Here, she acknowledges the processes outside systems focussed on linear growth and material gain, motivated by a commitment towards the enactment of a paradigm shift.The rhythmic montage illustrates one year of growth and decomposition in the artist’s garden, confronting value, decay, death and stillness – processes beyond growth – in the space of nature according to our biological clock.With an outline of this new commission, and trajectory of its instalments, this brochure offers a rich selection of images and texts on this artist’s work and a comprehensive essay by theorist Nikos Papastergiadis.Performance Days is supported by the Mondriaan Fund, the Creative Europe programme of the European Union, the municipality of Amsterdam, Ammodo, VSB Fonds, Amsterdams Fonds voor de Kunst and Prins Bernhard CultuurfondsSpecial thanks to Nelly Voorhuis, SKOR | Foundation for Art and Public Domain and SONSBEEK International FoundationFrom 20.33 to 00.53, artists, writers and curators give five-minute summer-solstice presentations in affinity with the artist’s research into time, the Earth and metabolising processes, including breathing and photosynthesis. Some years before, while working at the fair, the artist discovered relics of the now extinct Thames Oyster buried on site. 1932, Beirut. Her outline of voice and vernacular as a space where power is constantly renegotiated and reconfigured is punctuated by readings from her poetry.How do ritualistic practices and modes of display contribute to discussions on performance and performativity, while resisting traditional forms of visual consumption? 1978, Guatemala City. 1962, Las Vegas. Presented with other introductions to this edition in a J.B. Ingwersen-designed building inspired by Le Corbusier’s Unité d’Habitation and its principals of living.Performers: Peter Baeyens, André van Bergen, Tara-Jay van Bergen, Ivan Cheng, Yael Davids, Laima Jaunzema, Naufus Ramírez-Figueroa, Rik Schlamé, Joy M. Smith, Maya TamirPerformers: Augustine, Harriet, Miley, Nina, Otis, Sonny, Naufus Ramírez-Figueroa(b. She creates a new theatre performance in which she focusses on telepathic techniques to move matter.(b. Corpus is Bulegoa z/b (Bilbao), CAC (Vilnius), KW (Berlin), If I Can’t Dance (Amsterdam), Playground (STUK & M, Louvain) and Tate Modern (London) and is co-funded by the Creative Europe programme of the European UnionFluorescent lights are arranged across modernist open-planned floors and surrounded by ceremonial objects – candles, cigars, bowls of honey and perfume, roses from the sellers at the city’s cemetery – selected for their ties to Spiritsm, ‘dedicated to the relationship between incorporeal beings and human beings’. Lives in Tucson, AZ) is an artist and assistant professor in the Department of Gender & Women’s Studies at the University of Arizona where he teaches Black Critical Theory, Black Popular Music and Black Queer Studies. Written in six months in six cities, the text conveys institutional encounters and features a performance artist and secret service agent besieged by exhaustion.Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Collective conversations with participants about the experiences produced by these tools open up and map the issues that emerge from the modified states, addressing contemporary modes of attention and guided by the enquiry: What practice creates the conditions for our attention to shift?Participants are asked to bring a text they consider feminist and an object or fabric with interesting tactile or sound properties.An exchange of sensorial, perceptive and imaginary tools developed through her practice: touch, different modes of seeing, states between sleep and wakefulness and silent forms of communication.

Research interviews are structured around straightforward questions about the daily life and rituals of invited guests and Amsterdam residents.Contributors: Frédérique Bergholtz, Grant Watson, Adva Zakai, Veridiana ZuritaContributors: Frédérique Bergholtz, Daniela Castro, Veridiana ZuritaThe project departs from a 1983 interview with Michel Foucault around life as work of art. Still, we were not resigned.’Part of the exhibition ‘Take It or Leave It: Institution, Image, Ideology’, curated by Johanna BurtonPart of ‘Gregg Bordowitz & Maggie Nelson’ organised by The Poetry Project, New YorkThe artist considers what he has to gain from his continued belief that art can change the world. 1937, Campi Salentina, Italy; d. 2002, Rome) who rethought the stage beyond the fictional realm as a philosophical space.An intimate and experimental text explores the researcher’s conflictual relationship with actor, author, director and public persona Carmelo Bene since she first saw him on Italian television at age 10. The artist paints each cot, guiding performers to be imprinted; the bed’s tattooed pattern connotes ‘parrilla’, where victims of the Guatemalan Civil War were strapped to metal frames and given electric shocks. How can these narratives of self and other be read through Ayesha Hameed’s palmistry research into the violent struggle between the tracing and erasing migrants’ fingerprints amid Europe’s xenophobic fantasies?Texts and materials: Karen Barad, Anne Boyer, Édouard Glissant, Ayesha Hameed, Mounira Al SolhLed with artistic researcher, experimental performer and body practitioner ELLE (elke van campenhout), the day looks at ‘resistance’ in relation to Agamben’s take on ‘movement’ and Butler, Gambetti and Sabsay’s approach to vulnerability. Lives in Paris) is a writer and curator; she undertakes a study on the actress, feminist activist, and author of several videos, Delphine Seyrig (b. What is home? Petrešin-Bachelez then discusses her research into Seyrig’s unrealised film The first of the two films shown by Delphine Seyrig and collaborators is Courtesy the Centre audiovisuel Simone de Beauvoir, ParisA reactivation of actress, video-maker and feminist activist Delphine Seyrig’s unrealised black and white silent feature about the letters of US-American frontierswoman Calamity Jane to her daughter. Following this entry into dis-identity, ecstasy and the feminine, Bene’s first cinematic experiment, the short-film (b. The project uses art history and popular music to create a Black written and performative mood, what Aliyyah Abdur-Rahman calls the ‘black ecstatic’.

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