ifsphere

a story of resistance and restoration

• Schedule
• Overview
• July (Space T) Workshops
• - Workshop #1: 6 sessions ( 2 weeks M/W/F - 3 hour sessions) Maximum 15 participants
• - Workshop #2: 6 sessions ( 2 weeks M/W/F - 3 hours sessions) Maximum 15 participants
• August (Space T & Weekend Theatre) Focused Practice
• 12 Sessions ( 4 weeks M/W/F 3 hour sessions) 5 - 12 participants
• September (Space T & Weekend Theatre)
• 8 Sessions ( 4 weekends 3 hour sessions) 5 - 12 participants
• Full Rehearsal Schedule: (3 hours) 10 am - 1pm
• Aug. (13)
• 1. Day / Wed. Aug. 2 : Cycle 1 Knot: eternal drifting / trapped / nameless. TextWork & Space
• Space
• near - far - infinite
• Prompts
• Two birds flew by my kitchen window. The birds’ necks were as thick as a human’s. I could clearly see the bird flying in front, and the bird next to it looked blurry, but I could tell that they were of the same species. As the first bird flew near me, I saw its face. The bird had a human face. When I woke up from the dream, I knew …
• 2. Day / Fri. Aug. 4 : Cycle 1 Knot: eternal drifting / trapped / nameless. TextWork & Time
• 3. Day / Mon. Aug. 7 : Cycle 2 Untying: the journey / rising Dancingness & Shape/
• 4. Day / Wed. Aug. 9 : Cycle 2 Untying: the journey / rising Dancingness & Shape/Movement
• 5. Day / Fri. Aug. 11 : Outdoor Knot: meeting/medicine - shared tears Singingness
• 6. Day/ Mon. Aug. 14 : Outdoor Knot: meeting/medicine - shared tears Singingness & Emotion
• 7. Day / Wed. Aug 16 : Outdoor Knot: meeting/medicine - shared tears Singingness & Story
• 8. Day / Fri. Aug. 18 : Cycle 3 Untying: ferrying/guiding - across the river of life and death Playingness
• 9. Day / Mon. Aug. 21 : Cycle 3 Untying: ferrying/guiding - across the river of life and death Playingness
• 10. Day /Wed. Aug 23 : Cycle 1 & 2 TextWork/Dancingness
• 11. Day / Fri. Aug. 25 : Cycle 1 & 2 TextWork/Dancingness
• 12. Day / Mon. Aug.28 : Outdoor & Cycle 3 Singingness & Playingness
• 13. Day / Wed. Aug. 30 : Outdoor & Cycle 3 Singingness & Playingness
• Sept (7)
• 14. Day / Sun. Sept. 3 : Cycle 1 & 2 & 3 TextWork/Dancingness/Singingness
• 15. Day / Sat. Sept. 2 : Cycle 1 & 2 & 3 TextWork/Dancingness/Singingness
• 16. Day / Sat. Sept. 9 : Cycle 1 & 2 & 3 TextWork/Dancingness/Singingness
• 17. Day / Sun. Sept. 10 : Full TextWork/Dancingness/Singingness/Playingness
• 18. Day / Sat. Sept. 23 : Full TextWork/Dancingness/Singingness/Playingness
• 19. Day / Sun. Sept. 24 : Full TextWork/Dancingness/Singingness/Playingness
• 20. Day / Sat. Sept. 30 : Outdoor Knot: meeting/medicine - shared tears
• October (9)
• 21. Day / Sun. Oct. 1 : Outdoor Knot: meeting/medicine - shared tears
• 22. Day / Sat. Oct. 7 : Outdoor Knot: meeting/medicine - shared tears
• 23. Day / Sun. Oct. 8 : Outdoor Knot: meeting/medicine - shared tears
• 24. Day / Sat. Oct. 14 : (Outdoor Action)
• 25. Day / Sun. Oct. 15 : Full
• 26. Day / Sat. Oct. 21 : Dress/Tech
• 27. Day / Sun. Oct. 22 : Dress/Tech
• 28. Day / Fri. Oct. 27 : Preview
• 29. Day / Sat. Oct. 28 Performance
• Text:
• - Bari’s Love Song - Kang Unkyo
• - Phantom Pain Wings -Kim Hyesoon
• - I’m Ok, I’m Pig - Kim Hyesoon
• Readings (3)
• Princess Abandoned Essays Kim Hyesoon translated by Don Mee Choi
• https://static1.squarespace.com/static/5f52fa798c2cfd60e4a8b4bc/t/6202105962274325ad6903f0/1644302426727/TRS11_KimHyesoon.pdf
• I Do WomanAnimalAsia [Source] KOREAN LITERATURE NOWI Do WomanAnimalAsia [Source] KOREAN LITERATURE NOW
• https://www.kln.or.kr/lines/essaysView.do?bbsIdx=650
• https://www.kln.or.kr/lines/essaysView.do?bbsIdx=650
• [Writer's Notes] A Singularity. Kim Hyesoon by Joyelle McSweeney September03, 2019 [Source] KOREAN LITERATURE NOW
• https://www.kln.or.kr/lines/essaysView.do?bbsIdx=649
• https://www.guernicamag.com/williams_kim_1_1_12/
• Cycles
• I. Resistance
• - Knot: eternal drifting / trapped / nameless (10 min.) TextWork
• - Untying: the journey / rising (10 min.) Dancingness
• II. Restoration-AfterImage
• - Knot: meeting/medicine - shared tears (15 min.) Singingness
• - Untying: ferrying/guiding - across the river of life and death (10 min.). Playingness
• Rhythm
• (rhythms: walk/ dance/ jump/ circle/ song)
• 1. Beginning relaxed and slow & regular - gradual Nenda Nego a calling
