BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20230515T000000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:22d1a5e5809f901569f85350667ab047 CATEGORIES:Colloques CREATED:20240507T091042 SUMMARY:Re-playing It Again Symposium LOCATION:Centre for Contemporary Arts (CCA) - 350 Sauchiehall St\, Glasgow\, \, \, R oyaume-Uni DESCRIPTION:The Re-playing It Again symposium (https://www.cca-glasgow.com/whats-on/col lection/re-playing-it-again-symposium) is the culmination of a 4 year resea rch project led by Baptiste Buob, Christophe Triau, Carl Lavery and Nathali e Cau and is part of a larger Labex research programme, Les Passés dans le présent : (Re)play it again : reenactments et non-reconstituables (http://p asses-present.eu/fr/replay-it-again-reenactments-et-non-reconstituables-443 45).\nWhat does it mean to re-play something – an event, a film, a history, a politics, a building, a body, a set of gestures, an earth, a life, a lan dscape? Why the hyphen in the word ‘re-play’? How does re-playing co-exist with established strategies of re-enactment? Where does the difference lie? And why are artists so drawn to re-playing as both method of working and c atalyst for production? \nThese are some of the questions that this symposi um looks to investigate at a time when there is so much clamour from progre ssive thinkers and activists to abandon the past and imagine the future, to leap beyond the nightmare of the long twentieth century – the one that see ms so impossible to exit, that weights on the minds of the living like a tu mour. But what if the future was already in the past, lurking radioactively in roads not taken, in failed appointments and missed opportunities? Perha ps artists, of all people, are the ones most keenly attuned to this disjunc tion, aware, as they often are, that there is nothing new under the sun, th at everything is a recycling of something else.\n\nIf this is the case, the n it seems crucial to explore how contemporary artists engage with the idea of re-playing, talking with them about their practices, experimenting with their diverse findings. The artists and thinkers in the symposium have lit tle truck with modernist and colonialist notions of ‘originality’ – a kind of scorched earth policy, a spurious, imperialist venture into terra nulliu s. Instead, they look to re-play the past, stopping and stilling it, so tha t new possibilities can emerge from the ‘shock of the old’. In this ethics of ruin, this politics of abandonment, it may become possible to reconfigur e how we ‘do’ the present so as to contest the progress myths of modernity and imperialism. This would be a perverse and playful mode of contestation that moves forward by going backwards. In this ‘tactics of the re-play’, on e uncovers the power to resist all those reactionary notions of heritage an d history that look to attribute everything to its proper time and place. A nd through that – who knows? – it may even be possible to breathe new life into that most seemingly defunct of all concepts: the idea of revolution, c onceived now as a geometric figure that, like a compass, creates the new by rotating back on itself, coming full circle.\n\nArtists and thinkers who w ill be responding to these questions and showing work include Gerard Byrne, Delafontainetniel, La Compagnie Dodescaden, Sarah Browne, Conor Carville, Minty Donald and Nick Millar, Graham Eatough, Ashanti Harris, Luke Fowler, Lee Hassall, Emmanuel Grimaud, Kevin Leomo, Sarah Neeley, Vincent Rioux, Fa rah Saleh, and Simon Starling.\nSymposium organised by Carl Lavery, Dominic Paterson and Melanie Lavery.\nPanel Descriptions\n\nReplaying Lostness – W ed 15 May, 16.00- 21.00 (Cinema)\n\nThis panel explores the relationship be tween re-playing and film. Luke Fowler and Sarah Neely discuss Luke’s film Being in a Place in the context of what it means to re-play an unmade film project by Margaret Tait; and Emmanuel Grimaud investigates how film is abl e to re-play the ghosts and spectres of forgotten lives (historical and met aphysical) in the city of Kolkota. The panel is bookended by Kevin Leomo’s new sonic piece, Sound space, based on a re-siting and rethinking of the Ge rman Klangraum, an annual gathering of artists who participate in daily sha rings of their work. Kevin’s piece will return throughout the Symposium, bu t always in a different form.\n\nRe-Playing Bodies and Gestures – Thursday 16 May, 9.30 – 14.15\n\nThis panel starts with a performance lecture by sch olar, choreographer and dancer, Farah Saleh in which she thinks of how one can re-play an archive of lost Palestinian gestures. Artist Simon Starling and theatre maker Graham Eatough continue the theme by constructing a playf ul dialogue to reflect on a series of theatrical re-enactments they have wo rked on together in past decade or so; and Lee Hassall performs a strange, ekphrastic hommage to Dorothy Wordsworth’s 1803 text, Recollections of a To ur Through Scotland.\n\nRe-Playing Beckett – Thursday 16 May, 15.00- 18.00\ n\nThis panel investigates the perennial appeal that Samuel Beckett has for contemporary visual artists and film-makers. Gerard Byrne premieres a new work based on Beckett’s plays, Conor Carville provides a critical introduct ion to Beckett’s relationship with visual art, and Sarah Browne reflects on how Beckett’s texts can be repurposed for non-neurotypical modes of sensin g with reference to her public art project Echo’s Bones.\n\nRe-Playing the City – Friday 17 May, 9.30-12.30\n\nThis panel asks what does it mean to re -play a city? The architect-artists delafontainetneil respond to the provoc ation by creating a short, time-lapse film in which two very different imag es of Paris are juxtaposed in the single time-space of the screen. By contr ast, Minty Donald and Nick Millar seek to re-play the city of Glasgow by en couraging participants to engage in a process of ‘re-scoring’, a method bas ed on the performance ‘scores’ of avant-garde practitioners from the 1950s onwards.\n\nRe-Playing Dance – Friday 17 May, 14.30 – 16.00\n\nThis panel c onsists of two dance performances that engage with the idea of re-playing i n different ways. Ashanti Harris extracts a segment from her dance work Dan cing a Peripheral Quadrille for the physical space of the CCA and in the pr emiere of Jellyselfish, the Marseille-based company Dodescaden re-work thei r previous re-rendering of Jean Rouch’s 1955 film Les Maîtres Fous.\n\nRe-p laying the Re-play – Saturday, 18 May, 9.30 – 13.00\n\nThis panel starts wi th a performance lecture by French artist Vincent Rioux, which meditates on the function of entropy in In Absensia, a previous collaboration with La C ompagnie Dodescaden. Rioux’s ‘re-playing of a re-play’ is continued in a sp ecially curated discussion led by the organisers in which all participants (artists and audience) in the ‘Re-Play It Again’ symposium are invited to r eturn to any theme or image that enthused them and to re-play it in present time. The panel ends with Kevin’s Leomo’s sonic score.\n\nCinema Film Loop – 16 and 17 May\nThere will be a selection of films playing on loop in cin ema on 16 and 17 May. These are free.\n \n \n X-ALT-DESC;FMTTYPE=text/html:R epit Symposium

