TRANSLATION & INTERPRETOSIS
Project in 3 Parts by Jovana Stokic, Ian Szydlowski-Alvarez and Michael Severance
Introductory Games - Incubation of Interpretosis - Workshop
Saturday, November 9, 4pm
Filming of the Performative Actions and Translations - Performing Interpretosis
Saturday, November 16, 6pm
Display followed by a Discussion of the Results - Recovery from Interpretosis
Saturday, February 22, 5-7pm
“And even more interesting, if thought itself being performative -- are we always acting upon and thinking through ourselves via series of texts and personae?”- J.S
We are interested in using this format of repetitive visit to this idiosyncratic space to perform our curatorial premise of translation. We are using it in order to unpack, and then saw back together the formats of panel/workshop/temporal exhibition/event. Join us in highly experimental participatory playtime spent in the Glasshouse in order to show there is no causality between text and act. We will playfully debunk the binary of instruction and execution.
To achieve this we are using as a starting point an ancient Hindu text Natyasastra. Our session will be our own, unrestrained reading of these texts, our interpretosis, and finally, our own criticism of our practice.
The Natya Shastra (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) is an ancient Indian treatise on performance, encompassing all aspects of classical Hindu stagecraft from acting to music to mise-en-scene involved in a presentation by one or more performers. It was written during the period between 200 BCE and 200 CE in classical India and is traditionally attributed to the Sage Bharata. There are at present no known schools in the West.
“I am not going to give you an apology of performative reading.
By announcing its performativity one goes one degree further in performing it.
Otherwise, it's a mis-an-abyme of performative - every act is performative a little bit more, where does it originate? Thought itself is performative, the neurological impulse behind it is an act in itself... but then there is no origin, only abyss.”
Jovana Stokic is a Belgrade-born, New York-based art historian, and critic holds a PhD from the Institute of Fine Arts, New York University. Her essay, “The Art of Marina Abramovic: Leaving the Balkans, Entering the Other Side” appeared in the catalogue for The Artist Is Present (2010) at the Museum of Modern Art. Stokic was a fellow at the New Museum of Contemporary Art, New York; a researcher at the Whitney Museum of American Art, New York; the curator of the Kimmel Center Galleries, New York University; and the performance curator at Location One, New York. She has taught art history at New York University, FIT, and is on the faculty of the MFA Art Practice at the School of Visual Arts, New York. Stokic is deputy chair, MA Curatorial Practice at SVA.
Ian Szydlowski-Alvarez is a visual artist based in New York City since 2001. A painter and print maker who combines traditional art practice with foray's into performance art, sound and socially engaged work. He has practiced yoga for over 24 years and is currently training to teach yoga combining it with forms of Shamanism, in an ongoing series at Cage called, In Praise of Snakes.
Michael Severance is an artist who lives and works in New York City. He has a BFA and MFA from the School of Visual Arts New York, NY.
His work includes both visual and theater arts that are hybridized forms within a multidisciplinary practice.