• 2. Acceleration spiral form increasing / dividing the beat / quicker Tying Talda Tahra develop
• 3. Climax maintain a fast rhythm repeated Knot Mennunda Mehdgo … ordered chaos
• 4. Untie reaching a calmness Punda
• Big Three Small Three
• Teh sam so sam (Big three small three)
• Sky Human Earth three in one
• Jeong Jung Dong Calmness Middle Movement
• Warm Heart Animal skin
• Cool Mind Metal
• Materials:
• paper lanterns, sticks, ribbons,
• Shape
• circles, leaps, waves
• Source
• Korean shamanic myth of Bari Gongju—a story about resistance and restoration. The story describes the life of the seventh daughter of an ancient king of Joseon. Because she was a girl, Bari Kongjoo was abandoned by her parents, cast away in Hwangcheon[2], and left for eternal drifting. Her name, Bari, means “buhrida” (throwing away or abandoning) in Korean and implies a nameless state. As punishment for this abandonment, the king fell ill of an incurable disease. When Bari learned of her father’s illness, she journeyed to Heaven and cured him with the medicine that she had retrieved. The king offered Bari half of the palace as reward. However, Bari chose instead to become a goddess who guides souls. She turned into a ghost and has been ferrying souls across the river of life and death ever since. The soul that can cross borders and traverse separate worlds in the myth of Princess Bari (Gongju).
• https://www.kmfa.gov.tw/ArtAccrediting/English/ArtArticleDetail.aspx?Cond=91429339-772e-49fc-988e-ccb225982e3b
• Details
• (As in other heroine myths, Paridegi is abandoned as soon as she is born. She is abandoned in the)
• animals’ cage, back hill, backyard, marsh, sea of blood
• (and such, and the abandonment doesn’t stop after this first phase. She goes through a terrible abandonment up to three times)
• in the stream, Hwangch’ôn river, sea of blood, east sea, deep inside the mountain beyond the Ch’ôngch’ôn river, even inside a mountain cave.
• The abandoned Paridegi is raised by
• cranes, magpies, turtles,
• I have an animal body that’s connected to the natural world
• farewell, sorrow, loss, identity, discontent, crisis, blame
• compassion and remorse
• Prompts
• Two birds flew by my kitchen window. The birds’ necks were as thick as a human’s. I could clearly see the bird flying in front, and the bird next to it looked blurry, but I could tell that they were of the same species. As the first bird flew near me, I saw its face. The bird had a human face. When I woke up from the dream, I knew …
• I was angry at myself for not asking why two birds had appeared in my dream. I felt as if my face had been buried in the sand. … I called out for birds endlessly.
• my trypophobia intensified. Now I can’t stand seeing clusters of holes. I can’t bring myself to open any containers filled with matchsticks, toothpicks, and cotton swabs.
• I see are the holes of the consonant ᄋ[4]. Those little vacuous holes stare at me. Soonᄒ[5] consonants. Next are consonants ᄆ[6], then ᄇ[7]. I had no choice but to read books in English. But then I found “o’s” in English. I begin to detest the letters “a,” “b,” “d,” “p,” “q” in this order. Also capital “Q” and “R.” I can only read after I black out the letters with my pen. But there are still too many hole letters. The book eventually is completely blackened. I throw out poetry books filled with blackened letters. …I fall into selective mutism once again.[8]
• Images
• Art by Fi Jae Lee. "Angel of Every Religion" (2017).
• Image.jpeg
• Writing
• I erase the ᄋᄆᄆ consonants from 엄마 ŏmma [mommy] and leave only the ᅥ,ᅡ vowels. ᅥ ᅡ, ᅥᅡ, ᅥᅡ, ᅥᅡ, ᅥᅡ, ᅥᅡ, ᅥᅡ,ᅥᅡ, ᅥᅡ, ᅥᅡ, ᅥᅡ[9]
• Erased consonants look for me, or don’t. What’s found is the erased, so it’s no better than not
• looking in the first place; the not-looking acknowledges the erased, so it’s also no better than not looking. Therefore, I keep erasing until the erased consonants pat me, hug me, take me away, and speak to me. ᄋᄆᄆ, ᄋᄆᄆ, ᄋᄆᄆ, ᄋᄆᄆ … The sound of me crying when I take myself away as I leave this world ᄋᄆ ᄆ, ᄋᄆᄆ, ᄋᄆᄆ. The sound of real crying.
• https://www.poetryfoundation.org/articles/160173/bird-rider
• How to practice and make plural the written and spoken—grammar, syntaxes, textures, intonations...”
• https://www.poetryfoundation.org/articles/160173/bird-rider
• Music
• https://www.youtube.com/watch?v=ZfZqD2iqxJ0

