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Sobre o estalar da pele

with Ana Mira
baldio | estudos de performance

The undercommons is a space and time which is always here. Our goal – and the “we” is always the right mode of address here – is not to end the troubles but to end the world that created those particular troubles as the ones that must be opposed.

– Jack Halberstam (2015)

We invite you to participate in a collective practice of study from chapter 6. Fantasy in the Hold, from the book: Harney, Stefano and Moten, Fred “The Undercommons: fugitive planning & black study”. Wivenhoe, New York: Minor Compositions, 2013.

PDF is available online on the website http://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf (in case you can’t access this link, please use the browser)

This practice of study consists in a collective reading of the named chapter, in a conceptual speed dating experiment and in a generative reflection on the following minor concepts: hold, broke/broken/brokenness, hapticality and fantasy . The technique used in conceptual speed dating, transmitted and held in this practice of study, has been used by the Canadian collective Senselab in order to activate smaller concepts of philosophical texts, in an experimental and relational manner. After a careful reading of the selected text, we draw on it the trajectories of the concepts, hold, broke, hapticality and fantasy, their recurrences and constellations. In Sobre o Estalar da Pele we rehearse the movement of thought in a collective performance of the studies.

— Ana Mira

Ana Mira

Dedicates herself to research in dance and philosophy, performance, teaching and writing.
Finished her PhD in philosophy/aesthetics at Faculdade de Ciências Sociais e Humanas – Universidade Nova de Lisboa (2014). Did training in contemporary dance at C.E.M., Fórum Dança and at independent courses in Europe and the United States, highlighting the work of Steve Paxton, Lisa Nelson and Eva Karczag.

Her choreographic work was developed in collaboration with visual and performance artists and performed in theatres and galleries; including At Once, adapted from Deborah Hay (2010)’s choreography, 3 Estudos para Shihtao (2007), Dueto (2006). As a performer she collaborated with Pauline de Groot, Russell Dumas and Rosemary Butcher. As a scholar of Fundação para a Ciência e Tecnologia (2009), Fundação Calouste Gulbenkian (2007) and Gabinete de Relações Culturais e Internacionais/Ministério da Cultura (2002), she developed her studies at the Center for Research in Modern European Philosophy/Kingston University (UK), in the department of Performance Studies/Tisch School of the Arts/New York University, Movement Research and New York Public Library for the Performing Arts (US), Dans Studio Pauline de Groot and Dance Exchange/Russell Dumas (NL/AUS).

Has been teaching at CEM, Fórum Dança, Evoé – Escola de Actores, Faculdade de Motricidade Humana (PT), Experiencia Danza (ES), Independent Dance (UK). Escreveu The feet understand: o filme ABCDEFG (Sment, 2015) and Corpos escutando, na dança (Relógio d’Água, 2015).

baldio | estudos de performance

Space where one rehearses an interdisciplinary approach (crossing between the arts, social sciences and humanities), theoretical and practical (facing the art as a way to create world) and politically committed (not assuming the neutrality of science and art) to which we call Performance Studies. [https://baldiohabitado.wordpress.com/].

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