The Re-playing It Again symposium is the culmination of a 4 year research project led by Baptiste Buob, Christo phe Triau, Carl Lavery and Nathalie Cau and is part of a larger Labex resea rch programme, Les Passés dans le présent : (Re)play it again : reenactments et non-reconstituables.

What does it mean to re-p lay something – an event, a film, a history, a politics, a building, a body , a set of gestures, an earth, a life, a landscape? Why the hyphen in the w ord ‘re-play’? How does re-playing co-exist with established strategies of re-enactment? Where does the difference lie? And why are artists so drawn t o re-playing as both method of working and catalyst for production?< p> 

These are some of the question s that this symposium looks to investigate at a time when there is so much clamour from progressive thinkers and activists to abandon the past and ima gine the future, to leap beyond the nightmare of the long twentieth century – the one that seems so impossible to exit, that weights on the minds of t he living like a tumour. But what if the future was already in the past, lu rking radioactively in roads not taken, in failed appointments and missed o pportunities? Perhaps artists, of all people, are the ones most keenly attu ned to this disjunction, aware, as they often are, that there is nothing ne w under the sun, that everything is a recycling of something else.
If this is the case, then it seems crucial to explore how contemporary artists engage with the idea of re-play ing, talking with them about their practices, experimenting with their dive rse findings. The artists and thinkers in the symposium have little truck w ith modernist and colonialist notions of ‘originality’ – a kind of scorched earth policy, a spurious, imperialist venture into terra nullius. Instead, they look to re-play the past, stopping and stilling it, so that new possi bilities can emerge from the ‘shock of the old’. In this ethics of ruin, th is politics of abandonment, it may become possible to reconfigure how we ‘d o’ the present so as to contest the progress myths of modernity and imperia lism. This would be a perverse and playful mode of contestation that moves forward by going backwards. In this ‘tactics of the re-play’, one uncovers the power to resist all those reactionary notions of heritage and history t hat look to attribute everything to its proper time and place. And through that – who knows? – it may even be possible to breathe new life into that m ost seemingly defunct of all concepts: the idea of revolution, conceived no w as a geometric figure that, like a compass, creates the new by rotating b ack on itself, coming full circle.

