Art NOW lecture and workshop at University of Lethbridge
8 FEBRUARY 2019
Inviting Alternative Agencies
12 pm | February 8, 2019
University Recital Hall
Free admission, everyone welcome!
In a time of questioning anthropocentrism, how might artists step outside themselves and glimpse at the elements or context of their work from a different reality – be it that of a paper bag, a balloon, a horse, a germ, an alter ego, an art lecture, a stone, or a pile of compost? Part lecture, part performance, Andrea Spaziani offers a choreographic sharing on creative processes that invite encounters with things, ideas, or points of view that are incompatible with habitual perception or push familiarity to its limits. She will share her process for making shifts in knowing and being from closed, inscribed definitions to a flow of contingencies, tangents, and complexities. She does this to challenge barriers that take hold on processes of thinking. How does the artwork itself think, uncover its own expanded definitions, or produce a dialogue through a multiplicity of relations?
MENTORSHIP WITH MARIA JEREZ in MADRID, SPAIN
With support from the Ontario Arts Council, I spent 7 weeks in Madrid, Spain apprenticing with Maria Jerez.. I had the pleasure of investigating the difficult choreographic questions embedded in her creative process for ‘The Stain’. We talked about how to produce a ‘collage state’, how to transmit the gaze of the performer to that of the audience using a single light, what ‘MONDONGO STYLE’ means, and how to bring a strange miscellany of things and practices into one space. I also learned how to bake bread (masa madre and brioche) filled with strange things (a stone, a tree stump, a vase, a whole banana). During this time, she also presented ‘Yabba’ at Centro de Arte Dos de Mayo in Móstoles – an abstract piece that takes place under a beautiful abundance of fabrics. Where the body begins and ends is impossible to decipher. I got to look beneath the fabric as well, seeing a world of wires, keyboards, inflatable bags, breathing tubes, walkie talkies, tiny engines, objects on long sticks, duct tape, random stuff of all sorts, AND 4 people. What a world.
SMALL ARMS BUILDING RESIDENCY
I will begin my residency activities at the SMALL ARMS BUILDING in Mississauga, at the edge of the Queen West streetcar and Long Branch GO station. On Friday, September 21st it is World Peace Day, and I will be hosting a session of HANDWRITING THE CONSTITUTION: a project initiated by MORGAN O’HARA in New York City in response to the 2017 Presidential Election and Inauguration in the United States. The project has grown internationally, with collaborators hosting sessions in Italy, Portugal, Germany, and Taipei, among others, handwriting their respective constitutions or documents written to protect the basic human rights of all people. It is a meditative, convivial space for introspective activism. PLEASE JOIN US, ALL ARE WELCOME.
w/ Alicia Grant and Andrea Spaziani
Coming soon, with subtitles...
Our aim is embodying aggression: something we feel is prevalent, and is yet difficult to express from our imposed positions of polite complacency. We search for “appropriate” expression, like kids trying on their parents’ clothes. We use the personas we find in costumes, WWE wrestlers, poop jokes through a microphone, and we coach each other.
There are no immediate threats within the sanctum of the studio, but we have experienced threats, and we can also deliver them. It is threatening when people forced or assumed to be “nice” and “complacent” express aggression, or at the very least are not agreeable and smiling, because it is threatening to the status quo.
This self-made mockumentary camera work exposes the scaffoldings of our process, and creating a “penetrative enigma” through the mysterious/seductive editing process. The dancing itself becomes a ritualistic culling of energy, empowering ourselves to express. Can we have fun doing it?
RESEARCH: THE WEST
(full work coming spring 2019)
I learned to ride horses last year and was struck by their behavioural relationship to 'pressure'. Horses move away from pressure (physical, focal, social / herd) and I wanted to understand that how to respond to and manifest pressure in the studio. I invited atmospheric pressure, minute points of contact, balance, and a few physical fitness contraptions that I found. And a rope.
