LISTE Performance Project June 17 June 22, 2014 Basel

LISTE Performance Project June 17 June 22, 2014 Basel Calla Henkel Max Pitegoff Tobias Spichtig Paolo Thorsen-Nagel Eleanor Bauer Anne Imhof Alexander Baczy nski-jenkins Ligia Lewis Lawrence Abu Hamdan Michael Dean

LISTE Performance Project June 17 June 22, 2014 Curated by Fabian Schöneich. Texts by Fabian Schöneich unless otherwise noted Design by Ronnie Fueglister Printing by Druckerei Dietrich, Basel Hosted by LISTE Art Fair Basel Burgweg 15 CH-4058 Basel www.liste.ch The Performance Project is made possible by the generous support of: The Performance Project at this year s LISTE places its focus on the reception of performance itself. As performance has been an independent art form since the 1960s, the Performance Project at LISTE seeks to provide a space for individual works. At specific locations in Basel, artists are invited to develop works and create an environment that invites the audience to reflect on and discuss the specific work before them. To that end, existing structures should be broken open in order to develop new tactics and to contribute to the presentation and promotion of performance as an independent medium. The Performance Project at LISTE considers itself to be an important supporter of performance art. This year s Performance Project at LISTE will bring together performance works focusing on language and voices, sound and poetry, choreography and dance. Reflecting its own development as an art form, the genre of performance is still an experimental field and is deeply dependent on its performers. Apart from the content of individual works, this year s Performance Project is also concerned with the various stages of Performance: Solo performances will be shown alongside works that are structured around several protagonists, performances in the public space and in privates spaces, stage versions, as well as works that are more intimately focused on the level of the observer. New works will be presented as well as existing works that will be shown for the first time in Switzerland. As an online component to the performance project, Audio Visual Arts has contributed two exclusive tracks by British artist and musician Graham Lambkin. BALIMA STIFTUNG Alfred Richterich Stiftung Supported by:

Orchestra 2014 with Calla Henkel, *1988, US lives and works in Berlin Max Pitegoff, *1987, US lives and works in Berlin Tobias Spichtig *1982, CH lives and works in Zurich and Paolo Thorsen-Nagel *1985, DE / US lives and works in Basel Monday June 16, 2014 8 pm LISTE Terrace Admission: free MONDAY Calla Henkel, Max Pitegoff, Tobias Spichtig and Paolo Thorsen-Nagel present their second concert as an orchestra. The quartet uses noise, pop and distraction on top of text. For LISTE, they will perform the soundtrack of their first performance, which took place at New Theater in Berlin this late spring. Photo by Calla Henkel and Max Pitegoff, 2014 MONDAY Thorsen-Nagel and Spichtig have been working together as a band for the past year. Upon invitation from New Theater, the theater run by Henkel and Pitegoff in Berlin, it was decided that their collaboration would take form as an orchestra. The artists

Eleanor Bauer *1983, US lives and works in Brussels Midday and Eternity [the time piece] 2014 Tuesday June 17, 2014 8 pm Kaserne Basel, Reithalle Admission: limited number of free tickets for LISTE guest card holders, otherwise CHF 25. Photos by ByIan Douglas, 2014 TUESDAY TUESDAY

