The Sinister Seminar (Events To Die For Series Book 1)

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What happens when you insist on cultivating a process, the unpredictability and the change within a finished performance? The artists have created a concept where they are able to develop and understand their own artistic practice, with each other and at the same time with the children and the young, through layers of choreographic rules, dance scores, and sound landscapes in wireless headphones.


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In this version of Choreography in Action we will try out parts of the concept followed by a dialogue around the aspects of working with exploration and participation from a workshop format to a participatory performance format. Mette Overgaard, Marlene Bonnesen and Lars Dahl Pedersen The three artists are working together on supporting and developing their individual choreographic practices. They focus on involvement, development, and sharing of practices. They produce and have presented work through the company Running Sculptures since New artist every Monday.

It is in English and admission is free. Afterwards, a number of the paticipating artists in the exhibition will introduce their works or perform, give a lecture etc. OBS: Dance performance is cancelled due to injury. Adam Fenton and Rebecka Berchtold wil nevertheless be a part of the artist tour. The choreographer, theatre maker and cultural worker Dalija Acin Thelander is engaged in research and creation in the field of contemporary dance for babies and children.

Fundamental for Dalija Acin Thelanders motivation to create for the youngest audience is the perception of the child as equal to an adult, worthy of encountering arts in early years. Dalija will Monday 13 May at 7pm present some of her performances for babies months and introduce the choreographic methods and main approaches related to her performative practice and movement.

She will emphasize the general concerns related to performing and creating for babies. This lecture aims to encourage rethinking and challenge the concepts and aesthetics of performing arts for babies, both from the perspective of creating and performativity. Dalijas choreographic practice for babies is grounded in sensorial-perceptual perspective and she will speak about some of the key aspects of her work: — notion of choreography as expanded practice — synergy of choreography and installation art — sensuous interrelationship of body-mind environment — agency as politicized aesthetic practice — mutually influential exchange between the performers and audience.

About the artist Dalija Acin Thelander She works within the performing arts field as a choreographer, theatre maker and cultural worker. She has been involved in intensive research and creation in the field of contemporary dance for babies and children since , asserting the importance of the early encounters with art.

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Her performances for the youngest audiences have successfully toured in Japan, Korea, China, India, Brazil and Europe. In she created commissioned performance for babies for the Royal Opera House in Stockholm, Sweden. She shared the findings of her research and practice internationally throughout numerous of lectures and laboratories.

Their poetry, breath-taking, subversive, grotesque, displaying resistance and political repression, will be unfolded, on occasion of this event, through readings, talks and conversations. The event is in English and takes place in Chartlottenborg Art Cinema. Free sandwiches will be provided. Among a lot of literary awards, Kim Hyesoon was the first woman poet to receive the prestigious Kim Su-yong Literary Award, and she has been translated into several languages from Chinese to Swedish. The kind of writing that has definite subjects and objects, that depicts its objects in detail, objectifying them, then adding grandiose aphorisms to them is, of course, masculine writing that has been preserved in Korea by history.

In that place, there are sounds that are considered embarrassing to the world of meaning, but not at all to the world of body sound. This realm has long been traveled by women represented in Korean shaman narratives, muga. Kim translates hell, as a daughter of neocolony, and I translate her translated hell as a daughter from the neocolony — two daughters too many.

She has received numerous awards for her poetry and has a PhD in Korean feminist poetics. The confession flows inside the landscape and the landscape soars inside the confession. These two elements of her poetry are interconnected in the way eros gets pulled up to the divine place. Her poetry appears as poetry, it also appears as prose. Her poetry is the theater of multiple personality.

You hear the voices of hundreds of people, hundreds of things. These naked living things become her poetic subjects. In each poem, the different sensations of each body are invented. She punishes herself and accepts her own unsightly, gutless face. Her poetry is engaged in the difficult process of discovering the other inside her. Her rhythm, which emerges from the fishnet of interconnections, bites power and sets her free. In her books, she addresses issues of transnational adoption, nationalism and racism. He writes criticism about translation theory.

I am really interested in the anxieties that surround translation: on one hand that the anxiety that the foreign influence will corrupt the domestic poetry, and on the other hand the anxiety that the translation is corrupting the foreign text. A number of the paticipating artists in the exhibition will introduce their works or perform, give a lecture etc.

Every Monday at pm Dansehallerne presents meetings between affiliated artists and guests from other programs and performances presented by Dansehallerne.

The artists share their thoughts about artistic work through conversations, installations, performances or films. The program is in English and admission is free. Heartland will also launch the Heartland Program Paper, along with a few of our collaborative projects which is announced regularly for the event. You can buy delicious MikropolisCocktails and restaurant Apollo Bar will create a special Heartland co-lab serving for one night only. For two years, Rasmus Dalland has traveled through Europe to talk with the leaders of the so called identitarian movement.

