Jan 26 2019
OFFSHORE IN NEW YORK | With Yael Davids, Hendrik Folkerts and Dotan Leshem | ON DEREGULATION AND SCORING
Sat | 2-5PM
On the occasion of Cally Spooner’s solo exhibition SWEAT SHAME ETC., please join us for the second event of a two-week practical philosophy school for embodied knowledge titled OFFSHORE IN NEW YORK.
OFFSHORE is an itinerant performance company and pedagogical structure initiated by Cally Spooner in 2017. It is currently located in SI’s Reading Room.
Through a number of lectures, conversations, reading groups, screenings, and an ongoing rehearsal for a new performance work by Spooner, OFFSHORE IN NEW YORK asks the question: “how might we tell the difference between what is alive and what is dead in the machinery that is advanced techno-capitalism and neoliberalism?”
OFFSHORE IN NEW YORK’s second event, ON DEREGULATION AND SCORING , examines the potentials of the format of the ‘open score’ as way to think more broadly about standards, regulations and shared societal codes.
2PM: Visual artist Yael Davids will perform a part of the score of her work A Reading That Loves–A Physical Act (2017, first staged at documenta 14 in Kassel), a narration of numerous relationships between language and movements of the body.
3PM: Curator Hendrik Folkerts will present CALL FOR ASSEMBLY, a lecture on scores and modes of scoring, and how this relates to social and emotional labor, performance practices, notions of collectivity and assembly, and shared spaces. Citing composers such as Jose Maceda, Yani Christou and Pauline Oliveros, Folkerts will consider scoring at the level of social regulation.
4PM: Independent scholar and political activist Dotan Leshem will present a talk on the relations between economics, neoliberalism and the loss of a shared public sphere. This will be followed by a conversation with Cally Spooner.
Throughout the day, Cally Spooner will present a choreographic performance and a reading from her most recent score, including Dead Time. With dancers Maggie Segale and Ashton Muniz.
Cally Spooner’s performances, rehearsed and developed during this program, will contribute to DEAD TIME (a crime novel), Spooner’s new installation at The Art Institute of Chicago, April 22 – 28, 2019.
Please RSVP to firstname.lastname@example.org. Please note: events at Swiss Institute are limited capacity, and entry is on a first-come, first-served basis.
Yael Davids lives and works in Amsterdam. She studied Fine Arts at the Gerrit Rietveld Academie, Sculpture at the Pratt Institute, New York and Choreography and Dance Pedagogy at the Remscheid Academie. Her works are predominantly performance-based, sometimes involving herself as performer at other times working with groups. She has exhibited her work at documenta 14, Kassel/Athens (2017); Hamburger Bahnhof, Hamburg (2013); Universidad di Tella, Buenos Aires, Argentina (2013); M – Museum, Leuven (2012); and Kunsthalle Basel (2011).
Hendrik Folkerts is the Dittmer Curator of Contemporary Art at the Art Institute of Chicago. Recent and forthcoming exhibitions include I strongly believe in our right to be frivolous of the work of Lebanese artist Mounira Al Solh (February 8 – April 29, 2018) and iterations (2019-2021), a series of performance commissions that presents new works by Alexandra Bachzetsis, Math Bass, Cevdet Erek, Ralph Lemon, Paulina Olowska and Cally Spooner. Previously, Folkerts was Curator of Performance, Film, and Discursive Programs at the Stedelijk Museum in Amsterdam from 2010 until 2015. From 2009 to 2011, Folkerts was coordinator of the Curatorial Program at de Appel Arts Centre in Amsterdam. His texts have been published in journals and magazines such as South as a State of Mind, Mousse Magazine, Artforum International, The Exhibitionist, Metropolis M, Art & the Public Sphere as well as various catalogues and artist publications.
Dotan Leshem is an independent scholar and a political activist based in New York City. Leshem is a historian of systems of economic and political thought. His articles appeared in journals of history of economic thought, history of the humanities, critical studies, political theory, theology, economics and comparative literature. His article “Oikonomia Redefined” was awarded best article of 2014 by the History of Economics Society. Leshem’s book The Origins of Neoliberalism: Modeling The Economy from Jesus to Foucault was published by Columbia University Press in June 2016.
Ashton Muñiz is an actor, artist, and activist based in NYC. Select recent acting credits include Taylor Mac’s 24-Decade History of Popular Music, The Kimmel Center/St. Ann’s Warehouse/Pomegranate Arts; Esai’s Table, Cherry Lane. Recently, Ashton has collaborated with various artists and featured in their works at the New Museum/Centre national de la danse for Cally Spooner; Performa for Nicholas Hlobo. Additionally, Ashton has danced for various musicians including A$AP Rocky, Rihanna and Gypija Q.
Magdalyn Segale is a dancer and multi-media performance choreographer. She is a graduate of The Juilliard School (Bachelor of Fine Arts, 2014). Maggie has directed for the Center for Innovation in the Arts and Judson Memorial Church. She works regularly with Cally Spooner, for whose projects she has performed, taught and collaborated internationally. Maggie is a teaching artist at Nord Anglia International Schools and is also a member of Helen Simoneau Danse and The Bang Group, both based in NYC.
Cally Spooner is an artist based in Athens. Recent solo shows include Everything Might Spill at Castello di Rivoli, Turin (2018); DRAG DRAG SOLO at the Centre d’Art Contemporain Genève, Geneva (2018); Soundtrack for a Troubled Time and Notes on Humiliation at Whitechapel Gallery, London (2017); And you were wonderful, on stage at Stedelijk Museum Amsterdam (2016). Spooner’s work was included in recent group exhibitions at NTU Centre for Contemporary Art Singapore, Singapore (2018); V-A-C Foundation, Moscow (2018); FRONT International: Cleveland Triennial for Contemporary Art, Cleveland (2018) The Serpentine Galleries, London (2017); Kunsthaus Zürich, Zürich (2017); Scottish National Gallery of Modern Art, Edinburgh (2016).
OFFSHORE is an itinerant performance company, a laboratory and a pedagogical structure, initiated by Cally Spooner in 2017. Through workshops, rehearsals and temporary schools, OFFSHORE develops real-time exercises, drafting new vocabulary and terms for organizing, working and performing. OFFSHORE enables a number of persons, some of whom have met before, and some of whom have not met, to maintain a state of rehearsal, over a number of days, in public. OFFSHORE has gathered sporadically over the past year at: NTU CCA Singapore, Singapore; Stanley Picker Gallery, Kingston in collaboration with CREMP (Centre for Research in European Modern Philosophy); Playground Festival (STUK Kunstencentrum & M-Museum, Leuven); Bilbao BAD Festival, La Fundición, Bilbao; Serpentine Gallery, London; Whitechapel Gallery, London; and Centre for National Dance, Paris. OFFSHORE has been developed and continues to be supported by a Stanley Picker Fellowship at Kingston University, UK. OFFSHORE was initiated through a commission from Corpus, an international network for commissioning performance-related work, co-funded by the Creative Europe programme of the European Union. A funded exhibition and event opportunity at REDCAT, Los Angeles first set the stage for testing ideas.