With Midday and Eternity (the time piece) Eleanor Bauer, an American choreographer and dancer based in Brussels, creates the closing piece of the past-present-future trilogy that started with A Dance for the Newest Age (the triangle piece) and continued with Tentative Assembly (the tent piece). In Midday and Eternity Eleanor Bauer deals with the most unknown of the three tenses: the future. Commonly in the artistic practice of a choreographer, the future is always present, as one works progressively towards a given moment when a «piece» will be «finished» and presented to the public. What appears onstage is often a portrait of several past tenses, choices made in anticipation of creating a future moment which then becomes a present composed of pasts. With Midday and Eternity, Bauer asks how to create a present out of futures, altering the relationship to time in process and product and manipulating the relationships between known things in order to remain at the edge of one s knowledge. Reinventing the future by repositioning the past and opening up potentials in the present, (the time piece) approaches the unknowable by making knowns and unknowns move together. about novelty, fantasy and impossibility as it is about the tried and true, reliable and recurring. In a trilogy that deals with dancing as an act of synthesis and coordination of many facets of experience and ways of knowing, with Midday and Eternity, the passage between the finite and infinite is constantly at play, connecting instants and details to the big picture, searching for the vast expanses of space and time that open up within the minutiae of thought and movement. Direction: Eleanor Bauer Creation, performance: Eleanor Bauer, Rebecka Stillman, Cecilia Lisa Eliceche, Naiara Mendioroz Music: Chris Peck Costumes: Ada Rajszys Scenography: 88888 Lighting: Bardia Mohammad Executive production: Caravan Production for GoodMove (Brussels) Coproduction: Kaaitheater (Brussels), BUDA (Kortrijk) in collaboration with Festival Latitudes Contemporaines (Lille), Vooruit (Ghent) Residencies: SIN Culture Center (Budapest), PACT Zollverein (Essen) With the support of: The Flemish Authorities, The Flemish Community Commission of the Brussels-Capital Region (VGC) Anne Imhof *1978, DE lives and works in Paris and Frankfurt RGE II 2014 Wednesday June 18, 2014 4 pm Volkshaus, Galerie Saal, Rebgasse 12 14 Admission: free Somewhere between science fiction and Good Old-Fashioned Choreography, Midday and Eternity (the time piece) is as much Eleanor Bauer is artist in residence at Kaaitheater (Brussels) Special thanks: Nathan John, The Wild Unknown TUESDAY WEDNESDAY

Anne Imhof s RGE II deals with the relation between dominance and submission, slowness and passivity through structural motives in space. A room, b/w lighting, de-saturated, smoke that makes the air visible, breathing, opium. During the performance, the room unfolds around compositional axes, increasing steadily, fast and slanting, developing in between the bodies of performers and the audience. A picture in time emerges, the relation of performer to performer transfers to the relation between performer and viewer. Language constitutes a horizon. Composed of different modes, it corresponds patterns of repetition and overlay that relate to the invisible, linguistic core of the piece. Inner perceptive expression remains on a level of potency. It enfolds a net between the one who speaks and the one language is addressed to. It remains ambiguous till the end and is anticipated as such. Lea Welsch Text: Leda Bourgogne, Anne Imhof Performer: Anne Imhof, Olga Pedan, Billy Bultheel, Eva Kruijssen, Lea Welsch, Ian Edmonds With the support of: Deborah Schamoni, Munich The blue squares nourish me the other ones punish me. O hole H Horizontal Q enough Lower the horizons all the horizons. O hole H Horizontal Q enough Choirs Rage Anne Imhof, Rage I. Courtesy the artist and Deborah Schamoni, Munich, 2014 WEDNESDAY WEDNESDAY

I arrive by train. Awake in the terminus, all the passengers disembark together. I watch them walk on both sides of the track, two flows made up of lines. The lines continue through the escalator, into the central hall. The space is tight. People walk really close together, almost touching one another. But this never happens. 5 minutes later the place is empty. Look at me and walk. If you drop the metal bar, don t look at it. I ll kneel and grab it for you. Then continue to walk on this invisible line. If you see someone else from the group look at you, go to him and touch his hand. But don t look at his hand. Always look at each other. In the eye. Don t look at the audience, unless it s someone you recognize. If I didn t know you, I wouldn t even know what to do. Breathe. You share the same air. hier soir j ai été voir ma soeur en concert avec son orchestre j étais seule dans la salle. Seule avec ma soeur. Seule avec le choeur. The choir piece: Ich laufe mit einem unsichtbaren Tiger die 5th Avenue hoch, plötzlich sehen ihn auch die Menschen um uns, alle zusammen beginnen sie zu schreien. Il faudrait des voix, des voix qui se superposent les unes aux autres. Et un Âne, Anne. Transmission de pensée. Hologram on tour (excerpt) Their music forms hooks, which fasten to my limbs and draw me into every dark brick corner of the gallery. What s left is my consciousness, which is pulled by empathy into the twisted lyricism of her words. I m a character in the staggered narrative of the unfolding song. Down a darkened alley, the slow motion epilogue to a prolonged fistfight between two haggard nationalists, muffled murmur of knuckles sinking into flesh. A girl pukes in the entrance to McDonalds while the automatic sliding door, stuck on a crushed empty Happy Meal, endlessly repeats its opening-closing action. Three pre-pubescent boys sit on a bench, sharing an oversized can of polskie pivo. I walk faster so as not to miss the train, but my surroundings seem to be slowing down. I pass the darkened windowpane. I glance into the cracked glass and see nothing in it but the reflected glare of orange streetlamps. An inebriated howl closes in on me from behind. My tendency to «not-engage» is trampled by the realization that I am a part of it and always will be from now on. Jeanne Graff / Stefan Tcherepnin Alexander Baczy nski-jenkins *1987, PL / GB lives and works in London Dedication Schwester Schwester 2014 Thursday June 19, 2014 3 pm Theodorskirchplatz next to Wettsteinplatz Admission: free WEDNESDAY THURSDAY

