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DAY 8 May 9
And what about those who prefer not to appear?
Simon Asencio, Martina Leeker
And what about those who
prefer not to appear*?
Simon Asencio explores different modes of presence to reflect on notions of publicness, anonymity and performance on- and offline. Martina Leeker employs
and hyper-affirmative performing on topics of digital cultures as a critique.
Once I tutored a student who, over the course of our work together, became psychotic. This happened before my eyes and yet presented itself as a deep mystery. It was, among other things, a mystery in language. After the break the sentences in his essay paragraphs made no sense but they had great rythm and were very interesting. They possessed a leaping energy which seemed to be liberated (as if language were a demon which had been suffering under constraint).
One day he asked me if characters chose their authors. I sat for a moment silently, transfixed by the prospect of characters floating through the ether as they searched for the right "host". What should I say? Where did characters come from?
The silence lengthened and began to feel weird. I came up with something calm and rational, mostly because I didn't want my peculiar behaviour to impact a vulnerable student. But I would like to leave that question open (...)"
Under Grid: An Essay On Obscurity
in From Our Hearts to Yours, New Narrative as Contemporary Practice, Rob Halpern, Robin Tremblay-McGawn ed.
Simon Asencio creates performances that question the notions of liveness, stage and audience. His work takes the form of exhibition scenarios, text-based ephemera and covert acts. He often uses imposture and the expression of doubt as means to develop and present his work. Since 2014, he is a body for Jessica’s work, a protracted performance of real-life background acting; and works on the publication The Book of Rumours, an extended project on deceptive narratives and the performance of information. In 2018, he launched Memes, a series of text-based experiments to enable transferences of subjectivity. Recent presentations of his work include the Ujazdowski Castle for Contemporary Arts, in Warsaw; Immaterial Performance programme, in Mexico City; Celje Center for Contemporary Arts, in Slovenia; Jan Mot and Bureau des Réalités, both in Brussels. Residency projects include Triangle France, Marseille and BAR Projects, Barcelona.
Marina Leeker has a background in theatre studies and media studies, as well as in theatre/performance practice. She held an assistant professorship in “Theatre and Media” at the University of Bayreuth from 2002 to 2010 and was a senior researcher at Leuphana University Lüneburg, Centre for Digital Cultures from 2013 until 2018. She had been guest professor for media studies, and theatre pedagogy. Her research interests include: digital cultures; theatre/performance and media; theatre, performativity and digitality; art and technology; critique; posthuman (art) education; mimesis. As part of her academic work, Leeker is building on research with artistic methods, in particular performative methods, within lecture-performances and speculation-labs.