institution or discipline, including the discipline of history. Such performative resistance arises from the artist\u2019s conviction that his only material is his historical time, and that the imagination \u201chides a wealth which drives the world\u201d.<\/p>\n

18 pictures and 18 stories<\/em> conceives investigation as an imaginative practice which can transform and reactivate its objects of study. The work takes the form of an itinerant framework which produces narratives. 18 different people have been invited to take one of the 18 photographs that make up Performance in Resistance<\/em> and propose a story.<\/p>\n

The first stage of this specifically-conceived work by Valc\u00e1rcel Medina was the Hetveem Theater, Amsterdam, in February 2012. There, three narrators, Moosje Goosen, Emilio Moreno and Esteban Pujals Gesal\u00ed, told 3 stories based on 3 of the set of photographs: Campa\u00f1a 1969<\/em> (Madrid, Murcia, 1969) S\/T. Herramientas de Precisi\u00f3n<\/em> (Milano, 1987) and 136 manzanas de Asunci\u00f3n<\/em> (Asunci\u00f3n, 1976).<\/p>\n

At the second stage, on 20th April at Bulegoa z\/b, Jos\u00e9 D\u00edaz Cuy\u00e1s, Jaime Vallaure and Azucena Vieites told 3 stories based on Pe\u00f3n al Rey <\/em>(Murcia, 1965), Retratos callejeros <\/em>(Barcelona, 1975), and El discurso sigue\u2026 su curso<\/em> (Granada, 1993).<\/p>\n

In its third stage, Performance in Resistance<\/em> traveled to the Fundaci\u00f3 T\u00e0pies, Barcelona, on 6 June 2012. Nuria Enguita, Aimar P\u00e9rez and Manuel Mart\u00ednez retold El cuadro<\/em> (Madrid, 1969), La Visita<\/em> (many cities, 1974) and El Sena por Par\u00eds <\/em>(Paris, 1975), respectively.<\/p>\n

In the fourth stage, at CAC Br\u00e9tigny, on 27 October, Esther Ferrer talked about El Sena por Par\u00eds <\/em>(Paris, 1975), Jon Mikel Euba about El hombre de la capa<\/em> (New York, 1967), and Pierre Bal-Blanc about Marat\u00f3n <\/em>(Madrid, 1981).<\/p>\n

At the fifth stage at BNV Producciones, Seville, on 6 November, Pedro G. Romero, Isa\u00edas Gri\u00f1olo and Miren Jaio narrated Encuesta en la cola del besamanos del Cristo de Medinaceli<\/em> (Madrid, 1978), El pintor en la calle<\/em> (Madrid, 1978) and 12 ejercicios de medici\u00f3n sobre la ciudad de C\u00f3rdoba (J)<\/em> (Cordoba, 1974), respectively.<\/p>\n

At the sixth stage at Playground Festival at STUK, Leuven on, 11 November, Koen Brams talked about Retratos callejeros <\/em>(Barcelona, 1975), Dora Garc\u00eda about Hombres anuncio<\/em> (Madrid, 1976) and Myriam Van Imschoot about S\/T<\/em> (known as Paso de peatones<\/em>) (many cities, 1971).<\/p>\n

18 pictures and 18 stories<\/em> and Performance in Resistance<\/em> finalize their journey on 29 November at MAC \u2013 Museum of Contemporary Art, University of S\u00e2o Paulo. Performance in Resistance<\/em> will be shown with A Cidade e o Estrangeiro (The City and the Foreigner).<\/em> The exhibition, curated by Cristina Freire, recovers documentary registers of the monographic exhibition of the same name by Valc\u00e1rcel Medina at the MAC in 1976. In the seventh and last stage of 18 pictures and 18 stories Juan Dom\u00ednguez, Carla Zaccagnini and Grupo GEACC \u2013 Grupo de Pesquisa em Arte Conceitual e Conceitualismos \u2013 CNPq will narrate S\/T <\/em>(known as Paso de peatones)<\/em> (many cities, 1971), El diccionario de la gente<\/em> (S\u00e2o Paulo, 1976) and Etiquetas adhesivas<\/em> (Buenos Aires, 1976).<\/p>\n

Isidoro Valc\u00e1rcel Medina will be available on the telephone to answer questions from the narrators or public.<\/p>\n

The seventh and final stage will be accompanied with the following events:<\/p>\n

