PRACTICABLE 9_Open call: “Why I never became a dancer, anotado” by Jeleton

Practicable 9 proposes a new “anotado” of the series of workshops-publication of Jeleton (*) to investigate by doing from the piece Why I never became a dancer (1995), by Tracey Emin. Anotados are a series of collective publications where several people gather around a work of art that has circulated in the artistic field and is part of the imaginary of contemporary art, to which they add textual, graphic or sound “footnotes”. Avoiding the value judgment or criticism of the piece, the objective is to find out where we can take it, from our perspective and experience, what we can do with it. In our case, this piece serves us to talk about what: it is not said, it is difficult to say, or they tell you not to say, and the consequences of talking about it, the fans, the haters.

From this piece we will do an intensive workshop session of five hours in person. In this session, we will share the piece and how we each of us see it. Throughout the following week, we will open an editorial committee to create a collective publication, where you can get more or less involved depending on availability. The resulting publication is a collective fanzine in black and white photocopies, free distribution and not limited edition.

The proposal has a maximum of 15 participants, selected by a short motivational text, and remunerated with €50 for their contribution to the collective publication. If you are interested in participating in Why I never became a dancer, anotado please fill in the inscription form before Thursday, June 27th.

Practical information:
-Date and time: Saturday, July 6, from 11 am to 4 pm (5 hours); from Monday, July 8 to Friday, July 12, from 11 am to 3 pm.
-Venue: Ricson Room & Antiguas Oficinas, Hangar
Free activity with previous registration here

Equipo Jeleton (Gelen Alcántara & Jesús Arpal Moya) is a team to operate in iconographic, literary, musical repertoires. To propose self-taught practices and the publication of provisional results for debate. To bring authorship to situations of inexperience, humor, appropriation. To disperse the results in space, time and distribution channels, making it difficult to deactivate them by the context of presentation. They have produced and presented their work in various exhibitions, workshops and documentary and research projects (X Bienal Centroamericana, Costa Rica, 2016; Halfhouse, Barcelona, 2016; Tabakalera, San Sebastián, 2016; MACBA, Barcelona, 2016; Kadist Art Foundation, Paris, 2015; TEOR/éTica, San José, Costa Rica, 2015; La Taller, Bilbao, 2015; Museo El Chopo, Mexico City, 2015; Kunstverein Hildesheim, Hildesheim , 2015; AlhondigaBilbao, 2014; Bulegoa z/b, Bilbao, 2014; Arteleku, Donostia, 2014; ZarataFest 2013, Bilbao; Ladyfest Madrid 2013, Madrid; DAFO, Lleida, 2013; consonni, Bilbao, 2012; CA2M, Móstoles, 2012; ENPAP, Bilbao, 2012; Sametitled, Berlin, 2012; General Public, Berlin, 2012; Arizko Dorretxea, Basauri, 2011; Manifesta 8, Murcia, 2010; Casa Vecina, Mexico City, 2010; Le Centquatre, Paris, 2009; Espacio Abisal, Bilbao, 2008, among others).

(*) Links to previous publications in the series:

-“1760-2008, All That Is Solid Melts Into Air, oharduna”, “Torre Ariz”, Basuri, 2010.
-“Die Welt, anotado”, “Casa Vecina”, México, 2010.
-“Répétitions, anotado”, CA2M, Móstoles, 2010.
-“Rock My Religion, annoté”, “Le Centquatre”, París, 2009.

Image: Equipo Jeleton

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