26 April 2018 to 29 April 2018
26 April 2018 to 29 April 2018
 

Producing in the margins

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Let’s shift our focus away from the famed cultural capitals, such as Berlin, Paris, Rome and London, and gaze at the hubs of vibrant art on the outskirts of Europe. How is performing art inspired, produced and experienced on the peripheries of mainland Europe? What challenges and opportunities does geographical remoteness bring? What is the role of networks, like ours, for the “peripheral” arts communities? This session will showcase some examples from Portugal, Slovenia, Norway and Lithuania, and offer ample space for speed-dating among the participants.

Session co-organised by IETM and Nordic Circle of Artistic Management.

This venue is fully accessible for wheelchair users.

Moderators
Speakers
Reitoria da Universidade do Porto - Sala do Fundo Antigo
Praça de Gomes Teixeira
4099-002
Porto
Portugal
27 April, 2018 - 15:45 to 18:00

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image of Maiken GARDER

Working in the periphery may seen far away for most people, but the work being produced here is of great artistic quality. Take a look at this inspirational video from Dansearena nord to get to know more about the environment in which our artists in residence work!

Posted 7 months 3 days ago
image of Tamara BRAČIČ VIDMAR

This is a short video of a gathering, which we called a Balkan Express - Flanders Caravan meeting, organised by Balkan Express network, Bunker Ljubljana and the Flanders Arts Institute with a wish to organise a pleasant and interesting platform for artists and cultural operators from various Balkan countries and the Flanders can meet. We discussed the differences in our arts production, creation of artistic works, the themes artists get involved with and then explore in their works... It was inspirational for all the people included.

Posted 6 months 1 week ago
image of Tamara BRAČIČ VIDMAR

Projects that were born through collaboration among artists from countries on the "periphery" of Europe were extremely inspirational for us. Many were initiated through Balkan Express network and its partners... Here is a link to the BE blog and some interesting events we created together in the past years ...

Posted 6 months 1 week ago
image of Ophélie ALEGRE

Here is an inspiring project that focused on art production in the margins between 2010 and 2017: CORNERS, a platform for artists and audiences, designed and driven by cultural organisations at the edges of Europe.

Posted 6 months 4 days ago
image of Ophélie ALEGRE

The story of CORNERS, chapter 1: values.

Posted 6 months 4 days ago
image of Ophélie ALEGRE

The story of CORNERS, chapter 2: facts and numbers.

Posted 6 months 4 days ago
image of Ophélie ALEGRE

The story of CORNERS, chapter 3: research and development.

Posted 6 months 4 days ago
image of Ophélie ALEGRE

The story of CORNERS, chapter 4: co-creations.

Posted 6 months 4 days ago
image of Ophélie ALEGRE

The story of CORNERS, chapter 5: participation.

Posted 6 months 4 days ago
image of Goda GIEDRAITYTE

Please take a look at the amazing project keðja – a platform for the Nordic-Baltic contemporary dance community, which has been running since 2008 to 2015 and had made an impact on development of new projects and/or networks within the Nordic-Baltic area.
keðja 2012-2015 - was selected by the European Commission as a success story because it was judged as having a strong fit with the aims and objectives of the grants, including in relation to policy relevance, impact, transferability, innovation and sustainability and / or the communication of project results.
Evaluation of the project can be found here: https://issuu.com/kedja/docs/dansehallerne_kedjaevaluationreport

Posted 6 months 3 days ago
image of Ophélie ALEGRE

About the role of our networks: apap - advancing performing arts project - is an international network of 11 cultural organisations located all over Europe, both in centers and peripheries. Teatro Nacional D.Maria II is a partner, represented in our session by its artistic director Tiago Rodrigues. From his experience, Tiago will tell us about how geography, organisation scale and local cultural policies shape both our challenges and our opportunities when producing in the margins.

Posted 6 months 2 days ago
image of João GARCIA MIGUEL

I will try to write some lines that speak about the artist and the margins, the programmer artist and what is to program in the margin and in the margins, of my experience and the route of some Portuguese artists who have crossed between margins.

TEXT 1

Producing in the Margins | Impossible drawing of an artist on the margins

Will and Wave — How greedily this wave approaches, as if it were after something! How it crawls with terrifying haste into the inmost nooks of this labyrinthine cliff! It seems that it is trying to anticipate someone; it seems that something of value, high value, must be hidden there. And now it comes back, a little more slowly but still quite white with excitement; is it disappointed? Has it found what it looked for? Does it pretend to be disappointed? But already another wave is approaching, still more greedily and savagely than the first, and its soul, too, seems to be full of secrets and the lust to dig up treasures. Thus live waves — thus live we who will — more I shall not say.
Friedrich Nietzsche, The Gay Science, § 310.