November 29.<\/strong> 10:30h-16:00h.<\/p>\n

Panel discussion: art + document = fiction?<\/em><\/p>\n

With the participation of Mar\u00eda Ivone Santos, H\u00e9lio Fervenza, Anne Thurmann-Jajes, Cristina Freire, Beatriz Cavia, Miren Jaio and Leire Vergara (Bulegoa z\/b) and Frederique Bergholtz (If I Can\u2019t Dance I Don\u2019t Want To Be Part of Your Revolution).<\/p>\n

November 30.<\/strong> 10:00h-13:00h.<\/p>\n

Workshop: 18 photographs and 18 stories.<\/em><\/p>\n

An approach to the practice of Isidoro Valc\u00e1rcel Medina through various sources.\u00a0<\/p>\n

Registration: eventosmac@usp.br<\/a><\/p>\n

Museu de Arte Contempor\u00e2nea da Universidade de S\u00e2o Paulo
\nMAC USP Cidade Universit\u00e1ria
\nRua da Pra\u00e7a do Rel\u00f3gio, 160
\nwww.mac.usp.br<\/a><\/p>\n

*Photographs: Roc\u00edo Are\u00e1n Guti\u00e9rrez,<\/strong> student at Central Saint Martins College of Art and Design, London.<\/p>\n

Juan Dom\u00ednguez.\u00a0<\/strong>Performer, choreographer, stage director and programmer. Lives and works in Madrid and Berlin. Since 1987 he has worked as a performer and assistant with different companies and choreographers in Europe. Since 1992 he has worked on his own pieces. Titles since 2000: the taste is mine<\/em> 2000. todos los buenos esp\u00edas tienen mi edad<\/em> [all good spies are my age] 2002. the application<\/em> 2005. seven attempted escapes from silence<\/em> (opera) 2005. shichimi togarashi <\/em>2006. todos los buenos artistas de mi edad est\u00e1n muertos<\/em> [all the good artists of my age are dead] 2007. de la\u2026 a la\u2026<\/em>[from the\u2026 to the\u2026] (research project) 2007\/08. don\u2019t even think about it<\/em> 2008. blue <\/em>2009. clean room<\/em> (scenic mini-series) 2010, Ya llegan los personajes<\/em> (in collaboration with Los Torreznos) 2011. Artist in residence in PODEWIL, Berlin-Germany during the years 2004-2005. Between 2003 and 2012 he was the artistic director of the Festival In-Presentable (La Casa Encendida \/ Madrid). Since 2010 he has been co-designer of Living Room Festival (Madrid \/ Berlin).\u00a0His work is based on questions concerning the theatrical medium. Working on the relationship between different codes, his works propose a dissolution between fiction and reality.<\/p>\n

Grupo de Estudio Arte Conceptual y Conceptualismos en el Museo (GEACC).\u00a0<\/strong>Made up of graduate and postgraduate students, oriented by curator and professor Cristina Freire. Linked to the CNPq (National Research Council), it was set up as a laboratory for investigation and learning applied to the study and development of a critical history of art.\u00a0Projects by the group focus on artists, artworks and institutional histories, and attempt to articulate history, theory and curatorial practice through the University of S\u00e2o Paulo Museum of Contemporary Art.<\/p>\n

Carla Zaccagnini <\/strong>(Buenos Aires, 1973) is an artist, writer, and curator, who lives in S\u00e3o Paulo. Strategies for creating meaning through forms of displacement, deviation, approximation and reorganization are often found in her works. Among her most recent exhibitions are her participation in the 28 Bienal de S\u00e3o Paulo (2008) and the solo shows Bifurca\u00e7\u00f5es e encruzilhadas<\/em> (Vermelho, S\u00e3o Paulo, 2008), no.it is opposition.<\/em> (AGYU, Toronto, 2008), Imposible pero necesario<\/em> (Joan Prats, Barcelona, 2010) and Plano de falla<\/em> (Ignacio Liprandi, Buenos Aires, 2011).<\/p>\n

18 pictures and 18 stories<\/em> is co-produced by BNV Producciones, Seville; CAC Br\u00e9tigny, Greater Paris; If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam; the Museum of Contemporary Art of the University of S\u00e3o Paulo (MAC USP); Playground Festival in STUK\/Museum M, Leuven; T\u00e0pies Foundation, Barcelona; Tate Modern, London; and Het Veem Theater, Amsterdam.<\/p>\n

The publication and the performances are realized with the support of Corpus: a network for performance practice<\/em> financed by the European Union.<\/p>\n

\"\"<\/span>
\n\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

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