Programa completo: AQUI.
Alguns destaques a não perder:
25 OCTOBER, wednesday
RECORDING AND ORCHESTRATING ISOU & LETTRIST POETRY-MUSIC. Plenary Session with Frédéric Acquaviva (La Plaque Tournante, FR). Chair: Anabela Duarte (Universidade de Lisboa, PT)
Abstract: I discovered Lettrism in the nineties when I read Isou’s “Œuvres de Spectacles”. At the moment that everyone was hypnotized by Debord’s “Society of Spectacle”, I soon became aware that Isou claimed he was the best composer of all time. Being myself a composer, I thought I should meet him to listen to his proposals or, in case they weren’t recorded yet – and they weren’t – help him to record them. I saw him during the last ten years of his life and produced a few musical works with him. Then I met Maurice Lemaître, discovered Gil J. Wolman’s works and also became friends with some enemies of Lettrism, like Henri Chopin or Bernard Heidsieck, as well as with some members of the Lettrist movement. In this lecture, I would like to present the works I did to help them disseminate their musical ideas in a very hostile world, as well as present some other historical recordings.
AVANT-GARDES REVISITED I panel sessions. Chair: Manuel Portela (Universidade de Coimbra, PT). Generators Room
DADAIST MUSIC AND STRATEGIES OF ANTI-ART
Paul Ingram (University of London, UK)
Abstract: This paper explores Dadaist music, in relation to different strategies of anti-art, which can be summarized as follows: the incorporation of non-canonical elements, such as the popular and the “primitive”; the destruction of established forms of expression, principally through bruitism; and the disruption of dominant modes of attention, in provocative performances which rely heavily upon shock. The relative effectiveness of these approaches is assessed, with a distinction made between the violation of the norms of the bourgeois institution of art as currently constituted, and the negation of the aesthetic as such. I conclude that the former ultimately seeks to expand the definition of art, whereas the latter attempts to bring about its destruction.
“All Poets are Yids!”: A Beginners’s Guide to Isidore Isou
Plenary Session with Andrew Hussey (University of London, UK). Chair: Teresa Cid (University of Lisbon, ULICES, PT). Generators Room
Abstract: Isidore Isou once said that he was not and never would be a French writer. He was in fact the direct opposite; a writer in French whose aim was to undermine the linguistic and cultural system within which he was operating. Someone else who made the same kind of choice was Paul Celan, who came from the same part of Romania as Isou, who lived through the Holocaust, and eventually came to France, where he chose to write poetry in German. Celan was in torment about this fact; he wrote in German but was not German, he was a Jew. He prefaced one of his last poems with an epigraph in Cyrillic which read ‘All Poets are Yids’ – meaning all poetry, all culture now had to be made from the Other, the outside. In this paper I present an introduction to Isidore Isou and lettrisme in the light of these ideas.
CONCERT BY FRÉDÉRIC ACQUAVIVA AND LORÉ LIXENBERG. Generators Room
Isidore Isou “Symphony #4”: Juvenal
ISIDORE ISOU RECITAL (1947-1984), 30’
MESS (2015-2017), 26’
26 OCTOBER thursday
University of Lisbon – Faculty of Letters
POLITICS AND AESTHETICS OF INVISIBILITY I panel sessions. Chair: Anabela Duarte (Universidade de Lisboa, ULICES, PT). Amphitheater III
1,000 INVISIBLE THINGS
Gabrielle Senza (Transart Institute, UK)
Abstract: We rely on unseen elements in our everyday world to give us strength, hope and even life itself. How does that which is invisible influence our lives? Is there a difference among cultures in how invisibility is experienced or perhaps even desired? This multimedia performance lecture presents aspects of the artist’s ongoing investigation into perception, identity, and visibility. Researching the space between seeing and not seeing, knowing and not knowing, memory, imagination, oppression and abandon, her creative practice explores these territories through sound, movement, spoken word, video and song.
