Monday 3rd January
the 53rd etude
Happy new year!
Each week this month I’ll be announcing a new part to etude. Some are fairly basic and are just improvements to help streamline how I find shows and others are a bit more different. This week I want to tell you all the I’ve set up a google form for people to send me details about their online events.
Not the most exciting announcment but it does really help me
I really enjoy lining up current shows along side some archive shows but some weeks I can’t find any contemporary shows. Making submissions to etude a bit more transparent will be fairly helpful with this. There are around 250 subscribers to this newsletter and there tends to be a click through rate of about 10% per link so you can potentially get 25 more eyes on your event. It doesn’t seem like much but from talking to a few people, they may not click through to the event via etude but they tend to keep an eye out for future events by a selected company/artist.
This may sound daft but please only send shows that can be viewed via a screen or listened to. This can mean livestreams,games,podcasts or even an archive performance.
The link to the form is here - https://forms.gle/49AusKw7Nw5iAn229
There will also be a button at the end of each etude for you to click on and to submit your show.
Below is this weeks selections.
from Saturday January 8th
An epidemic of addiction is raging in the world of mermaids. The mermaid Undine is addicted to hard plastic! In search of her daily dose, she ends up moving between an aquarium and a hydroponic garden in an apartment building in the middle of a city. There she meets the deeply unhappy Rodmenia, the wife of a tailor, and her neighbour Anselmo, an eccentric philosopher. Undine stays in the aquarium in Anselmo’s study, where she appeases her addictive hunger with plastic busts of famous philosophers.
Undine’s arrival shakes Rodmenia and Anselmo out of their respective ruts. The two neighbours become obsessed by the mermaid. Her magic world, in which she manipulates and seduces, stirs up an unprecedented desire for something glorious. Whereas Rodmenia sees this as a chance to escape her lonely, depressing existence and take charge of her own life, Anselmo sees Undine as a trophy, and the answer to the philosophic questions upon which his life has foundered. They each abandon themselves to their excessive desires, with far reaching consequences.
There were Two Brothers with new names
A live twitter stream performance of a folk story that details the founding of the artist’s parent’s hometown in Nigeria.
the names have changed, including my own and truths have been altered
This is a story of the artist’s grandfather, the story of the ‘land’ and the story of an encounter with Nigeria – retold at a single point in time, in a single place. The artist is trying to tell a truth in as many ways as possible. So the names have changed tell us the same story in four different ways: a folktale of two brothers rendered in the broad, unmodulated strokes of colonial British moving images; a Nollywood TV series, on VHS, based on the first published Igbo novel; a story of the family patriarch, passed down through generations; and the diary entries from the artist’s first solo visit to her family’s hometown.
The girls the girls the girls
Are the girls which you told ones your mythic wishing-sense has schemed?
Faun, the illusion, when the fountains teemed, fled her cold, blue eyes - she untouched.
But the second, full of sighs, say you how much
Like a hot day’s breath she fled your fleece?
If not? Through this still, slack-flesh piece
The Co(te)lette Film is the film version of the dance production Co(te)lette. British director Mike Figgis was on board to direct this uncompromising film based on a concept and choreography by Ann Van den Broek. The film was selected for the segment ‘Belgian Cinema Today’ of the International Film Festival in Ghent.
In The Co(te)lette Film three women dance in a rather intimate atmosphere, caught between desire and fulfillment. No confrontation, rivalry, story, solution or ending; the storyline in The Co(te)lette Film is restless and empty.
It concerns three women who are confronted by their own bodies as well as the bodies of the other women. They also want to engage the spectators standing around the podium. Thanks to the camera work, which alternates between close-ups and long shots, the cinema audience is engaged as well. All the elements add up to a confrontational performance about desire, lust, fulfillment, attraction, rejection, seduction, searching, finding and not finding. Unlike the stage production, in the film there are spectators standing around the podium. When Ann Van den Broek won a prestigious Dutch dance award for Co(te)lette, the jury called it ‘a daring and fragile choreography, raw, confrontational and gripping’. There is no better way to describe the physical power of the performance. The scars on the dancers’ bodies are visible. Figgis’s camera is merciless.”
Ryan Trecartin’s movies unfold like futuristic fever dreams. Collaborating with his cast, Trecartin’s layered aesthetic reveals high-definition uncanniness, wherein digital life dynamics and gamesmanship merge with pop culture histrionics and banality. In CENTER JENNY, part of Trecartin’s presentation at the 55th Venice Biennale, his characters continuously evolve towards a post-human realm through reality show hermeneutics, prosumer rhetoric, and collegiate rituals.
Thanks as always for reading.
Please do share with your friends and I hope you find something you enjoy. If you have a show please do let me know!
See you next week