Dedication Schwester Schwester and Frank? I ve never been to San Sebastian, Irun, Hendaye, Biarritz, Bayonne, I don t know how to pronounce the names she s a basic bitch but having a coke with you is definitely even more fun than going to all those places having a coke with you is even more fun than being sick to my stomach on meth in east block partly because partly because in your orange shirt you look like a better happier St. Sebastian partly because of my love for you partly because of your love for yoghurt partly because of southern hospitality partly because of your infectious smile partly because of the scar under your eye and your face the physical fact of your face, inches from mine Mark Doty and your face the physical fact of your face, inches from mine even in my dream I was shocked out of the narrative even in my sleep I was shocked out of the narrative I like that, the physical fact of your face the physical fact of your face «The poem is at last between two persons instead of two pages» Frank O Hara Alexander Baczy nski-jenkins, Dedication Schwester Schwester, Rehearsal, 2014 Alexander Baczy nski-jenkins makes choreographies. With a background in dance and performance, he appropriates and mutates everyday practices of desire, like cruising in a cinema or rollerblading. His work is inclined toward a sense of queer fantasy. Concept: Alexander Baczy nski-jenkins in collaboration with and performed by: Imma Mess, Karl Fagerlund sound produced in collaboration with: Lendl Barcelos, Samuel Hatchwell THURSDAY THURSDAY

Ligia Lewis *1983, DO lives and works in Berlin Sensation I 2014 Friday June 20, 2014 6 pm Volkshaus, Galerie Saal, Rebgasse 12 14 Admission: free Born in the Dominican Republic and raised in the US, Ligia Lewis lives and works in Berlin. Lewis draws upon theatre, dance and text constructing choreographic works that engage pop culture, affect and empathy. To this end she crafts nuanced embodiments giving form to enigmatic performances. Sensation I is a choreography built for a mouth rendered mute. An act of singing is then abstracted and set in motion. Lewis invites another body into the raptures of affect and embodiment using the iconic pop diva as a point of departure. Through duration and sustained climax, Sensation I potentiates the richness and expressivity of a body morphing through myriad images and references. The audience experiences the efforts and pleasures of a body amplified in silence. Concept: Ligia Lewis Performer: Martin Hansen Music: Whitney Houston, I will always love you (live performance at Divas Live, 1999) Singer Whitney Houston performs onstage at the 2009 American Music Awards at Nokia Theatre L.A. Live on November 22, 2009 in Los Angeles, California. FRIDAY FRIDAY

Lawrence Abu Hamdan *1985, JO lives and works in London Contra-Diction: Speech against itself 2014 Saturday June 21, 2014 3 pm Novartis Campus, Auditorium UG Visitor Center Entrance via main gate on Voltstrasse / Fabrikstrasse, ID or passport mandatory for entry, Admission: free, seats limited to 100 SATURDAY SATURDAY

