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un/know/n

un/know/n was a series of lecture performances presented by c.off in late 2015. The series attempts to explore ‘lecture performance’ as a term and genre, while presenting contemporary practitioners from various fields whose works can be positioned in the intersections of choreography, theory and pedagogics. un/know/n also poses questions concerning production and distribution of knowledge and power. Insisting on crip theory as a practical-theoretical framework – and on choreography as an alternative language as well as a deviant method for learning and unlearning – un/know/n seeks to stray beyond known paths in art and history. The lecture performances were curated by Hanna Wildow, Director of c.off 2013-2016. 

un/know/n series 2015:

November 24, 5.30pm
“Notes on The Closer I Get To The End The More I Rewrite The Beginning” by Suzy Halajian (Los Angeles)

Notes on The Closer I Get To The End The More I Rewrite The Beginning
 takes up two past curatorial projects. It closely considers both personal and theoretical references that informed the exhibition, The Closer I Get To The End The More I Rewrite The Beginning, in Los Angeles. The exhibition explores the state of exhaustion, through the time and space that make it possible. By questioning the appearance and contours of social spaces that enable this condition, it locates instances within these sites that allow for new forms of sociability. Notes considers both individual artworks and writing contributions within the project that self-reflectively interrogate how these social spaces may be realized in a state of nonstop action and renewal, and how their potentials may unfold over time. It looks to works that reimagine, re-perform, consume, and even obliterate images and places set in motion.

Read more here.

November 25, 3pm
“Limited Entry – The Museum and The Quarantine” by Adham Hafez (Cairo) In research partnership with HaRaKa, and artists from the Adham Hafez Company

An Arab body cannot enter the EU without the lengthy, costly, and politically insulting process of Visa. Centuries ago, bodies had to go through the Lazaretto before crossing into a border of cities that were not infected by the plague. But, what is a plague in nowadays biopolitical reality? A Lazaretto was a space where microspaces were policed, regulated, and domesticated before being admitted into the larger domesticated spaces. A body born within the EU and that carries its biopolitics has the right to enter, unannounced, into Arab cities without a visa process. Upon their appearance at the border -those bodies- they suspend borders. The borders are softened, made penetrable, made nonexistent. The way an Arab body’s appearance at the EU border suspends segments of the Universal Declaration of Human Rights, complexifying terms such as ‘universal’, ‘rights’, and ‘human’. Travelling between The Museum and The Quarantine, this is a lecture performance that argues for a politically incorrect nuancing of the term ‘human’, at times of radicalized political terrorism, slow violence, colonialist aches and frightful erotics, as it looks at the world as two experiences of space.

Read more here.


December 3, 6 pm
“Notes from Utah. Notes on gray.” by Katherine Hubbard (New York)

Notes from Utah. Notes on gray. is an ongoing site specific performance-lecture that explores the relationship between the human eye, the camera and cognitive perception. The work considers topics such as landscape photography, subjectivity of vision, image as trauma and gray scale as a value system. During the length of the performance the audience is engaged in real-time examples of these lines of thinking. Photographs are made with a 4×5 large format camera throughout the lecture. Notes from Utah… was first commissioned by the Center for Experimental Lectures.

 

un/know/n was funded by Stockholm City Council and the Swedish National Council for Cultural Affairs

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