The role of the artist in this new century emerges from the need for convergences and intersections between different and distinct territories that constantly redraw their borders and that determine the renewal of their mapping. In most cases the will of artists who live and work on the margins is to make things happen. Secrets. Like overlapping waves furious and gentle. The very attempt to make it happen is itself a germ that modifies and alters the environment in social terms. On these shifting banks comes the uncertain and the indefinite. It is in the existential design of this indefinite that the desire to advance towards the center rises. Like the waves and the secret will that animates them. As Nietzsche's opening quotation tells us, the movements of will and desire of an artist are similar to waves.

Artists who live and produce on the margins repeatedly make this move to meet something that sustains them. This outward movement has an inner echo that resembles it. There are clear exceptions. There are artists who realize that their place will be eternally positioned on the margins and make it their own matter. The curious thing is that the artist's deepest role is this: to move the waters that daily change the margins in a gesture that is also an approach to the center. This movement toward the shores can come from the sea like the waves against the cliffs or be like running rivers that drag on sands that will remake the banks. The arts have always been associated with a role of opening unknown paths or occupying vacant lands. And the artists who work and produce on the margins succeed as much to create a movement towards the center as its reverse widening the distance that separates it.

To the artists who produce on the margins through the real shared, artistic systems that break out and rip paths to parallel worlds. For this reason, its actions are carried out in multiple directions. It is this wandering between various places and forms of expression that characterize it. Between ignorance and the constant thirst for knowledge, between the unjustified worries and the anguish of an explorer, between openness to difference and plurality of existential and artistic expressions and the inflammation of the ego - everything can be expected and expected of an artist. It is this pure love for the invention of the game and the rules that builds and defines it. In this game the body of the artist is a river, or a sea and the real that surrounds him are the banks.

An artist who lives and produces on the margins must seek to combine the performance dedicated to creation and artistic mastery, a continuous investment in a social and political aspect that connects and impels to build renewed mediations between the individual and the collective. To do this, it exalts the sensitivity of listening and valuing others inside and outside of themselves. The body is the center of a language in constant reconstruction moving hierarchies and different geometries of leadership. For this, the exercise of dialogue is an essential instrument. Be with others or with yourself. The artist who produces at the margins (which can be compared at times to a marginal) needs to constitute a wide network of contacts that give him access to structured information sources, either through the formation of contact groups of proximity — regular or eventual collaborators, programming networks — or networks of thematic and / or artistic affinities. In this way the role of an artist who lives on the shores is shifting to that of an Artistic Programmer accumulating functions little by little. This is one of the conditions of its intrinsic survival. It is an invisible drawing of your doing and your knowing. Their specialization spreads, is diluted; is many things. It needs to be flexible and unfold to move between webs of commitments with various institutions and other artists with the aim of continually extending and renewing the landscapes invoked. By entering these processes the geometry of the interior is changed. The strange and unfamiliar languages they use simultaneously reflect the worlds that do not support their path and the forces with which they struggle within themselves.

Posted 6 months 2 days ago
image of João GARCIA MIGUEL

TEXT 2

After April 25, 1974, which is a remarkable date for all of us, there was a great increase of creative activities in the plastic arts of the musical and performative events. Conditioned, at the time, by the lack of structures that welcomed and spread the work of new and emerging artists and the new forms that the artistic activities at the time required, we developed capacities of organization and search of forms of financing. There was at the time an effervescent motivation between the subtle desire for change and the publicly expressed strategic need for the creation of an alternative paradigm that gave performative substance to a Portuguese body, the image of a modern country, appealing to development of an contemporaneous imaginary that previously was inert or almost dead by the political constraints. The challenges of a European community that invaded the territory from all frontiers were tied to the promises of a new world, the demands of autonomy and contemporary projects, and thus impelled us to action. It is important to underline the mistrust that existed in Portugal and in Europe with these discourses of a new man and their results in the design of the European and world political geography of the time.