INTERPLAY OF THE VISIBLE AND THE INVISIBLE: THE RADICAL SUBJECTIVITY OF THE ZAPATISTAS
Tijen Tunali (University of Tours François Rabelais, FR)
Abstract: The Zapatistas in Chiapas-Mexico are one of the social movements that have created an alternative practice of being a political subject. They mask themselves to be seen and to represent all those unseen. This paradox of being visible without being seen is a critique of the current representation system, but it also allows for the creation of a collective subjectivity where the individual subject, the “I,” dissolves into a plural third-person subjectivity: the “we.” The Zapatista aesthetics arise from an amalgamation of autonomist Marxism and Mayan way of life, making it hard to be framed by political philosophy. This paper analyzes the images of masked Zapatistas across the social media. It also discusses the Zapatista aesthetics with examples of poetry, dance and murals of Zapatistas to understand their unique representation of language, visual symbols, humor and stories as well as their influence on the counterculture and the anti-globalization movement.
A Culture of Protest: Between Avant-Garde and Activism, 1947-1977. Plenary Session with Kevin Repp (Yale University, USA). Chair: Andrew Hussey (University of London, SAS, GB). Amphitheater III
Abstract: Based on the collections of postwar avant-garde and counterculture at Beinecke Rare Book & Manuscript Library, this presentation sketches out a history that has yet to be written. Three events in Paris in the year 1947 provide the point of departure: 1) the rise of Lettrism in the jazz cellars of Saint-Germain-des-Prés; 2) Revolutionary Surrealism’s challenge to the return of André Breton from exile in America; and 3) Antonin Artaud’s legendary meltdown at the Vieux Columbier Theater. Combining word and image into a rapid-fire survey, this brief and necessarily incomplete narrative traces the repercussions of the “annis terribilis” 1947 through movements such as Cobra, the Movement for an Imaginist Bauhaus, the Lettrist and Situationist Internationals, the Provo and Happening movements, performance art and experimental poetry, and concludes by considering Italy’s Movement ’77 in Italy in relation to the the birth of punk and hip-hop in 1977.
AVANT- GARDES REVISITED III panel sessions. Chair: Sandra Vieira Jurgens (Universidade Nova de Lisboa, IHA, PT). Amphitheater III
POP AVANT-GARDE IN CHINESE ART IN THE POST-TIAN’ANMEN ERA
Maciej Szatkowski (Nicolaus Copernicus University, PO)
Abstract: After Mao Zedong’s death in the late 1970s, the spirit of avant-garde and experiment began to revive in China. It is not easy to tell when the Chinese avant-garde was born. The beginning can be dated on 1919 and The May 4th Movement (modernizing Chinese culture), when new Western trends appeared in China. One can acknowledge the time of ‘cultural fever’ (a cultural tendency in China in the mid 1980s) as the real birth of Chinese avant-garde that was later violently terminated after students’ Tian’anmen Protests of 1989. After the so called Tian’anmen Incident the artists tried to express (or repress) their trauma in many ways, mostly making use of the aesthetics of experimental art. In the new century Chinese art, like most of the aspects of life, experienced rapid socioeconomic transformations and tried to adjust to the new reality – so called pop avant-garde was born.
EARLY AVANT-GARDE: EXCEEDING NATIONAL, LINGUISTIC AND STYLISTIC BOUNDARIES
Michal Wenderski (Adam Mickiewicz University, PO)
Abstract: This paper explores the nature of international relationships within the interwar avant-garde network exemplified by a look at two apparently distant areas, namely Poland and the Low Countries. The representatives of these two areas, besides their ties to French or German formations, also engaged in direct cooperation with one another, which had a great impact on their activities and therefore on the development of the avant-garde as such. Polish, Dutch and Belgian artists – belonging to a non-hierarchical, rhizomatic and supranational network – were vividly interested in each other’s artistic endeavours and novelties, they exchanged artworks, viewpoints, theories and texts with one another. This intense exchange left many tangible traces that will be presented and discussed in this paper in order to shed some new light on the history of the early European avant-garde and to revise some commonly applied historiographical assumptions and paradigms which still overshadow its proper understanding.
