{"id":856,"date":"2015-08-25T21:53:40","date_gmt":"2015-08-25T21:53:40","guid":{"rendered":"http:\/\/livebiennale.ca\/?page_id=856"},"modified":"2025-05-01T00:04:28","modified_gmt":"2025-05-01T00:04:28","slug":"schedule2","status":"publish","type":"page","link":"https:\/\/livebiennale.ca\/2015\/schedule2\/","title":{"rendered":"Schedule"},"content":{"rendered":"

7 pm<\/h4>\n
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Le Brothers: The Role of Artists in Post War Contemporary Vietnam<\/h2>\n

Harbour Centre<\/strong>
\n Simon Fraser University<\/strong>
\n 515 West Hasting St.<\/strong>
\n Room HC 1600<\/strong><\/p>\n<\/div>\n<\/div>\n

8 pm<\/h4>\n
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Transcultural Curatorial Practices: A Conversation with Nathalie Mba Bikoro and Willem Wilhelmus<\/h2>\n

Djavad Mowafaghian
\nWorld Art Centre
\nSimon Fraser GCA
\n149 W. Hastings St.<\/span><\/strong><\/p>\n

NATHALIE MBA BIKORO is a visual artist, educator, activist, and director of the DNA Arts Foundation (Gabon) and Art Lab (London). She has exhibited and performed internationally, receiving numerous awards including the National Finnish Presentation Award for Best Performance Artist (2010) and two international awards for Best Artist in Senegal during the Dak\u2019Art Biennale (2012). Her work has been featured widely in print and media, including on Al\u00adJazeera and the BBC documentary Who Are You Calling an African Artist?<\/span><\/p>\n

Bikoro\u2019s work and practice uses performance, printmaking, media, installation, and social encounters to address ecology, colonialism, social struggle, and personal emancipation. During the 2009 Gabonese elections, Bikoro devised an experiment called the Squat Museum as a means for local communities to imagine ways towards self-\u00adsustainability. The project was a travelling gallery space that visited neighborhoods and villages in and around Libreville, Bitam, and Ombou\u00e9, exhibiting in an old car and trailer and on a floating pirogue boat. The programs presented a series of contemporary performances, dialogues, sculptural re\u00adenactments, and activities that re\u00adinterpreted the role of Griot storytelling and the relations between people and foods through drawing, games, video and photography.<\/span><\/p>\n

http:\/\/nbikoro.com\/<\/a>
\nhttp:\/\/futuremonuments.com\/<\/a><\/p>\n

WILLEM WILHELMUS studied metallurgy at the Technical University in Delft but since a young age was interested and dedicated to body awareness and emotional expression techniques, which he learned and practiced in Germany, USA and Holland. Since 1999, his work has centred solely around performance art. He combines both the creation and the organization of performance events such as the Fake Finn Festival of experimental live art, La Contact, New Art Contact, Art Contact and Kaapo Hintikka, all of them in Helsinki.<\/p>\n

He describes his work as making holes in the time. \u201cI once met a mad poet who was shouting around, addressing nobody in particular: Put a Finger between the Time! I understood immediately, but it took me some twenty years to take it serious in all consequence and concentrate on just that: making holes in the time. I do this as an artist and invite others to do so as a curator-organizer of live art events\u201d<\/p>\n

Wilhelmus has presented his work in many international venues such as InfrAction Venetia (Italy), Trampolim (Vitoria, Brazil), Guangzhou Live, Art Action, 53 Art Museum (China), DakArt Off Biennial (Senegal), Undisclosed Territories #3 (Indonesia), Contaminate 3, Boston (USA), and KEAF, Theater, Seoul (South Korea).<\/p>\n

http:\/\/willemwilhelmus.com\/<\/a>
\nhttp:\/\/motherstongue.net\/<\/a><\/p>\n

Co-presented by SFU’s Vancity Office of Community Engagement <\/i><\/p>\n<\/div>\n<\/div>\n

1 \u2013 7 pm<\/h4>\n
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La Pocha Nostra Workshop<\/h2>\n

LIVE International Performance Art Biennale offers a new opportunity for emerging artists to participate in a unique mentorship\/workshop with the infamous trans\u2013art super\u2013group La Pocha Nostra! <\/span><\/p>\n<\/div>\n<\/div>\n

1 \u2013 6 pm<\/h4>\n
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Zoe Kreye: Our Missing Body Workshop<\/h2>\n