Lawrence Abu Hamdan s work is one that deals with sound but probes explicitly into listening. It invariably concerns the relationship between listening, politics and the voice of the law. Abu Hamdan, who was born in Jordan and is currently completing his Ph.D. at Goldsmiths College in London, first explored the intersection of sound/music and politics as a musician in a DIY punk band. He went on to develop an investigative artistic practice that breaks down and thematizes the com plexity of listening almost in the manner of a documentary. Discourses on national identities, human rights and law-making regularly play a role in the artist s work, which embraces complex audio-visual installations as well as graphic design, sculpture and photography. His interrogation of the phenomenon of language, enacted in highly diverse ways, also translates into workshops and performances. As part of this year s Per formance Project, Lawrence Abu Hamdan is presenting his most recent work, a lectureperformance given for the first time this spring at the contemporary arts festival Meeting Points 7 in Beirut. Contra-Diction: Speech against itself (2014) is about speaking the truth and about the subtle changes in the voice, its cadence and stresses that accompany the speaking of a lie. Abu Hamdan looks specifically at lie detectors and at the speech acts of the Druze, a religious minority whose communities are spread across large parts of the Middle East and who cannot be assigned to any one nation such as Lebanon, Syria, Israel / Palestine, and Jordan. Abu Hamdan thereby explores the concept of taqqiya, the «permission» to conceal one s religion in dangerous situations. On the basis of taqqiya the Druze, too, keep their faith a secret. The artist speaks about stories coming out of northern Syria, where in December 2013 a sheikh is said to have forced a number of Druze villages to convert to Islam. The lectureperformance by Lawrence Abu Hamdan shows how language defines faith and how taqqiya, being simultaneously submissive and subversive, challenges us to rethink a mode of political listening in the context of speech acts that misfire. Michael Dean *1977, GB lives and works in London User 2014 Sunday June 22, 2014 3 pm Garden of Alemannengasse 44 Admission: free SATURDAY SUNDAY

«How inanimate that alphabet. With the policy of its use in its face. A demonstration of the letter for you. You user with your policies.» Michael Dean (Newcastle upon Tyne) Alongside his work in sculpture, a core element of Michael Dean s production is his work in text. Each of the British artist s sculptures evolve from intimate and observational texts that accompany and typographically envelop the sculpture and regularly assume a live dimension. Thick books of writings are found among the sculptures in his exhibitions, their texts partly representing the starting point of his work and partly inviting interrogation of the sculpture within something of a vocabularic, suggestive mechanism or framework. Texts in the shape of two fat diminishing paperbacks were also a feature of Dean s exhibition Government, held in 2012 at the Henry Moore Institute in Leeds. Visitors were invited to tear out and take away pages from these books. Each page thereby became a work to be worked on being read. Institute staff periodically read aloud the artist s working notes that led to the books. The text thus filled the space acoustically and materialized as a work on a par with the sculptural reiteration of the walls. For Dean, the spoken word placed in space has just as much expressive power and physical presence as his sculpture. For LISTE s Performance Project, Dean has developed a new text work that is being shown for the first time in the intimate setting of what was formerly a sculptor s studio in Basel. Courtesy the artist, Herald St, London, Supportico Lopez, Berlin and Mendes Wood DM, São Paulo SUNDAY SUNDAY

Graham Lambkin, Hangover Be Gone, Pen on paper, 2010 Graham Lambkin Track 1: Dumb Answer to Miracles (15 15 ) 2010 Track 2: Loops for a Great Vacation (10 40 ) 2009 In conjunction with LISTE Performance Project, Audio Visual Arts has contributed two exclusive tracks by British musician Graham Lambkin. A few words from Audio Visual Arts: You re at an art fair right now. Or you were there. It s a good one, LISTE. Those scenes are intense. I ve been there as a visitor and as a dealer. Kind of awesome, kind of not awesome at times. I always envy people I see walking through the fair with headphones on, zoned-out and just tripping on the work. I wish I could do that but it s tough when you have friends and cohorts that are participating in the fair. A billion 2 second conversations surface along the way; just part of the deal. But it is quite nice to roam a fair or a museum while listening to music. Audio Visual Arts has a focus on sound related work. At least it s what s always on the mind. The most recent show at Audio Visual Arts featured drawings by artist Graham Lambkin. Graham is often recognized more for his music, principally as a member of the crucial band «The Shadow Ring». I recommend lending them an ear. He s also a great writer, performer and draftsman, whose drawings are equally as complex, uncompromising, raw and fantastical as his music. There are two tracks, among many he created, that I think would be excellent headphone jams for LISTE. One was created to accompany a book of his drawings called Dripping Junk (2010) and the other can be found in a book of his writings called Dumb Answer to Miracles (2009). Unfortunately these books are no longer available but his music and his drawings are. You might consider acquiring some of his work. If interested, contact info@audiovisualarts.org and we ll make the connection. Thanks for listening and enjoy the mosey. Justin Luke Listen here: http://audiovisualarts.org/liste19_ AVA_GrahamLambkin.mp3 SOUNDTRACK SOUNDTRACK