GOTHIC AS THE FIRST AVANT-GARDE ART
Maria Antónia Lima (University of Évora, PT)
Abstract: If vanguard means an anti-conventional passion for change and renewal in every art form, the Gothic can be considered the first avant-garde art in the modern sense of the term. Across its history, the Gothic has been an anti-realistic protest, a rebellion of the imagination, an aesthetic of excess. It has deeply developed an anti-conventional vision of reality and defended many forms of transgression of aesthetic conventions and the inversion of accepted categories, searching for the Dionisiac force in the dark underground river beneath the surface of human life. There is a thread of dark imagery or ideas that runs through much contemporary art. Some contemporary artists like Mike Kelley, Damien Hirst, Tracey Emin or Douglas Gordon produce their art works not only as expressions of profound transformations in art practices, but also as manifestations of contemporary fears. Some of the most innovative works of contemporary art are often gothic art.
TRANSATLANTIC AVANT-GARDES AND COUNTERCULTURE II panel sessions. Chair: Ana Mendes (University of Lisbon, ULICES, PT). Room 5.2
EXPERIMENTS IN COMMUNITY AND ART: FROM BLACK MOUNTAIN COLLEGE TO THE GATE HILL COOPERATIVE
Mark Davenport (Regis University, USA)
Abstract: This presentation focuses on the largely untold story of the Gate Hill Cooperative, an intentional community founded in 1954, 30 miles north of Manhattan, by some of the most creative figures of the twentieth century. All of the founding members were faculty or students at the experimental Black Mountain College during the 1940s and early 50s, including the composers John Cage and David Tudor, the dancer Merce Cunningham, the writer and poet M.C. Richards, the potters David Weinrib and Karen Karnes, the multi-media filmmaker Stan VanDerBeek, the early music pioneers Patsy Lynch and LaNoue Davenport, the children’s author and activist Vera B. Williams, and the unheralded visionary and philanthropist Paul Williams. Drawing on extensive research, source material and interviews, and illustrated through an exclusive collection of archival photographs, this presentation demonstrates how, for many of these artists, that period (1954-1971) stands among the most productive and innovative of their careers.
27 OCTOBER friday
THE PARADIGM OF YOUTH: THE LETTRIST CONTRIBUTION TO A NEW AGE OF PROTEST (1946-1968). Plenary Session with Sylvain Monségu (Les Cahiers de l’Externité, FR). Chair: José Miranda Justo (University of Lisbon, CFUL, PT). Amphitheater III
Abstract: Lettrism was more than an Avant-Garde group that decided to overcome the failure of some of their most radical predecessors (dada and surrealism), offering new aesthetic horizons based on letters “between poetry and paintings”; bringing in his numerous manifestos the project to revolutionize each area of the modern culture, in the mid of the twentieth century Isidore Isou met some angry young outsiders in Paris and created a group who experimented and announced the breaking point of may 68. Their action verifies the validity of Isou’s political concepts, formalized in his huge theoretical sum “Uprising of the Youth”- young people without any right represent the only real opposition to society, ready to join every subversive movement to improve their social situation. Lettrism represents de facto a necessary key to understand all the disorders witch marked two decades high in artistic and political dissents and their prolific counter-culture.
