In the hall, ProtoZone14 hosts the site-specific installation DEAD TIME (Maggie’s Solo) by Cally Spooner. A choreography for a dancer and a cinematographer shot in one single take.
A main focus of Spooner’s project is asking how “performance”—the 24/7 demand to competitively “perform” (well) at all times, whether on social media, at work, or through efficient sleep—has come to govern our social bonds. And, not least, asking how such metric governance might be resisted by adopting other models of time.
In the screening room, Tai Shani’s new film, My Bodily Remains, Your Bodily Remains, And All The Bodily Remains That Ever Were, And Ever Will Be is shown.
The film is a poetic meditation on various historical resistance movements and groups, the spiritual dimensions of anti-supremacism, intersectional queer feminism, communism and revolutionary thinking. It recognises the emancipatory power of love and pleasure as a catalyst for radical change.
The works by Cally Spooner and Tai Shani can be visited for the entire duration of the ProtoZone from 6th of April. The rest of the space and time is dedicated to what we feel is now most urgent: live gathering. We invite you to gather around dance, around poetry, music, excursions, workshops and meals.
This live program starts on the first day of the ProtoZone with Politics of doughs, an itinerant recipe library and a participative meal gathering initiated by Larissa Tiki Mbassi. The process of dough making is the center of each encounter. For the gathering at Shedhalle, Cynthia Mai Ammann and Zoé Nguyen present their visual and sensory approach to « bánh baos » on the 6th of April 13-16h (register here, waiting list).
In the afternoon of the 6th, Alex Baczyński-Jenkins’ performance Federico will be shown for one day only . This is a choreography of desire in the smallest scale, that mobiles affect and sensuality, as a means for a queer archive of touch. It will be repeated three times over the course of the evening.
In May we continue the live-program.
On the 4th of May, Ivo Dimchevs’ METCH invites to different modes of gathering around an artwork and builds gentle forms of trust by generating an intimate community with the audience.
“METCH is a concert exhibition, an auction, an exercise, an excessive production of paintings, an obsessive dialog with the audience and of course the songs… I know many people come to my shows because they like my songs. For good or for bad those people will need to experience or crash with my very complex and unpredictable relationship to theatre, dance, politics, and contemporary art. “ Ivo Dimchev
On the 11th of May, we will re-visit the dialogic formats we developed in January at Shedhalle. This day invites the visitors to speak and listen to each other from their perspective and with their hearts. We will be supported by artist-in-residence Naghmeh Manavi and her writings. Her current works study neuroscience, power structures and political matters at the level of personal daily life. Social and collective acts are considered a performance practice with the collective narrative as the score.
On May 18th, we continue with aLifveforms (fed and card for by JP Raether). JP Raether’s transdisciplinary performative work attends to a group of constructed and constantly evolving identities. These aLifveforms are composed of language, technological skins, digital devices, and Raether’s fleshly body, which they embrace and from whose identity they simultaneously continue to detach themselves more and more. The SelfSisters, or AlterIdentities, are site-specific, colorful beings interwoven with everyday objects, whose works address the constitution of reality through language.
Currently, three active lines are “alive”, dedicated to topics such as reproductive and biotechnologies (Transformella), globalized tourism (Schwarmwesen) or occult substances of contemporary technology (Protektorama). The reproductive lifeline Transformella malor visits each of the 468 “Ikealities” around the world – the local store of the global furniture chain. In the course of her algorhythmic ritual, which is set to last for decades, she has already appeared in Berlin, Bergen, Warsaw, Hamburg and Düsseldorf, among other places. At Shedhalle in May 2024, she will take visitors on a journey to Ikeality in Dietlikon.
In the course of the last weekend of ProtoZone14, Shedhalle hosts an iteration of The Institute for Embodied Creative Practices for the second time. Isabel Lewis has been modelling “The Institute” since 2016 under various names and different formats. The experimental Institute and research center reimagines the format of “institution” and speculates what a cultural/educational institution of the future can and could be. It works toward innovation on the structural, organizational and sensory levels in order to make fertile ground for the emergence of new forms of cultural production, reflection, and critique.
The Institute for Embodied Creative Practices at Shedhalle is co-hosted by Isabel Lewis together with artists and scientists from Zurich as well as international academies. (more info on program and participation coming soon)
