In FEM_10, the 7th edition of the meeting, we wanted to pay tribute to those artists who have developed a life-long practice of performance art by inviting them to take part alongside younger artists, in order to encourage and foster the transmission of knowledge between generations. The artists also gave workshops and public presentations of their work at la Mercè (Girona).
The partipating artists were: Esther Ferrer (ES/FR), Concha Jérez (ES), Myriam Bat Josef (IS/FR), Eugenie Kuffler (FR), Pa’ma Torrents (CAT), Despina Olbrich (GR/DE), Holly Slingsby (UK), Alba Blanco (ES), Cristine Haase (DE) and Marta Vergonyós (CAT).
There was also a projection of performances by women in collaboration with La Muga Caula (CAT), Acción!MAD (ES), Chamalle X (ES), City of Women Festival (SL) and EBent (CAT).
The theoretical programme was held for the first time as an international seminar at the University of Girona (UDG) and was presented as a tribute to the late Maria Lluïsa Borràs (1931 – 2010), art critic, writer and friend, who died on January 23 2010.
The participants of the seminar: Performance: the Construction of a New Language were: Blanca de la Torre (ES), Alice Lagaay (UK), Tracey Warr (UK) and Esther Ferrer (ES/FR) and from the UDG: Dra Pepa Balsach, and Imma Prieto.
Funded by: Elsa Peretti Foundation, Generalitat de Catalunya Institt Català de les Dones, Ajuntament de Girona, Centre Cultural la Mercè, Generalitat de Catalunya CONCA. Collaboration: Càtedra d’Art i Cultura Contemporani UdG, Hotel Llegendes.
International Seminar: Performance: the Construction of a New Language (1960-80)
The International Seminar on Performance, organised by Gresol in collaboration with the Chair of Contemporary Art and Culture of the UdG, initiates with this year’s festival, a line of theoretical reflections on performance art. This first seminar aims to study the historical moment in which performance art developed its own identity, and is entitled The Construction of a New Language (1960-1970).
In line with the conceptual strand of the festival, the CACC has sought to bring together a series of European theoreticians and art critics with the aim of opening up a space for reflection on the works produced in the 1960s and 1970s. The field of research follows two lines of investigation: one towards the past, taking a retrospective look back at the period in which performance art originated, and the other towards the present, analysing its influence on the works of young artists.