Education and culture DG - Culture programme
With the support of the Culture Programme of the European Union

Editorial

In spring 2011, Les Laboratoires d'Aubervilliers presented, during three days, about fifteen artistic dispositifs. Each of these, in its own way, generated forms of discourse in real time and in public. Conceived as a performed magazine, this Special Issue #0 came as an response to the recent multiplication of discursive performances. This development often takes place in the margins of more conventional production formats. We found it necessary to give it an own frame.

After Special Issue #0, we invited other artists and structures to take hold of this proposal and invent it anew, starting from a same question : «How does performance today publish discourse ? ». As is the case of les Laboratoires d'Aubervilliers, Mugatxoan (San Sebastian), In-Presentable (Madrid), Station (Belgrade), Hybris Konstproduktion (Stockholm) and BIS (Istanbul) are structures...

In spring 2011, Les Laboratoires d'Aubervilliers presented, during three days, about fifteen artistic dispositifs. Each of these, in its own way, generated forms of discourse in real time and in public. Conceived as a performed magazine, this Special Issue #0 came as an response to the recent multiplication of discursive performances. This development often takes place in the margins of more conventional production formats. We found it necessary to give it an own frame.

After Special Issue #0, we invited other artists and structures to take hold of this proposal and invent it anew, starting from a same question : «How does performance today publish discourse ? ». As is the case of les Laboratoires d'Aubervilliers, Mugatxoan (San Sebastian), In-Presentable (Madrid), Station (Belgrade), Hybris Konstproduktion (Stockholm) and BIS (Istanbul) are structures created by artists in order to produce adequate environments for an art in the process of being invented. We all strive to maintain this relation through which the frame derives from a practice rather than the opposite.

Thanks to the support of the European Community, 6 issues will take place between June and December 2012.This diversity of forms and contents, as well as the cooperation between very different artists and structures, allows us to constitute an transnational platform within which each issue reflects its own context while contributing to developing the general project.

By announcing a form that is not yet determined, although it might seem paradoxical, the project of a performed publication allows artists to leave aside, for a moment, the question of medium. For example, the suspension of parameters often understood as constitutive elements of performance, such as co-presence, the visibility of bodies or the determination of a finite temporal framework, makes way to the constitution of custom-made spaces for specific interrogations and affirmations. Indeed, motivations rather than form redefine practice.

The very nature of Special Issue demands a constant crossing over different scales. The artists engaged with Special Issue work across countries and form together an transnational community. This community develops a discourse, a set of questions, notions and articulations that feed and constitute it. In the same time these artists live « somewhere » and each one's political, economic, social, professional and personal context differs greatly depending of the place they inhabit. The public of each issue, with its expectations and concerns, varies as well. The meeting of practices ands concerns that are shared on an transnational level with the particularity of each context informs the very nature of the issue that it hosts.

This back-and-forth movement between forms and stakes of discourse, between local and transnational engagements is the very matter of the experimentations that Special Issue puts at play. For we are not interested in stabilizing a structure or assuring the permanence of a new frame; we strive to maintain in a state of questioning the possible lives of a discourse that is produced in public.

Alice Chauchat

Special Issue #0

Aubervilliers

April 2011 to May 2011

Les Laboratoires d’Aubervillers are proud to present Special Issue, a publication that brings together a series of dispositifs for the production of live discourse. It is performed from time to time in varied contexts. Special Issue #0 takes place from April 29th to May 1st 2011 at Les Laboratoires d'Aubervilliers.

Emisiones Cacatùa

Madrid

June 2012

Z: Emisiones Cacatúa (Cockatoo transmissions) is a pseudo-radio, an experiment, an excuse to mix contexts that are not always linked and that you and I connect through the project. In Madrid, for example, the theater and performance context with the local context of the Lavapiés neighborhood and more specifically with Esta es una plaza (self-managed urban orchard and community garden).

The Public Office

Stockholm

October 2012 to November 2012

Since 2006, Dilettant – run by performers/choreographers Anders Jacobson and Johan Thelander, in collaboration with numerous artists – has proposed different formats for cooperative modes of artistic, discursive and organizational practices. Our projects have been situated in choreographic contexts, addressing overall structures and strategies of organizing, bureaucracy and politics.

The Mountain of Aubervilliers

Aubervilliers

September 2012

In the frame of the european project « Special Issue », dedicated to forms of « performed publication », choreographers Rémy Héritier and Laurent Pichaud invited photographer Gilles Saussier, artist and writer Marcelline Delbecq, visual artist Mathieu Bouvier, graphic design studio officeabc, and Anne Kerzerho, head of studies at the CNDC school in Angers, to form the editorial board of a temporary publication, for a duration of 13 days.

Şantiye

Istanbul

August 2012

In order to evaluate the contemporary performing arts practices in Turkey as well as the qualities and lacks of the nexus of production and critique, it would be helpful to follow the culture policies back to the Republican era and just after. For, the abrupt introduction of reformative implementations and models in the frame of westernization determined the current cultural life and texture of the country to a certain extent.

Special Present

January 2013

When the Special Issue partners met for the last time in Stockholm in November 2012, they raised the question of a collective production to cristallize and assess the shared issues at stake in the project, out of a desire to deepen the exchanges it initiated. However, how could a collective text do justice to the specificities and the variety of each issue ? Thus they chose to imagine a new discursive platform, based on particular relationships, that would shed an original light on each Issue. Between December and January 2013, each participant prepared a « Special Present » for another, randomly drawn participant, taking the form of his/her choice : letter, text, score, video, sound file, image… These « presents », conceived as feedbacks or preambles to further discussions around the different Special Issues, were all released on January 15, 2013 on this website. Enjoy!

A Disembodied Voice, Towards Love

Donostia-San Sebastián

October 2012

Mugatxoan operates in the field of the relations between the immaterial subject and the spectator, locating the production of these devices within the area of performance and its derivations.

Mugatxoan is a choreographic project: choreographic in the sense of the space/time relations between the people involved in it, the people who enter and leave, who pass through; it is a form of essence and state. This space/time relation proposed by Mugatxoan forms a necessary ecosystem based on open dialogue and common investigation. It allows one to stop and take time, and thus to immerse oneself in the work, in the reflection, in the questions and concerns that arise within the shared work. It is a place where practice itself becomes theory for and because of the production of knowledge, analysis and the search for other means of production.

Choreography of attention

Belgrade

October 2012

Station Service for contemporary dance is a collective initiative of artists and cultural workers preoccupied with questions of how to make visible knowledge production immanent to dance in larger cultural and social contexts. In other words, we have been concerned with discursive practices developed by artists, through projects, organization models, political actions and interventions, words and texts.
In the frame of “Special edition”, Station proposed a format of laboratory for collaborative research of dancers, choreographers, curators and visual artists around the concept of “choreography of attention”.

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Original

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Additional

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