LOÏE. 02

Editorial

16 de September de 2018
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I am asking you to write, performance artists, because to me writing is an act of freedom- Drilling rocks and crossing oceans, words exist to remember and resist. To create, reclaim and renew. (Francesca Carol Rolla, Letters from Formentera)

Dear tech-readers, if there’s anything taught to us by the technology Myth is that we can never stay still: a PDF file would soon demand for a flippbuilder, the flippbuilder would soon ask for a fan page, the fan page would immediately claim for a new online plataform, and here we are. So we have the immense pleasure of introducing, in this race against -or better said- in this race in favor of time, the second number of Loïe. Magazine of Dance, Performance and New Media, now in its new web format. For the restless readers in archipelago style who preffer a scattered and a la carte reading,www.loïe.com.ar is the ideal movement space where they will not only find the texts of the current issue to be read individually, but also the texts from the previous issues; but we have not forgotten the most tradicionalist readers, the ones in Continental style, the lovers of a more secquential reading, and faithful of the printed book: for them, the button “LOIE Magazine.” is the place where they can find the complete current issue.

Thus, while we inaugurate this new format, issue  N°2 of Loïe. wants to remind you of the importance of writing. Like Francesca, one of our beloved and most active authors says in the excerpt that we propose as epigraph: writing is an act of freedom, it exists to remember and to resist, create, claim, and renew.

We are sharing an unpublished letters exchange between different imaginary artists and curators in which new ways of creating are proposed, like the case of Francesca herself, in the text that you will find in the magazine, Letters from Formentera: “I therefore thought it might exist a yet unexplored way of writing. To leave traces of a word pronounced for a different image of the real”, and also in Verena Stenke’s article, where performance practices are interrogated: “Who believes that our bodies do not end where our skin is, that movement does not stop where the body is, and that being does not stop where the mindis – just like you”.In the “Projects” section, Blas Payri, an academic in Audio-visual Communication at Universitat Politècnica de València (Spain), revisits Francis Bacon throughout his screendance pieces, and puts into play in the process the notion of temporality. Or, like in the interview by Majo Rubín to Ingrid Nachstern, a multimedia artist who works in film as a rhythmic poetry of image and sound, resisting with her labour on screen about gender issues. Beyond all this, we are proud to count on the participation of Simon Fildes who, in “diary of a journey” mode, shares with us his experiences in different festivals where he took part as a guest. The great quantity and variety of critics that shape this issue claim from the art works their paths of meaning and communicate them in these pages. And in Letters from My Window -a column that we hope will turn into a classic- our beloved and admired Oscar Traversa writes dance as an act of freedom he persistence of Salome, a noticeable case of the historical process of mediatisation. In this second letter, the soap opera: dance in relationship with desire: dance in relationship with death and politics.

Also, please allow us in this issue to suggest the reading of Universo Bali (Bali Universe), a flawless and marvellously edited book about the trajectory of the great Argentinean artist Margarita Bali who, over the years, as succeeded n gathering worlds to create, finally, her own universe.

Finally, as tech-readers, we want to invite you o click on the links that pop up as recurrent motifs on the textual surface. Most of them are portals which allow Loïe. To expand towards personal or professional contexts of the authors, towards other ways of exchange and knowledge, towards the experience of other languages; some of them  even offer intertexts imagined by the authors at propose different ways through where to travel a work of art, or a text. May Loïe. be able to effectively expand in that sense also depends upon the curiosity of its readers; from our virtuality we commit ourselves to make that ramification a game each time more attractive.

So, with the writing, with dance and technology, let’s remember, resist, create, reclaim, renew always as small acts of freedom.

Welcome, again, to Loîe.!

I am asking you to write, performance artists, because to me writing is an act of freedom- Drilling rocks and crossing oceans, words exist to remember and resist. To create, reclaim and renew. (Francesca Carol Rolla, Letters from Formentera)

Queridos lectores-tec, si hay algo que nos enseña el principal mito acerca de la tecnología es que no podemos quedarnos quietos: un pdf pronto exige un flippbuilder, el flippbuilder pronto pide una fan page, la fan page inmediatamente reclama una nueva plataforma y acá estamos. Tenemos entonces el enorme placer de presentarles, en esta carrera contra o, más bien, a favor del tiempo, el segundo número de Loïe. Revista de danza, performance y nuevos medios, ahora, en su flamante formato web. Para los lectores inquietos y de estilo archipielaguista que prefieren la lectura salteada y a la carte, www.loïe.com.ar es el espacio de movimiento ideal en donde no solo encontrarán los textos de la edición actual para leerlos aisladamente, sino también los de las anteriores; pero no nos hemos olvidado de los más tradicionalistas, de aquéllos poseedores de un estilo continentalista, amantes de una lectura más ordenada y fieles defensores del libro impreso, para ellos, la pestaña “Revista LOIE.” es el lugar en donde podrán encontrar el número actual completo.