This evening we gather four colleagues from Denmark and Sweden. They represent the project; CAMP — creative agent manager producer. The conversation highlights the challenges which a creative agent and producer has when involved in the development of dance and performance — having ambition, knowledge and heart in play.

The aim is to explore and expand these issues in interaction with the Danish performing arts environment and other relevant actors. The distinctive art institution Kunsthal Charlottenborg is a close collaborator of Dansehallerne. Christoffer Guldbrandsen: The Road to Europe , 56 min. The Road to Europe is the controversial documentary that stirred an international debate and caused a crisis in the relationship between the Danish Prime Minister and his counterparts in France and Germany.

Christoffer Guldbrandsen: The President, 59 min.

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In January , a historical moment was planned to take place in the account of the European Union — the 27 member states were to elect the first permanent President of the EU. This film will explore the core of European political power, with cultures dating back centuries, which includes drama, intrigues, vanity and greed. Mostly it is the story about the decisive clash between those who wish for a united Europe and those who oppose it. The film focuses on the largest refugee crisis since the World War II — through the eyes of two boys, Ghaith and Abdul, out of the many thousands of children who are fleeing alone.

Their journey to Europe is told from their point of view, and they have recorded some of it themselves with their own mobile cameras. A hypnotic trip around the European Union or the idea of European Union is based on a variety of motion through a labyrinth. He visits various Brussels and Strasbourg institutions pertinently their Western European regional reflections.

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He confronts the impeccable artificiality and the mysterious abstraction of the institutions with two journeys to the outskirts of Europe, namely to villages in Poland as well as towns in Romania. The film programme is screened in Kunsthal Charlottenborg Art Cinema throughout the opening hours.

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The film premiered at CPH:DOX and is an architectural essay about the basic material of modernity in beautifully composed images and a thought-provoking monologue. The admission is free and everyone is welcome. With concrete as the topic of this beautiful cinematic essay, Luther draws thought-provoking lines between critical moments of modernity — a period whose promises of progress and universal values are materialised in concrete.

From the first decades of the 19th century, via the aestheticisation of politics until today, where the seabed is used as a sand mine with disastrous consequences — and possibly on to a future with 3D-printed concrete buildings on other planets. Instead of continuing to ignore and sideline older dancers and older bodies in general, it celebrates the richness of age and experience — on stage and in society. We only grow old when we stop pursuing our dreams. Her extensive leadership experience in working with artists, institutions and sponsors led her to oversee the initiative Tanzplan Deutschland in , which mobilised 21 million Euro for dance in Germany and became a model project internationally.

It is in English, Free Entrance. Both films demonstrate the power of music and what it can give rise to. Tony Cokes has developed his distinctive visual language since the s, combining pointedly political texts with music and monochrome backgrounds and presenting them together as a kind of cinematic slide show. Cokes samples text, sound and images to create new messages while also reminding us of how powerfully the media of a given period can affect how we view the world. Colours can affect our mood, text can inform us and songs can turn into soundtracks of our lives, get under our skin and act as clear memories of specific experiences.

He has exhibited extensively in the USA and Europe for decades. This evening Stella Geppert provides insights into her artistic practice. As a field researcher would, she examines the moving dynamics of people in social and urban spaces. In her artistic practice, candid social communicative behaviours and spatial phenomena are made visible sculpturally. Her practice investigates the performative body and spatial concepts as well as installations, drawings, objects, and sculptures.


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Stella Geppert will also present her new catalogue called Scores and Sculptures. Her work has been exhibited in numerous national and international exhibitions, with residencies in Japan, France, Denmark, Italy, and elsewhere. She is at present professor of sculptural and spatial artistic practices at the University of Art and Design in Halle Saale , Germany, and lives and works in Halle and Berlin.

A method based on a choreographic approach to image and a collaborative proces for creating.

We will watch films and talk about pre-production, shooting and editing and about starting and ending with the body and its movement. She is an artist with a diverse range of expressive talents and a real knack for learning. Her performance skills include playing the clarinet and the guitar, part-singing, dubbing, performing magic tricks and steering marionettes.

She works internationally within the stage arts — performing in dance-, music- and theatre productions. She also collaborates with highly regarded visual artists on exhibitions and performances in galleries and museums where she contributes her comic timing and musicality, as well as an open curiosity towards the challenges of art. Amia is an engaging teacher and speaker, focusing on the physical body and creativity. She has been a driving force as a performer and actress within the Danish stage arts since the 90s. She is a diverse artist and performer who brings humour and presence to many genres: musical theatre, performances for teenagers and children, key notes, installation art, political satire, experimental performance art and film.

She prefers to involve herself in projects where she can contribute to and be part of the process of creating a communal work of art. She also teaches social choreography to children as part of an artist in residence program. Pernille is courageous and humorous and throws herself into crazy projects where she can take on the responsibility of asking a lot of questions and meeting her audience eye-to-eye.

She teaches regularly at The National Danish Film School and has a passion for the precisely framed and open-ended process of artistic research.