To make and to make happen were a challenge to the existence that implied us to idealize and to program venues and artistic projects, to look for places and means of production for our activities. There was in the spectators a sense of defiance and courage. They too wanted to see and live unusual things and were open and available to take risks. This search for alternative spaces managed by companies and independent artists took a first model that was adopted by the first companies that were called "convencionadas". There was a regime agreement that being those that arrived first and took position soon after April 25 had continued and substantial rights and support. It allowed them to live a period between the early nineties and the early 2000s with some stability. Companies that came in the late 1980s and early 1990s have already found a different situation. I believe that we can still define another group that are the companies that have emerged in the late 1990s and which continue until now. And now more recently it appears, a plethora of groups and formations of actors, who leave theater schools, and who have even less space for public and political affirmation at the beginning of their professional lives. We are mildly considering four generations of artists, ranging from 1974 to present, which define different types of performance and imply the resurgence of this figure of programmer artist that produces in the margins.

The first companies that emerged shortly after April 25 were: the Cornucopia, the Bando, the Almada Theater Company, the Open Theater, the Commune, the Cascais Experimental Theater, among others were the so-called contracted companies. They had a leader who was the director of the company socially and politically recognized. They had spaces and associated production and artistic structures. The companies that follow are already a cross between genres and disciplines. The Eye appears, which occupied the Warehouse Lémauto first and then the Ginjal in Cacilhas of João Garcia Miguel, the Sensurround of the Lúcia Sigalho that constructed a space that was called Warehouse of the first Iron and House of Days of Water later, to House Convenient of Mónica Calle that also had a space of the same name, the Utero of Miguel Moreira who resided in Ginjal, the POGO Theater of Ruy Otero and Francisco Luís Parreira and a large group of dance companies that identify with a time that begins in the beginning of the 90s. They are: Vera Mantero and Rumo do Fumo, the Paulo Ribeiro Company that will work for Viseu, Clara Andermatt, Francisco Camacho with Eira, João Fiadeiro with Atelier Real. There are many other artists who have important groups at that time and Almada is one of the most representative centers of this movement that has spread to Porto where the Visões Úteis, Teatro Bruto (already gone), are distinguished. The Porto movement is very strong and important and counts on the ACE - Contemporary Academy of the Spectacle and the ESMAE that are giving training to a wide range of artists. This movement of Porto has an epicenter in the figure of the director of the TNSJ of the time, the director Ricardo Pais. He joins another younger director who is Nuno Cardoso who now directs the group Ao Cabo Teatro and that at the time was director of the Carlos Alberto Theater that hosted many of the artists that produced in the margins.

Posted 5 months 4 weeks ago
image of João GARCIA MIGUEL

TEXT 3

In general I believe that these artists were characterized by the desire to create and artistically realize objects and events that identified them with the time and the world in which they set out to live. Portugal and its way of being in the world and in Europe in particular were a motto that permeated all these times and creators. It was a time in Portugal between the late 1980s and the early 1990s that artists needed to reinvent the management of their living space. The reinventing of perspectives: of things and of the world, gave rise to the simultaneous emergence in Portugal of a hybrid image of a creative artist who is also an artistic director, or programmer and cultural producer of his own projects and events. Another good example is that of Rui Horta who, in the early 2000s, returns to Portugal from his long stay in Germany, founding the Space of Time in Montemor-o-novo. Almost immediately afterwards the Ginjal in Cacilhas will disappear, which was a reference space in Lisbon and where several festivals, artistic residences and co-productions of some of the most representative shows of the time took place. The third generation of creators had appeared in the late 1990s with the Teatro Praga, Jorge Andrade's and Juan Capela's Suave, the Perfect World of Tiago Rodrigues, the Theater of the Dress by Joana Craveiro, Cláudia Dias and Tiago Guedes in linked dance first to the Atelier Real and then in his own name. These references are always limited because there were movements of hatching of groups and artists in this era that were extensive.

What characterizes these creative artists and programmers in general is a production force that is based on the constant connection with venues that have the means and allow them to find support for their works and creations. They have great mobility, good organization and management. Their eyes are on internationalization and national roaming. They are able to accept a dialogue with other agents and adapt to the circumstances of production. From the late 1990s onwards, a network of municipal theaters began to be developed, extending to the decade of 2010 and allowing some extension to the circulation of works in the national territory. This network was not accompanied by proper financial structuring by the local authorities. Neither on the part of the central government of a policy of exigency that forced the creation of artistic teams and techniques that allowed the regular operation of the space. The goal of opening up the cultural space and democratizing access to the arts throughout Portugal remains to be achieved. On the part of the artists, many approaches were made to the interaction requests of programmers and political agents. This is an aspect that should be evaluated in future investigations. I am referring to the adaptation of the creation to models of circulation, which in a certain way normalize it and at the same time allow them to prolong the times of active existence.

Posted 5 months 4 weeks ago