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septembre ‒ décembre 2011 Le Journal des Laboratoires 14 « À SUIVRE » : CAPTURE

septembre ‒ décembre 2011 Le Journal des Laboratoires 14 « À SUIVRE » : CAPTURER LE TEMPS DANS LA PERFORMANCE CONTEMPORAINE Bojana Kunst Projet réalisé avec le soutien de l'INHA (Institut National de l'Histoire de l'Art), Paris « Puisque chaque performance déroule le temps de façon spécifique, com- ment penser la relation entre le temps et les modes de travail ? Quels modes de travail peuvent échapper à l'accélération et l'actualisation constante d'une projection dans le futur ? Comment les artistes d'aujourd'hui travaillent-ils avec le temps et sa matérialité, et comment lier cela à la spécificité du re- gard ? Qu'est-ce que la dramaturgie a à voir avec l'économie du temps ?» D'octobre à décembre 2011, la philosophe et théoricienne Bojana Kunst pas- sera quatre fois une semaine avec un/e chorégraphe, artiste ou autre produc- teur/trice culturel/le : Danae Theodoriou, performeuse et chercheuse grecque, basée à Londres ; Boyan Manchev, philosophe et théoricien bulgare basé à Sofia, Paris et Berlin ; Ivana Müller, chorégraphe croate basée à Paris ; Igor Štromajer, net-artiste slovène basé à Hambourg et Lubljana. Ils exploreront ensemble différents aspects des processus de travail dans la création contem- poraine, leur relation au temps et les implications politiques, économiques et performatives d’une telle expérimentation. Ces rencontres « à temps plein » seront ouvertes au public, lequel sera invité à s'y joindre soit lors d'ouvertures publiques, soit sur rendez-vous, pour passer un moment plus ou moins long avec Bojana Kunst et sa/son partenaire en partageant et expérimentant le rapport particulier au temps que ces derniers seront en train d'aborder. Bojana Kunst est une philosophe, théoricienne de la performance, dramaturge et enseignante slovène. Elle est actuellement professeure invitée de l'Université de Hambourg (Département d'études de la performance). Elle est membre du comité de rédaction des journaux Amfiteater et Performance Research. Elle a publié quatre ouvrages, parmi lesquels Impossible Body (Ljubljana 1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collaboration in Contemporary Performance, Maska / Amfiteater, Ljubljana 2010 (dir. Bojana Kunst). Ses essais sont parus dans de nombreuses revues et publications, dont : « Prognosis on Collaboration », Prognosis uber Bewegungen, dir. Gabriele Brandstetter, Sibylle Peters, Kai van Eikels, B-Books, 2009, pp. 336–347, « Critical Writing and Performance Studies » in : Contesting Performance: Global Sites of Research, dir. Jon McKenzie, Heike Rooms, C. J. W. L-Wee, Palgrave 2009, « Affective Connection », Interfaces of Performance, Jenis Jeffries et all., Ashgate, Londres, 2010, pp. 169–184. Bojana Kunst is a Slovenian philosopher and performance theoretician, dramaturge and teacher. She works currently as a visiting professor at the University of Hamburg (Performance Studies). She is a member of the editorial boards of the journals Amfiteater and Performance Re- search. She published four books, among them Impossible Body (Ljubljana 1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collabo- ration in Contemporary Performance, Maska / Amfiteater, Ljubljana 2010 (ed. Bojana Kunst). Her essays have appeared in numerous journals and publications, among them: “Prognosis on Collabora- tion”, Prognosis uber Bewegungen, ed. Gabriele Brandstetter, Sibylle Peters, Kai van Eikels, B-Books, 2009, pp. 336–347, “Critical Writing and Performance Studies” in: Contesting Performance: Global Sites of Research, ed. Jon McKenzie, Heike Rooms, C. J. W. L-Wee, Palgrave 2009, "Affective Connection", Interfaces of Performance, Jenis Jeffries et all., Ashgate, London, 2010, pp. 169–184. “Because each performance deploys time in a unique way, how should one think about the relationship between time and modes of work? Which modes of work can escape the acceleration and constant actualization of a projection into the future? How do artists today work with time and its materiality, and can this be linked to the specificity of their vision? What is the relationship between the dramaturge and the economy of time?” In autumn 2011, the dance theorist Bojana Kunst will spend four whole weeks with a choreographer, artist, or other cultural producer (Danae Theodoriou, performer and researcher, Boyan Manchev, philosopher and theorist, Ivana Müller, choreographer, Igor Štromajer, net-artist), exploring the different as- pects of work processes within contemporary art, their relationship to time; and the political, economic and performative implications of such experimen- tation. These “full-time” meetings will be open to the public, either during public openings, or by individual appointment and will give participants the opportunity to share in the unique relationship to time Bojana Kunst and her partner are in the process of addressing. The material produced for these mee- tings will provide the basis for a publication, to appear in 2012. 