Voltaplatz Fabrikstrasse N Voltastrasse Elsässerstrasse Mittlere Brücke Novartis Campus Wasserstr. Mülhauserstr. K Klybeckstrasse Greifengasse Rheingasse Rhein Münsterplatz Sperrstrasse Klingentalstrasse Claraplatz Clarastrasse V Rebgasse Rhein Dreirosenbrücke N Claragraben Lindenberg Novartis Campus N Basel Novartis, a Swiss pharmaceutical company, was created in 1996 through the merger of Ciba-Geigy and Sandoz. Novartis Campus, where the company has its Basel headquarters, is a place of innovation, knowledge and encounter. It comprises buildings by architects including Frank Gehry, SANAA and Peter Märkli and incorporates works by artists such as Jenny Holzer and Dan Graham. The Visitor Center is housed in the Märkli building, completed in 2006. The interior of the large auditorium was designed by Vitra. Hammerstrasse T Wettsteinbrücke Riehenring Riehenstrasse Wettsteinplatz Isteinerstr. Art Basel Alemannengasse Wettsteinallee L A Mattenstrasse Riehenstrasse N Peter Rot-Strasse Grenzacherstr. Fischerweg LISTE L Warteck PP (meaning Permanent Provisory), centre of LISTE. Warteck Brewery was founded in 1856 and moved to this location in 1872. Beer was produced here until 1989, when the brewery arm of the company was sold to Feldschlösschen in Rheinfelden, where Warteck beer is still made today. The former brewery is now a cultural centre hosting restaurants, clubs, exhibitions, concerts and studios for artists and craftsmen throughout the year. Garden of A Alemannengasse 44 The garden of a little house on Allemannengasse. This home of a sculptor who studied in Paris but returned to Basel, is a beautiful and mysterious location at the centre of town. Filled with stone sculptures in front of a semi-circular glass pavilion, this public garden is also quite private. Theodors kirchplatz T (near Wettsteinplatz) A popular hang-out for the youth of Basel and a skateboarding spot, Theodorskirchplatz square located between Basel orphanage and the 11th-century St Theodor s church. Kaserne K Basel Formerly a Swiss military barracks constructed in 1863 by architect Johann Jakob Stehlin, today Kaserne Basel is the largest centre in north-west Switzerland for the free contem porary theatre, dance and performance scene and for innovative popular music. Established in 1980 and extensively renovated in 2002, Kaserne Basel has hosted acclaimed national and international artists, choreographers, dancers and directors, including Samuel Beckett, Boris Charmatz and The Forsythe Company. Volkshaus V Basel The Galerie Saal in Basel s recently renovated Volkshaus originally housed the library. Built in 1925, the Volkshaus is a kind of community centre that brings together different generations for various celebrations and social events. The Galerie Saal has its own terrace looking out onto the courtyard shaded by trees. LOCATIONS LOCATIONS

LISTE Performance Project Monday June 16, 2014 8 pm, LISTE Terrace Orchestra with Calla Henkel, Max Pitegoff, Tobias Spichtig and Paolo Thorsen-Nagel Tuesday June 17, 2014 8 pm, Kaserne Basel Eleanor Bauer Midday and Eternity [the time piece] Wednesday June 18, 2014 4 pm, Volkshaus Basel Anne Imhof RGE II Thursday June 19, 2014 3 pm, Theodorskirchplatz Alexander Baczy nski-jenkins Dedication Schwester Schwester Friday June 20, 2014 6 pm, Volkshaus Basel Ligia Lewis Sensation I Saturday June 21, 2014 3 pm, Novartis Campus Lawrence Abu Hamdan Contra-Diction: Speech against itself Sunday June 22, 2014 3 pm, Alemannengasse 44 Michael Dean User