I also spent time watching Hollywood Western films, and realized that although I haven't seen many Westerns, I have absorbed their tropes, values, prejudices, heroic fantasies, victim fantasies, hierarchies, and their dominating, intimidating, and isolationist attitudes.
How does the west, as a place, a culture, a film genre, and a political landscape, perpetuate itself (consciously or not)?
I'm working my way through this muck of psycho-drama, here's some rough footage:
I'm proud to announce the premiere of my first work completed as Artist in Residence at Dancemakers. SILVER VENUS was made in collaboration with Nicole Rose Bond, Irvin Chow, Francesca Chudnoff, Alicia Grant, Julia Male, Claire Turner Reid, and Matt Smith. I feel very lucky to have worked with this abundant, energetic, and talented group.
Also, I'm publishing the choreographic score for SILVER VENUS and have had a great experience working with Gracia Gallo and Gabrielle Raill Design.
Hot off the press at the show! LINK TO FULL TEXT SCORE HERE
APRIL 26th-28th at 8pm
at the DANCEMAKERS CENTRE FOR CREATION
Tickets are priced at a sliding scale.
Seating is limited, reserve your tickets HERE
Back at it in the desert in Fort Davis, TX with our friends climbing mountains and sweating and singing and flouting and performing for the dead and dancing in historic homes. MAY 24th-30th 2018
DANCEMAKERS Local artist in residence
I'm working on a group piece with Nicole Rose-Bond, Irvin Chow, Alicia Grant, Julia Male, Matt Smith, and Claire Turner-Reid.
We are making a new VENUS. Our work-in-progress moment happened at the end of April, 2016 here.
April 17, 2017 at the historic Judson Church I'll be presenting some problems and questions. Stay tuned.
Multi-multi of all things pixelated, for time-based works on expanded definitions of space.
At the Transart Triennale on August 6th, 2016 at Uferstudios, Berlin (GE)
The website launch is almost here! On February 1st check out www.lonedancer.ca
Come party at HUB 14
February 1st, 2014, worldwide people
An online choreographic initiative in the form of an invitation to dance once a day, for any length of time, in any capacity, any location, privately or publicly, for a minimum of 1 month. Video submissions and responses posted on lonedancer.ca It is an invitation to experience a dance that exists outside judgement.
the moment before
July 3-5 and July 10-12 @ 8pm, 2013
Toronto Dance Community Love-In presents 6 evenings of experimental contemporary dance works by local, national and international artists. Bringing you a series of double bill performances and discussions for two weeks of mover, thinker mayhem.
Collective Space, 221 Sterling Rd, Unit 5. (Sterling Lofts)
Tickets: Single night tickets $15. Festival pass $75. Available at the door or for purchase online here:
In a limbo of anticipation, we prepare like it’s possible to feel prepared.
We are all intention and no delivery.
We are performance with an identity crisis.
We are afraid of being caught with nothing to show.
We are promo for the most fantastic virtuosic stuff you wont see.
We eat pressure, practice too much, and attempt to re-create the magic from last time.
It was so good last time.
Choreography by Andrea Spaziani, Created and Performed by Andrea Spaziani and Amanda Acorn, Sound Design by Christopher Willes, Lighting design by Simon Rossiter, Premiere: TWObyFOUR Festival of Duets, Dancemakers Centre for Creation, Toronto, January 2012
February 21st to March 10th, 2013, In conjunction with Hub 14’s Incubator Residency, Andrea Spaziani's new work with collaborators Amanda Acorn, Alicia Grant, Mike Hughes, Brendan Jensen, Julia Male and Christopher Willes.
meet/meant/mtng/mning considers how we can say just enough, and where/when/how we come together and understand, or not. It is a series of interpretations of utterances, cues, and misappropriations. We will observe the language of making, surrender to horrible descriptive summaries, and never really know what we’re saying except for how we’re saying it. We will engage in pulsion, neotypisms, silent and invisible P’s, and be joyously thankful our bodies can do stuff too. There will be andd audio guide of sorts.