Entonces, inaugurando este nuevo formato, la edición N°2 de Loïe. quiere recordar la importancia de la escritura. Como dice Francesca, una de nuestras queridas y más activas autoras, en el fragmento que proponemos como epígrafe: escribir es un acto de libertad, existe para recordar y para resistir, para crear, reclamar y renovar.

Así, compartimos un intercambio inédito de cartas entre diferentes artistas y curadores imaginarios en las que se proponen maneras nuevas de crear, como es el caso de la propia Francesca, en el texto que van a encontrar más adelante en la revista, Letters from Formentera: “I there fore thought it might exist a yet unexplored way of writing. To leave traces of a Word pronounced for a different image of thereal”, y en las que se interrogan sobre la práctica performática como Verena Stenke: “Who believes that our bodies do no tend where our skin is, that movement does not stop where the body is, and that being does not stop where the mindis – just like you”. En la sección “Proyectos”, Blas Payri, catedrático de Comunicación Audiovisual en la Universitat Politècnica de València, renueva a Francis Bacon a partir de sus realizaciones de videodanza y pone en juego la noción de temporalidad en el proceso. En la entrevista de Majo Rubín a Ingrid Nachstern, se comenta cómo esta realizadora multimedia trabaja el film como una poesía rítmica de imagen y sonido resistiendo a partir de su labor en la pantalla sobre cuestiones de género. Además de todo esto, nos enorgullece contar con la participación de Simon Fildes quien, en modo “diario de viaje”, nos propone recordar sus viajes y sus experiencias en diferentes festivales en los que participó como invitado. La gran cantidad y variedad de críticas que conforman este número reclama a las obras sus caminos de sentido y los plasman en estas hojas. Y en Cartas desde mi ventana, columna que esperamos se convierta en un clásico con el tiempo, nuestro amado y admirado Oscar Traversa escribe la danza como un acto de libertad en la persistencia de Salomé a lo largo del tiempo en diferentes soportes, caso notable del proceso histórico de mediatización. En esta segunda carta, el culebrón: la danza en relación con el deseo, la danza en relación con la muerte y la política.

Además, permítannos, en esta edición, sugerirles la lectura de Universo Bali, un libro impecable y de edición maravillosa sobre la trayectoria de la artista argentina Margarita Bali quien, a lo largo de los años, ha sabido reunir mundos para crear, finalmente, su propio universo.

Para terminar, como lectores-tec, también queremos invitarlos a clickear en los links que aparecen como motivos recurrentes sobre la superficie textual. La mayoría son puertas que permiten la expansión de Loïe. hacia los contextos personales o profesionales de los autores, hacia otros modos de intercambio y conocimiento, hacia la experiencia de otros lenguajes, incluso algunos ofrecen intertextos imaginados por los autores y proponen diferentes caminos por donde transitar una obra, un trabajo, un texto. Que Loïe. pueda efectivamente ampliarse en ese sentido también depende de la curiosidad de sus lectores; desde nuestra virtualidad nosotras nos comprometemos a hacer de esa ramificación un juego cada vez más atractivo.

Entonces, con la escritura, con la danza y la tecnología, recordemos, resistamos, creemos, reclamemos, renovemos siempre como pequeños actos de libertad.

Bienvenidas y bienvenidos, nuevamente, a Loîe.!

Susana Temperley – Magdalena Casanova

About:

Magdalena Casanova

She is an Specialist in Critic and Divulgation of the Arts -UNA/National University of the Arts, Argentina-, MFA candidate also at UNA, and teacher at the subject “General History of the Movement Arts” at the Trans-departamental Area of Arts Criticism, UNA.
Casanova is a dance critic. Researcher at UNA’s IIEAC (Research Institute of Arts Criticism) where she works on the discourse analysis of Contemporary Dance criticism in Buenos Aires, and, independently, about Education through movement. She has presented the results of these investigations in several Conferences and Symposia, and has published numerous articles in diverse Argentinean media.
Magdalena is a dancer and contemporary dance teacher, and has worked as a choreographic and direction assistant for dance and theatre pieces en obras.

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About:

Susana Temperley

Temperley has a PhD in Arts (UNA) and she is an Specialist in Critic and Divulgation of the Arts (UNA/National University of the Arts), as well as in Analysis of Choreographic Production (UNLP/National University of La Plata), and Licentiate in Social Communication (UBA/National University of Buenos Aires). Since 2007 is a Professor in Semiotics and Theory of Communication, as well as in Semiotics of the Arts at the Arts Criticism Area (UNA).

For the last decade, she is dedicated to study the relationship between dance and technology and their problematics around contemporary art languages. She has published articles about this topic in Argentinean and international media.
Temperley is author of the book Screendance, Complexity And Periphery. Towards a Platform for Analysis of Dance in Interaction with Technology, 2017, RGC, Buenos Aires) and and Co-compiler of the book Terpsícore en Ceros y Unos. Ensayos de Videodanza (Terpsichore in zeros and ones. Videodance Essays, 2010, Guadalquivir, Buenos Aires).

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