Isabelle Ginot and Marcel Michelle<\/span><\/h6>\n <\/p>\n
Merce Cunningham Centennial: The Elemental, The Unpredictable, The Unexpected<\/span><\/i> is a curatorial collaborative project<\/span> realized between the <\/span>Merce Cunningham Trust<\/span><\/i> and <\/span>REDIV<\/span><\/i> (<\/span>Screendance Ibero-American Network<\/span><\/i>) at the occasion of the Centennial of this important choreographer in the history of dance and a key figure in the history of screendance (or videodance). The world wide celebration happened all through the year 2019 with all kind of activities, including this project which circulated through some 20 festivals members of REDIV.\u00a0 It was proposed as a curatorial practice, term which, according to Marcelo Pacheco (2001), \u201cdefines from its very meaning and etymology an action, exercise and method, and it as the chirurgical implication of any exhibition management\u201d. The curatorial concepts were built as a collage, where a porous exchange between the members of the international curatorial committee took place, which was weaved in a transatlantic way with the aim of taking to Ibero-American countries the hybrid choreographic work of Mrece Cunningham to a broad circulation.<\/span><\/p>\nMerce Cunningham is well-known for several aesthetic innovations that meant a revolution in dance and other forms of art in the United States during the second half of the 20<\/span>th<\/span>. Century. The curators, through an agreement of REDIV with the Merce Cunningham Centennial, and guided by the hand of its Executive Director Trevor Carlson, had the privilege of accessing to a great part of the vast artistic production by Cunningham with the objective of organizing a set of common aspects, giving them a certain direction, knowing that they are implicitly crossed by multiple readings, by other multiple directions. Along the process several intermediate diagonals were open, which besides turning the panorama broader and more complex, they allowed the committee to mark possible paths and ways of accessing this set of relevant aspects.\u00a0\u00a0\u00a0<\/span><\/p>\n![\"\"](\"http:\/\/loie.com.ar\/wp-content\/uploads\/2020\/02\/libro-800x533.jpg\")
<\/a>Cristian Palacios Feltes<\/span><\/span><\/div>\nCunningham built is choreographies as collages, with fragments of movement that had heterogeneous and diverse origins and yet they acquire a nexus in his own discourse. How to achieve he same in our curatorial discourse?\u00a0 In each thematic diagonal co-live proposals that correspond to different historical moments, to diverse objective and interests in his research, but they also refer to common aspects: they all account for his broad experimentation and crossing of his choreographic and audiovisual work. As a result of this collaborative process, a curatorial program reveals itself as a manner of kaleidoscopic windows, through which the diverse facets and perspectives of Merce Cunnigham\u2019s expanded choreography are shown. In the form of thematic diagonals, video-choreographic pieces, documentaries, filmic experimentations and complementary activities are presented, which together operate as a retrospective. This exhibition was also nurtured by a broad group of activities (workshops, performances, and talks) that orbit as satellites around a central axis offering the possibility of accessing to information and experiences tending to generate an in-depth immersion into content with specific directions. They are:\u00a0\u00a0\u00a0<\/span><\/p>\nDiagonal 1. <\/span>Videodancing the gaze: the choreographer behind the camera.<\/span><\/i><\/p>\nDiagonal 2. <\/span>Documentaries of the Merce Cunningham Dance Company<\/span><\/i>.<\/span><\/p>\nDiagonal 3. <\/span>Screendance Event: to extract, to assemble and to interpret randomly.<\/span><\/i><\/p>\nDiagonal 4. <\/span>LifeForms: As straight lines in curve universes.<\/span><\/i><\/p>\nDiagonal 5. <\/span>Videoarchives of historical collaborations.