RESONANCE

March 15, Saturday, from 11 a.m. to 4 p.m. (with a lunch break).

Free talk from 5 p.m. to 6 p.m.

anyone interested

For this edition of resonance, we invite you to explore the gesture of (re)captitulating.

If, during movement and writing practices, we explore the uses and functionalities of provisional pacts—within which we experiment with tactile adjustments through listening—the question we want to work with is: what strategies of recording and writing can we develop to account for these journeys? What forms of (re)capitulation do we use, do we know, and/or can we invent?

This (re)capitulation, which revisits the provisional pact, the tacit agreement, the tactile concert, allows us to explore both the records and the ways in which our listening settles, deposits itself, and imprints in writings that go beyond words.

(Re)capitulation, from the Latin recapitulāre, consists of the lexical components: the prefix re-, meaning "backward" or "reiteration"; caput, meaning "head"; -are, a verb-forming suffix; and -tion, which denotes "action and effect."

Between moving backward and (re)iterating, we invite you to explore together the ways in which (re)capitulation can function as a scriptural iteration that is both action and, at the same time, an effect of our shared practices.

Beyond (re)membering, which evokes an orderly imaginary—the fiction that revisiting past events allows us to collect pearls one by one on a string—we invite you to observe what detours we can create between our provisional pacts during practice and our ways of crafting tentative documents, archives, and images, which, as Warburg says, are always open to failure and insufficiency.

val flores

She is a writer, teacher, sexual dissidence activist, lesbian, and pro-sex feminist. She is dedicated to essayistic/poetic writing and conducts workshops and performances as modes of aesthetic-political-pedagogical intervention.

Her publications include: Deslenguada. Desbordes de una proletaria del lenguaje (2010); Chonguitas. Masculinidades de niñas, with fabi tron (2013); interruqciones. Ensayos de poética activista (2013); El sótano de San Telmo. Una barricada proletaria para el deseo lésbico en los ‘70 (2015); La intimidad del procedimiento. Escritura, lesbiana, sur (2016); Tropismos de la disidencia (2017).

Marie Bardet

She works in philosophy and dance. Born in a small town in France, she now lives in Buenos Aires. Her practice and thinking cross the boundaries between theory and practice, drawing from improvisation and somatic practices as well as contemporary philosophy and feminist and queer/cuir thought-practices. Through this journey, she explores the tensions in how bodies and politics intersect, shaping shared spaces of artistic multiplicity and situated thought.

She is a researcher and professor at EIDAES-UNSAM and directs the postgraduate program in Contemporary Artistic Practices at EAyP-UNSAM. She accompanies creative processes and artistic residencies (Transducciones 2021 CCHConti, 2022 CCK; collaboration with Amparo González 2019-2021), teaches independent workshops (Crítica y Clínica with Josefina Zuain), develops performative lectures, translates, and writes books (Perder la cara, 2021; Una paradoja moviente: Loïe Fuller, 2021; Pensar con Mover, 2012; Hacer Mundos con Gestos, ed. Cactus, 2019).

Laura Vilar (Catalonia-Austria)

Dancer, creator, teacher, and researcher. She holds a PhD in Philosophy from UAB with an artistic research project through dance. She is a faculty member of the Master’s Degree in Artistic Research and Design at EINA-UAB. She co-directs nunart, an artistic research center in Barcelona, and is part of the Dance Pedagogy Department at the Institut del Teatre de Barcelona, where she teaches various subjects. She gives workshops both nationally and internationally. She was the coordinator of the Professional Training Program at Àrea Dance School (2017-2021).

As a dancer, she has worked with various companies, notably Compagnie Taffanel (2003-2010) and Companyia Cobosmika (2006-2013), with whom she toured internationally alongside Russell Maliphant’s company. In recent years, she has presented the creations Sanjiao (2018), Voyager (2019), and Temptatives de (des)aparició (2021-2022). She is currently part of the research groups Dramaturgies of silence and Landen in Vienna.

Josefina Zuain (Argentina)

Dancer, writer, and art historian. She has studied modern techniques (Humphrey Technique), composition, and improvisation through somatic techniques (Feldenkrais, Eutony), stretching, and ballet for biomechanics (Gurquel Technique), among others. She has trained in Twerk and Sexy Style, Bounce, and Heels techniques in Madrid, Salamanca, Rome, and other cities.

She is currently developing her doctoral research at the University of Salamanca, examining historical dance documents from the medieval era alongside moral judgments and discourses that criticize Twerk. Her research explores the arguments used to justify the persecution of certain ways of dancing. She has created and directs two platforms dedicated to producing specialized dance-related content: 2DA A Papel EDITORA and cuadernosdedanza.com.ar (ISSN22508708).