11-15 octobre, 16h-21h Rencontre avec Bojana Kunst et Danae Theodoriou (sur rendez-vous individuel) lundi 31 octobre, 20h-23h Conversation entre Bojana Kunst et Boyan Manchev dimanche 20 novembre, 18h-00h Performance de Bojana Kunst et Ivana Müller 5-12 décembre, 10h-18h Rencontre avec Bojana Kunst et Igor Štromajer (sur rendez-vous individuel) Pour prendre rendez-vous, contactez Virginie Bobin au 01 53 56 15 94 et v.bobin@leslaboratoires.org Le Journal des Laboratoires 15 In the last few decades, one of the most commonly used words among artists, producers and other cultural workers has been the word project. We are all involved in projects, most likely several of them, we are implemented in the finalisation of old projects and are constantly starting new ones, continuously part of relentless projective movements of production. With every project we are moving towards the end of something ; from invention to completion, from the start of the process to its end, we are ‒ in a very specific way ‒ progressing to a final projection. The word project is so often uttered in contemporary culture and art that the sheer frequency of its use is already cause for alarm. This overwhelming denomination, which is used for all kinds of cultural products and artistic works, contains a peculiar temporal dimension which has never been stressed and questio- ned as such. In this short essay I would therefore like to reflect upon how this peculiar temporality is framing the contemporary artistic processes of making, collaborating and creating: project turns out to be the ultimate horizon of making in the present day. There is something very per- plexing at work in the projective temporality of the project: regardless of the myriad possibilities it opens up, it nevertheless projects its own completion as the ultimate horizon of work. The problem therefore lies in the fact that, regardless of the openings and transformations inside the projective temporality, the future is still projected as chronological continuity with the past, and the meaning rises from progressive continuation. It cannot be overlooked that the plain banality and everydayness of the use of the term project speaks to the fact that this term is often used as an empty signifier, a concept which doesn't imply anything in particular. It denominates nothing, adding nothing to what we actually do. It could be said that this term is used pragmatically for myriads of makings and doings. Am I then not inclined to squeeze too much out of the sheer pragmatic application of this particular word to the artistic work ? I am not so sure about that. I remember Myriam van Imschoot writing about another si- milarly "empty" word we utter when we would like to describe artistic work in everyday commu- nication. She writes about the word "interesting", which is nowadays often used as a descriptive adjective without any reference to the thing or work which one is referencing. Similar abstraction The Project Horizon: On the T emporality of Making by Bojana Kunst septembre ‒ décembre 2011 Le Journal des Laboratoires 16 of language is at work in the word project, where the reference to the temporality of the work is never questioned. Project always denominates not only a specific term, but also a temporal attitude or a temporal mode in which completion is already implied in the projection of the future. A lot of what artists do today seems to be caught up in this unaddressed and never-approached projective time. What we ironically get at the end is an ultimate abstraction, an "interesting project", which can even work as an undefined speculative value among the community of cultural producers and artists. Something immediately appears in the project when it is being described as an interesting one. The treacherous abstraction of the word project is one of the reasons why it is necessary to tackle and dismantle this term: it has to be put on the anvil because of its dangerous independence and implementation of everything in its temporal dynamics. The second reason lies in the fact that the projective temporality of work has multiple baffling consequences on the lives of those involved in the continuous creation of projects, especially in cultural and artistic fields. It seems that its abs- tract omnipresence is literally absorbing the experience of artistic work and work making, and at the same time forming the peculiar temporality of the subjectivity which is involved in its comple- tion. Projective temporality is tightly intertwined with the subjective experience of time ; it can be uploads/s3/ bojana-kunst-text-project-pdf.pdf