\u00e7<\/span><\/i><\/p>\nThese 5 axis articulate the texts, which carry the authorship and the weight of some of the key referents of the Cuningham Universe translated into Spanish for the first time: David Vaughan, Roger Copeland, Nancy Dalva, and Merce himself, whose voice and image jump out from the paper to the reader thanks to the cared and bold design of the Paraguayan Paolo Herrera, who synchronized with the curatorial committee spirit since his first draft. Other translated voices were Annie Suquet\u2019s (from French) and Gilsamara Moura (from Portuguese) who supplied her academic vision, the first, and her dancing experience with the great choreographer, the latter. Written or adapted especially for this catalogue are the texts by Gabriel Villota Toyos (Spain), Ra\u00fal Parra Gait\u00e1n (Colombia) and the ones by members of the curatorial committee Paulina Ruiz Carballido (Mexico-France) and Mauro Cacciatore (Argentina). In this way, this book adds up to the synopses of the pieces included in this audiovisual exhibition (whose format could be adapted either to screenings in cinema theatres or as gallery installations, according to each festival member criteria), these fundamental texts that expand this publication, giving to it a three dimensional gaze, and turning it into a consulting material for students, researchers, and general audiences.\u00a0\u00a0<\/span><\/p>\nA detail to highlight is the international character of this first publication by REDIV: its curatorial committee includes members from Argentina, Brazil, Colombia, Mexico and Paraguay; the very first conversation with the MC Trust that gave birth to the project was held in Spain; translations and corrections were made in Argentina, Paraguay and France; and finally, its design, printing and release was in Asunci\u00f3n, Paraguay, in August 2019. We are certain that these spatial and time diagonals that weaved this publication since the very start of its process influenced heavily the result, enriching with no shade of doubt to the ones who participated in it, and we sincerely hope that Merce\u2019s revolutionary spirit infiltrates in every micron of this book-catalogue, unveiling itself from its pages and reaching the reader.\u00a0 \u00a0\u00a0<\/span><\/p>\nBy Silvina Szperling, Mauro Cacciatore y Paulina Ruiz Carballido<\/p>\n
<\/h5>\n
<\/p>\n
Merce Cunningham Centennial: lo elemental, lo impredecible, lo inesperado <\/b>(Merce Cunningham Centennial: The Elemental, The Unpredictable, The Unexpected)<\/i><\/b>.<\/b> Editors<\/i><\/b>: Trevor Carlson, Ken Tabachnick. <\/span><\/i>Coordinator<\/i><\/b>: Silvina Szperling. <\/span><\/i>Compilers\/Curators<\/i><\/b>: Mauro Cacciatore, Paulo Caldas, Alejandra D\u00edaz, Martha Hincapie Charry, Paulina Ruiz Carballido, Silvina Szperling. <\/span><\/i>Authors<\/i><\/b>: Mauro Cacciatore, Roger Copeland, Merce Cunningham, Nancy Dalva, Gilsamara Moura, Ra\u00fal Parra Gait\u00e1n, Paulina Ruiz Carballido, Annie Suquet, David Vaughan, Gabriel Villota Toyos.\u00a0<\/span><\/i>Graphic Design<\/i><\/b>: Paolo Herrera. <\/span><\/i>Translations<\/i><\/b>:\u00a0Alejandra D\u00edaz,\u00a0Mar\u00eda Jos\u00e9 Rubin,\u00a0Paulina Ruiz Carballido.\u00a0<\/span><\/i>Correction<\/i><\/b>: Mar\u00eda Jos\u00e9 Rubin. A publication of the Merce Cunningham Trust in collaboration with REDIV (Red Iberoamericana de Videodanza\/Screendance Ibero-American Network). <\/span><\/i>ISBN<\/i><\/b> 978-987-86-1456-4 (Asunci\u00f3n, 2019). <\/span><\/i>Distribution and sales<\/i><\/b>: <\/span><\/i>@rediv.oficial<\/span><\/i><\/a> or <\/span><\/i>@videodanzaba<\/span><\/i><\/a> (IG); <\/span><\/i>videodanzaba@gmail.com<\/span><\/i><\/a><\/p>\n <\/p>\n
Photo: Cristian Palacios Feltes.<\/p>\n
<\/p>","protected":false},"excerpt":{"rendered":"