Western Front<\/strong>
\n 303 East 8 Avenue<\/strong><\/p>\n

— NOW FULL —<\/span><\/p>\n

In partnership with LIVE 2015 and the Western Front, artist Zoe Kreye facilitates an immersive workshop where participants develop embodied scores with an installation of ceramic sculptures. The workshop in its entirety is conceived of as a collectively developed performance ritual. Each session begins with a series of embodiment exercises, followed by preliminary scores that invite participants to encounter the sculptures. From these initial encounters, participants will co-develop scores based on participants\u2019 attractions, sensations and interpretations\u2014all steps unfolding together with the sculptures. Participants will also draw and write the narratives that unfold over the course of the workshop.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

9 pm
\nPerformance<\/h4>\n
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La Pocha Nostra Showcase<\/h2>\n

La Pocha Nostra Performance Art Mentorship and Showcase featuring Guillermo G\u00f3mez-Pe\u00f1a, Mich\u00e8le Ceballos Michot, Dani d’Emilia, Saul Garcia-Lopez, Brittany Ch\u00e1vez and workshop participants
\n$10 suggested donation<\/p>\n

Since 1993, G\u00f3mez-Pena and members of the Pocha Nostra performance troupe have conducted cross-cultural\/cross-disciplinary\/cross-generational workshops involving performance artists, actors, dancers and students from diverse ethnic communities, generations and artistic backgrounds. From Sept 19\u201322, LIVE International Performance Art Biennale offers a new opportunity for 12 local emerging artists to participate in a unique mentorship\/workshop with this infamous trans\u2013art supergroup. For 6 hours a day, participants are exposed to La Pocha\u2019s performance methodology, an eclectic combination of exercises sampled from various traditions (experimental theater and dance, Suzuki, ritual performance, shamanism, etc). Parallel to this hands-on process, the group theoretically analyzes the creative process, the issues address by the work, its aesthetic currency, cultural impact and political pertinence. The process culminates on Sept 23 in a public performance that kicks off LIVE\u2019s 2015 program.
\nhttp:\/\/www.pochanostra.com\/<\/a>
\nhttp:\/\/lapochanostralivearchive.tumblr.com\/<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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1pm<\/h4>\n

Artist Talks<\/h4>\n<\/div>\n<\/div>\n<\/div>\n
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In gravida urna quis tincidunt fringilla. Quisque mi elit, cursus lacinia orci non, varius laoreet turpis. Etiam sed eros tristique, luctus diam nec, ullamcorper ipsum. Cras semper nisi nibh. Fusce ultrices velit id imperdiet condimentum. Donec efficitur massa vitae pretium congue. Vivamus nulla magna, rutrum sit amet ligula et, sagittis egestas libero.<\/p>\n

Margaret Dragu<\/h2>\n

La Pocha Nostra<\/h2>\n

Le Bros<\/h2>\n

Fausto Grossi<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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7 pm
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Hank Bull<\/h2>\n

Kara Hansen and Kathleen Taylor<\/h2>\n

James Luna<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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1pm<\/h4>\n

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Hank Bull<\/h2>\n

Kara Hansen and Kathleen Taylor<\/h2>\n

James Luna<\/h2>\n

Swintak<\/h2>\n

Charlene Vickers<\/h2>\n

Fausto Grossi<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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7 pm
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Francis O\u2019Shaughnessy<\/h2>\n

Marlene Renaud B<\/h2>\n

Adrian Stimson<\/h2>\n

Joseph Ravens<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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1pm
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Francis O\u2019Shaughnessy<\/h2>\n

Marlene Renaud B<\/h2>\n

Adrian Stimson<\/h2>\n

Joseph Ravens<\/h2>\n

Zoe Kreye<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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2pm
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Jef Carnay<\/h2>\n

Zoe Kreye<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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7 pm
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Warren Arcand<\/h2>\n

Nathalie Mba<\/h2>\n

Bikoro<\/h2>\n

Weeks and Whitford<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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1pm
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Warren Arcand<\/h2>\n

Nathalie Mba<\/h2>\n

Bikoro<\/h2>\n

Weeks and Whitford<\/h2>\n

Willem Wilhelmus<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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2pm
\nScreening<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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SPANE<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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3pm
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Guillermo G\u00f3mez-Pe\u00f1a<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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7 pm
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Le Bros<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

7 pm Le Brothers: The Role of Artists in Post War Contemporary Vietnam Harbour Centre Simon Fraser University 515 West Hasting St. Room HC 1600 8 pm Transcultural Curatorial Practices: […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-856","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/pages\/856","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/comments?post=856"}],"version-history":[{"count":1,"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/pages\/856\/revisions"}],"predecessor-version":[{"id":2853,"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/pages\/856\/revisions\/2853"}],"wp:attachment":[{"href":"https:\/\/livebiennale.ca\/2015\/wp-json\/wp\/v2\/media?parent=856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}