Artists and thinkers who will be responding to these questions and showing work include Gerard Byrne, Delafontainetniel, La Compagnie Dodescad en, Sarah Browne, Conor Carville, Minty Donald and Nick Millar, Graham Eato ugh, Ashanti Harris, Luke Fowler, Lee Hassall, Emmanuel Grimaud, Kevin Leom o, Sarah Neeley, Vincent Rioux, Farah Saleh, and Simon Starling.

Symposium organised by Carl Lavery, Domini c Paterson and Melanie Lavery.

Panel Descriptions

Replaying Lostness – Wed 15 May, 16.00- 21.00 (Cinema)

This panel explores the relations hip between re-playing and film. Luke Fowler and Sarah Neely discuss Luke’s film Being in a Place in the context of what it means to re-play an unmade film project by Margaret Tait; and Emmanuel Grimaud investigates how film is able to re-play the ghosts and spectres of forgotten lives (historical a nd metaphysical) in the city of Kolkota. The panel is bookended by Kevin Le omo’s new sonic piece, Sound space, based on a re-siting and rethinking of the German Klangraum, an annual gathering of artists who participate in dai ly sharings of their work. Kevin’s piece will return throughout the Symposi um, but always in a different form.

Re-Playing Bodies and Gestures – Thursday 16 May, 9.30 – 1 4.15

This panel st arts with a performance lecture by scholar, choreographer and dancer, Farah Saleh in which she thinks of how one can re-play an archive of lost Palest inian gestures. Artist Simon Starling and theatre maker Graham Eatough cont inue the theme by constructing a playful dialogue to reflect on a series of theatrical re-enactments they have worked on together in past decade or so ; and Lee Hassall performs a strange, ekphrastic hommage to Dorothy Wordswo rth’s 1803 text, Recollections of a Tour Through Scotland.

Re-Playing Beckett – Thursday 16 Ma y, 15.00- 18.00

Th is panel investigates the perennial appeal that Samuel Beckett has for cont emporary visual artists and film-makers. Gerard Byrne premieres a new work based on Beckett’s plays, Conor Carville provides a critical introduction t o Beckett’s relationship with visual art, and Sarah Browne reflects on how Beckett’s texts can be repurposed for non-neurotypical modes of sensing wit h reference to her public art project Echo’s Bones.

Re-Playing the City – Friday 17 May, 9.30- 12.30

This panel a sks what does it mean to re-play a city? The architect-artists delafontaine tneil respond to the provocation by creating a short, time-lapse film in wh ich two very different images of Paris are juxtaposed in the single time-sp ace of the screen. By contrast, Minty Donald and Nick Millar seek to re-pla y the city of Glasgow by encouraging participants to engage in a process of ‘re-scoring’, a method based on the performance ‘scores’ of avant-garde pr actitioners from the 1950s onwards.

Re-Playing Dance – Friday 17 May, 14.30 – 16.00

This panel consists of two d ance performances that engage with the idea of re-playing in different ways . Ashanti Harris extracts a segment from her dance work Dancing a Periphera l Quadrille for the physical space of the CCA and in the premiere of Jellys elfish, the Marseille-based company Dodescaden re-work their previous re-re ndering of Jean Rouch’s 1955 film Les Maîtres Fous.

Re-playing the Re-play – Saturday, 18 May, 9.30 – 13.00

This panel starts with a performance lecture by French artist Vincent Rioux, wh ich meditates on the function of entropy in In Absensia, a previous collabo ration with La Compagnie Dodescaden. Rioux’s ‘re-playing of a re-play’ is c ontinued in a specially curated discussion led by the organisers in which a ll participants (artists and audience) in the ‘Re-Play It Again’ symposium are invited to return to any theme or image that enthused them and to re-pl ay it in present time. The panel ends with Kevin’s Leomo’s sonic score.

Cinema Film Loop – 16 and 17 May
There will be a selection of films playing on loop in cinema on 16 and 17 May. These are free.

 

 

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