Send a cv and motivation letter to firstname.lastname@example.org before the 10th of February 2012
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10 am to 6 pm
The work of Lina Saneh is marked by a strong reflection on body and speech from political and artistic angles
In a time of globalization, Internet and virtuality, she tackles the place of the body – both direct experience and representation – public space and political speech. Through these questions, it is theatre practice itself she challenges.
« Some artistic practices and some discourses about these forms of practices stress the body, the action, the presence, the here and now. Does this mean that other practices and discourses rely on speech, absence, distance and media coverage? Are these terms actually radically different? How to disturb this dichotomy? What is the point of having dual binarities? How and in what time-space can they be together? »
In this workshop - intentionally composed of heterogeneous artists -, these issues, which are often given as contrary, opposite or in conflict, will be addressed; issues that affect art everywhere, but also highly political issues that affect us all and which will be here discussed mainly on the basis of Lebanese artists.
« From art to politics, from the practice of Lebanese artists to predominantly ‘Western’ theoretical, artistic and philosophical references, it is the links and contradictions that interest us rather than cultural or disciplinary differences... »
Lebanese actress, author and director, Lina Saneh has written, played and directed many works, among which : Les Chaises (1996), Ovrira (1997), Extrait d’Etat Civil (2000), Biokhraphia (2002), Appendice (2007) and Photo-Romance (2009). She also directed I Had A Dream, Mom (vidéo, 2006), Someone Must Have Been Telling Lies About Me (vidéo-installation, 2008) and Lina Saneh Body-P-Arts Project (a website project, 2007 et installation, 2009).
Lina Saneh teaches at the Geneva University of Art and Design.
Cifas (suite...) offers contemporary artists to illustrate its communication.
Bert illustrated the workshop "Never Seen by Eyes"
"In 2001, I started to draw with the rotring 0.1, since then, everything goes through a five angles of hatches principle, led in rhythm by the drawing (I continue on www.myowncottage.org)