All the history of Modern Dance is literally …<\/p>\n","protected":false},"author":2,"featured_media":3703,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-3700","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lecturas-sugeridas","ediciones-loie-05"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/comments?post=3700"}],"version-history":[{"count":5,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700\/revisions"}],"predecessor-version":[{"id":3856,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700\/revisions\/3856"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/media\/3703"}],"wp:attachment":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/media?parent=3700"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/categories?post=3700"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/tags?post=3700"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Merce Cunningham is well-known for several aesthetic innovations that meant a revolution in dance and other forms of art in the United States during the second half of the 20<\/span>th<\/span>. Century. The curators, through an agreement of REDIV with the Merce Cunningham Centennial, and guided by the hand of its Executive Director Trevor Carlson, had the privilege of accessing to a great part of the vast artistic production by Cunningham with the objective of organizing a set of common aspects, giving them a certain direction, knowing that they are implicitly crossed by multiple readings, by other multiple directions. Along the process several intermediate diagonals were open, which besides turning the panorama broader and more complex, they allowed the committee to mark possible paths and ways of accessing this set of relevant aspects.\u00a0\u00a0\u00a0<\/span><\/p>\n Cunningham built is choreographies as collages, with fragments of movement that had heterogeneous and diverse origins and yet they acquire a nexus in his own discourse. How to achieve he same in our curatorial discourse?\u00a0 In each thematic diagonal co-live proposals that correspond to different historical moments, to diverse objective and interests in his research, but they also refer to common aspects: they all account for his broad experimentation and crossing of his choreographic and audiovisual work. As a result of this collaborative process, a curatorial program reveals itself as a manner of kaleidoscopic windows, through which the diverse facets and perspectives of Merce Cunnigham\u2019s expanded choreography are shown. In the form of thematic diagonals, video-choreographic pieces, documentaries, filmic experimentations and complementary activities are presented, which together operate as a retrospective. This exhibition was also nurtured by a broad group of activities (workshops, performances, and talks) that orbit as satellites around a central axis offering the possibility of accessing to information and experiences tending to generate an in-depth immersion into content with specific directions. They are:\u00a0\u00a0\u00a0<\/span><\/p>\n Diagonal 1. <\/span>Videodancing the gaze: the choreographer behind the camera.<\/span><\/i><\/p>\n Diagonal 2. <\/span>Documentaries of the Merce Cunningham Dance Company<\/span><\/i>.<\/span><\/p>\n Diagonal 3. <\/span>Screendance Event: to extract, to assemble and to interpret randomly.<\/span><\/i><\/p>\n Diagonal 4. <\/span>LifeForms: As straight lines in curve universes.<\/span><\/i><\/p>\n Diagonal 5. <\/span>Videoarchives of historical collaborations.\u00e7<\/span><\/i><\/p>\n These 5 axis articulate the texts, which carry the authorship and the weight of some of the key referents of the Cuningham Universe translated into Spanish for the first time: David Vaughan, Roger Copeland, Nancy Dalva, and Merce himself, whose voice and image jump out from the paper to the reader thanks to the cared and bold design of the Paraguayan Paolo Herrera, who synchronized with the curatorial committee spirit since his first draft. Other translated voices were Annie Suquet\u2019s (from French) and Gilsamara Moura (from Portuguese) who supplied her academic vision, the first, and her dancing experience with the great choreographer, the latter. Written or adapted especially for this catalogue are the texts by Gabriel Villota Toyos (Spain), Ra\u00fal Parra Gait\u00e1n (Colombia) and the ones by members of the curatorial committee Paulina Ruiz Carballido (Mexico-France) and Mauro Cacciatore (Argentina). In this way, this book adds up to the synopses of the pieces included in this audiovisual exhibition (whose format could be adapted either to screenings in cinema theatres or as gallery installations, according to each festival member criteria), these fundamental texts that expand this publication, giving to it a three dimensional gaze, and turning it into a consulting material for students, researchers, and general audiences.