Abandoned was conceived in June not in Feb. as indicated. Tralfamadorians would say this blog exists in Tralfamadorian time ... time is not a linear thing but a continuum that we can move between at will. Here we go.

Pioneering American artist, feminist, and filmmaker Carolee Schneemann, known for her multidisciplinary practice that spans more than six decades, has died. She was seventy-nine years old. While best known for her performance and body art that challenged notions of gender and sexuality—as well as for her expressive paintings, installations, and photography—Schneemann considered herself first and foremost a painter. “I’m still a painter and I will die a painter,” she said in an interview in 1993. “Everything that I have developed has to do with extending visual principles off the canvas.”

Schneemann was born in 1939 in Fox Chase, Pennsylvania. She studied at Bard College and earned an MFA in painting from the University of Illinois. In 1961, she moved to New York with the composer James Tenney and participated in the Judson Dance Theater, becoming the first visual artist to choreograph for the group. There she produced her earliest performance pieces, including Newspaper Event, 1962; Lateral Splay, 1963; Chromelodeon, 1963; and Meat Joy, 1964, a seminal performance, which she described as “kinetic theater,” that featured nearly nude performers convulsing on the ground with raw fish, chicken, and sausages.

“I was drawing constantly, extending the energies of my own kinetic movements, which became the sequences that I brought to the Judson dancers,” Schneemann wrote on her involvement with the Judson group in the September 2018 issue of Artforum. She also performed as Édouard Manet’s Olympia in Robert Morris’s Site, 1964, a collaboration she said both “historicized and immobilized” her. 

The personal and political inflections of Schneemann’s practice continued over the entire course of her career. She created a schizophrenic cinematic vision of montaged images in protest of the Vietnam War in Viet-Flakes, 1965, and unfolded a scroll from her vagina for Interior Scroll, 1975, recounting a conversation with a male filmmaker that read, in part: “He protested / you are unable to appreciate / the system the grid / the numerical rational / procedures.” The “Lebanon Series,” 1983–91, addressed the destruction of Beirut, and in the last decades of her life her work took on 9/11 and the conflict in Syria. 

Schneemann’s first museum retrospective was staged at the New Museum in New York in 1996. In 2015, the Museum der Moderne Salzburg in Austria took on the artist’s extensive career in “Kinetic Painting,” which traveled to MoMA PS1 in New York in 2017. The same year, she won the Venice Biennale’s Golden Lion for Lifetime Achievement award.

Over the years, Schneemann published various books, including Cezanne, She Was a Great Painter (1976), Early and Recent Work (1983), and More Than Meat Joy: Performance Works and Selected Writings (1979, 1997), and taught at a number of institutions, such as New York University, the California Institute of the Arts, and Bard College.

Her works can be found in the permanent collections of the Museum der Moderne in Salzburg, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, Tate Modern in London, and the Centre Pompidou in Paris, among others.

“Appraising ‘Carolee’ in all her avatars has come to seem metonymic for judging art of a certain kind, or era,” wrote Frances Richard in the May 2009 issue of Artforum. “If we fail to contend with her, we cannot understand it. Which art? ‘Expressionist-performative,’ ‘second-wave feminist,’ ‘multimedia-transgressive,’ ‘politico-erotic’ . . . We’re still asking what she became and will become.”

ALL IMAGES

       Arno Schmidt passed away 3 June 1979, and while we wait for the publication of John E. Woods' epic translation of his Bottom's Dream (likely still a ways away) you can read up on the master in my Arno Schmidt: a centennial colloquy.
       Or maybe you prefer playing around with The Arno Schmidt Dressing Doll ?