NEW POETIC LANGUAGES, CINEMA AND TECHNOLOGY panel sessions. Chair: Fernando Fadigas (University of Lisbon, FBAUL, PT). Amphitheater III
ON ANTIVIRAL MUSIC
Eric Lyon (Virginia Tech, USA)
Abstract: With the annihilation of personal privacy in modern society through corporate/state partnerships, a radically private art may be a spiritual necessity of the 21st century. Antiviral music is posited as this kind of early 21st century art form. In search of antiviral music, we look for internet-accessible music that has largely averted the gaze of the attention economy as indicated by low numbers of views or hits, and which possesses a latent strangeness that is redeemable as artistic experience. In this paper, we develop a working definition of antiviral music, consider the ethics of searching for a music that may wish to stay hidden, consider pre-digital precedents to antiviral music, query the instability of antiviral music (which could potentially turn viral), discuss specific examples of antiviral music, and identify established areas of the musical avant-garde that may be destabilized by the presence of antiviral music.
ACASO: A ORIGEM DA OBRA DE JOHN CAGE
Ana Luísa Valdeira (Universidade de Lisboa, CEAUL, PT)
Resumo: Como começar uma obra de arte? É este o grande momento da escolha para qualquer artista: ter um infinito de possibilidades para compor tudo, de todas as maneiras, em todas as direcções e escolher um só caminho. Perdido muitas vezes na vastidão de possibilidades, o artista restringe as suas escolhas e, entre tantas opções, espartilha a sua obra a partir de uma qualquer regra que o ajude a tomar decisões. John Cage também escolheu uma regra, mas escolheu uma que lhe permitiu, por estranho que pareça, não ser ele a decidir. A partir dos anos 50, Cage escolheu o acaso. Escolheu como regra a indecisão. Escolheu não escolher. Mas o que dizer de uma obra de arte cujos elementos não são o resultado da escolha do seu autor, mas são antes submetidos ao acaso? Que razões tem Cage para adoptar o acaso na construção das suas composições? E como é que permitia que o acaso interferisse na sua obra? Ou, por outras palavras, em que é que consistia exactamente o seu método?
ARES DE FLAMENCO NA INTERNACIONAL LETRISTA
Benito Barja (University Paris-Sorbonne, FR)
Resumo: O flamenco é um mundo onde a arte não se separa da vida, é uma arte de viver. Esse paralelismo vital com o que o Situacionismo quer e deseja, não é apenas uma coincidência, ou uma convergência. Existiu, de facto, uma impregnação flamenca na fase de gestação do Situacionismo, quando este ainda se chamava Internacional Letrista.
Tal pré-história da Internacional Situacionista foi também a matriz da paixão espanhola de Guy Debord e, com ele, seguiremos algumas sequências da vida letrista: escutando Germaine Montero com Jean-Michel Mension e Michèle Bernstein em Chez Moineau; bailando com Eliane Papaï; derivando por Aubervilliers em busca de La Taverne des Révoltéscom os anarquistas espanhóis, Juan Goytisolo, Gil Wolman e Ivan Chtcheglov. Passaremos ainda por Alba, na Itália, com dois aflamencados do norte, Asger Jorn e Constant, e retornamos a Paris em La Méthode com a cantora Mara Jerez.
AVANT-GARDES REVISITED IV panel sessions. Chair: Isabel Oliveira Martins (New University of Lisbon, PT). Amphitheater III
SITUATIONISM, MUSICAL EXPERIMENTATION AND WALTER OLMO
Lola San Martin Arbide (University of Oxford, GB)
Abstract: Rather than focusing on the influence of Situationism on music, as has been explored for instance in relationship to punk, this paper will address the musical activities within the movement. In fact, it will be centered around the foundational year of 1957. After the Cosio D’Arroscia conference, the Italian section of the Situationist International – constituted by Elena Verrone, Piero Simondo and Walter Olmo – was expelled following a heated response from Debord to the section’s submission of a text on musical experimentation. Their rationale followed (knowingly or not) some key innovations as developed among others by Satie, namely of his groundbreaking ambient pieces Musique d’Ameublement. I will discuss the connections between these compositions and Walter Olmo’s concept of musical experimentation and shed new light onto this elusive composer who developed a musical counterpart to the very core notion of unitary urbanism.