\u00a0\u00a0<\/span><\/p>\n A detail to highlight is the international character of this first publication by REDIV: its curatorial committee includes members from Argentina, Brazil, Colombia, Mexico and Paraguay; the very first conversation with the MC Trust that gave birth to the project was held in Spain; translations and corrections were made in Argentina, Paraguay and France; and finally, its design, printing and release was in Asunci\u00f3n, Paraguay, in August 2019. We are certain that these spatial and time diagonals that weaved this publication since the very start of its process influenced heavily the result, enriching with no shade of doubt to the ones who participated in it, and we sincerely hope that Merce\u2019s revolutionary spirit infiltrates in every micron of this book-catalogue, unveiling itself from its pages and reaching the reader.\u00a0 \u00a0\u00a0<\/span><\/p>\n By Silvina Szperling, Mauro Cacciatore y Paulina Ruiz Carballido<\/p>\n <\/p>\n Merce Cunningham Centennial: lo elemental, lo impredecible, lo inesperado <\/b>(Merce Cunningham Centennial: The Elemental, The Unpredictable, The Unexpected)<\/i><\/b>.<\/b> Editors<\/i><\/b>: Trevor Carlson, Ken Tabachnick. <\/span><\/i>Coordinator<\/i><\/b>: Silvina Szperling. <\/span><\/i>Compilers\/Curators<\/i><\/b>: Mauro Cacciatore, Paulo Caldas, Alejandra D\u00edaz, Martha Hincapie Charry, Paulina Ruiz Carballido, Silvina Szperling. <\/span><\/i>Authors<\/i><\/b>: Mauro Cacciatore, Roger Copeland, Merce Cunningham, Nancy Dalva, Gilsamara Moura, Ra\u00fal Parra Gait\u00e1n, Paulina Ruiz Carballido, Annie Suquet, David Vaughan, Gabriel Villota Toyos.\u00a0<\/span><\/i>Graphic Design<\/i><\/b>: Paolo Herrera. <\/span><\/i>Translations<\/i><\/b>:\u00a0Alejandra D\u00edaz,\u00a0Mar\u00eda Jos\u00e9 Rubin,\u00a0Paulina Ruiz Carballido.\u00a0<\/span><\/i>Correction<\/i><\/b>: Mar\u00eda Jos\u00e9 Rubin. A publication of the Merce Cunningham Trust in collaboration with REDIV (Red Iberoamericana de Videodanza\/Screendance Ibero-American Network). <\/span><\/i>ISBN<\/i><\/b> 978-987-86-1456-4 (Asunci\u00f3n, 2019). <\/span><\/i>Distribution and sales<\/i><\/b>: <\/span><\/i>@rediv.oficial<\/span><\/i><\/a> or <\/span><\/i>@videodanzaba<\/span><\/i><\/a> (IG); <\/span><\/i>videodanzaba@gmail.com<\/span><\/i><\/a><\/p>\n <\/p>\n Photo: Cristian Palacios Feltes.<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" All the history of Modern Dance is literally …<\/p>\n","protected":false},"author":2,"featured_media":3703,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-3700","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lecturas-sugeridas","ediciones-loie-05"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/comments?post=3700"}],"version-history":[{"count":5,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700\/revisions"}],"predecessor-version":[{"id":3856,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/posts\/3700\/revisions\/3856"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/media\/3703"}],"wp:attachment":[{"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/media?parent=3700"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/categories?post=3700"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/loie.com.ar\/en\/wp-json\/wp\/v2\/tags?post=3700"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/loie.com.ar\/wp-content\/uploads\/2020\/02\/libro.jpg\")
<\/a>Cristian Palacios Feltes<\/span><\/span><\/div>\n<\/h5>\n