Minnesträdgården / The memorial garden

Minnesträdgården / The memorial garden Minnesträdgården - en tillfällig plats för ett kollektivt avslut. The memorial garden – a temporary place for a collective ending and healing Ending and healing.

Denna programpunkt ingår i temat Ta hand om dig, en satsning av Scensverige som pågår hela 2022 under rubriken Sorgeritual. Pågår som installation och interaktivt deltagande under biennalen 2022. Medverkande: Benedikte Esperi, Elisabeth Laasonen Belgrano, Napo Masheane, Cia Runesson & Annikki Wahlöö. Plats/Location Hotel Plaza Västerås

Del 1/Part 1: June 8-11 varierade tider

Minnesträdgården -

en tillfällig plats för ett kollektivt avslut och helande. I spåren (och såren) av pandemins närvaro och scenkonstens frånvaro har vi alla påverkats. Varje förlust är individuell men skapar ett gemensamt tomrum i hela samhället. Under biennalen har därför fem konstnärer bjudits in att skapa Minnesträdgården där de utifrån sina individuella praktiker erbjuder besökare att både omfamna och släppa taget om det vi upplevt. Tillsammans utgör dessa minnen en tillfällig plats för ett kollektivt avslut och helande genom sin manifestation. Som besökare kan du komma och gå som du vill, ta den tid du behöver (5-55 minuter)

The memorial garden – a temporary place for a collective ending and healing. In the traces (and wounds) of the pandemic’s presence and the absence of the performing arts, we have all been affected. Each loss is individual but creates a common void throughout society. During the biennial, five artists have therefore been invited to create the memorial garden, where they, based on their individual practices, offer visitors to both embrace and let go of what we have experienced. Together, these memories constitute a temporary place for a collective ending and healing through its manifestation. As a visitor you can come and go as you please, take the time you need (5-55 minutes)

Del 2/Part 2 June 11 kl 20.00-20.30

Avslutet och helandet. För alla som besökt Minnesträdgården och medverkar i biennalen, anordnas en kollektiv manifestation. En gemensam gest för att kunna sätta punkt och samtidigt blicka framåt. Instruktioner ges på plats, inga förberedelser behövs. For everyone who visited the memorial garden and participates in the biennial, a collective manifestation is organized. A common gesture to be able to put an end and at the same time look ahead. Instructions are given on site, no preparation is needed. Med stöd från Kulturrådets återstartsbidrag för branschen kommer olika arrangemang om bl.a. självomhändertagande och självledarskap för ett hållbart yrkesliv göras.

12/06/2022

Tack Scensverige Västmanlands Teater Scenkonstbiennalen Hotel Plaza Västerås stad

Tack alla som kom till Minnesträdgården

Thank you 🙏🏼

12/06/2022
Scensverige Hotel Plaza Västmanlands Teater
08/06/2022

Scensverige Hotel Plaza Västmanlands Teater

08/06/2022
About: Benedikte Esperi ‘In my practice it’s about being present and curious, playing with risk and trust at the same ti...
01/06/2022

About: Benedikte Esperi

‘In my practice it’s about being present and curious, playing with risk and trust at the same time
mirroring not only the society but also the representation of a political body.
I use my body as a tool to let the spectator interpret the world and our role within it through performative actions’

Benedikte Esperi is an independent performance artist, choreographer, film maker, lecturer/researcher, producer and curator based in Sweden. She is published in a variety of venues, such as public sites, galleries, theatres, festivals and elsewhere. The encounter with sites, intentions and people nurture her choices and actions where the body is both an object and a subject, mediating current topics. Her works range from solo, co-productions and community art within the genres performance/live art, installations, dance for screen and choreography. Artistically she’s often referred to post-modern dance and avantgarde aesthetics.

She invented the public dance video concept KOREOARTscape

Project leader, board member and curator at Finnekumla Dance & Art space, Galleri 54 , Dansfilmfestivalen & The Tiny Festival Producers.
Member of Galleri 54, Konstliv Sjuhärad, Konstnärernas Riksorganisation, Scen & film, Danscentrum Väst, Filmcentrum Väst, Konstnärscentrum Väst.

‘I samtidskonstens prövande mot en nutida kontext står jag med lyhördhet för det jag väljer att möta, där ständigt nya förutsättningar ställer krav på att förstå situationer innan de är formulerade. Jag ser samtidskonsten som en emanciperad orienteringspunkt vilken kan företräda den enskildes röst i en flyktig, ofta upplevd svårgripbar, tillvaro.’

– Benedikte Esperi

Benedikte Esperi Performance / Live Art / Choreography / Dance for Screen • MFA in Contemporary Performative Arts • Project leader/ Producer/ Curator • Universitetsadjunkt / Lecturer / Research Rec…

01/06/2022

About: Napo Masheane

Twitter: /
Instagram:
FB: Napo Masheane

Napo Masheane was born in Soweto, grew up in Qwaqwa (Free State) and holds a Mar- keting Management, Speech & Drama and Master’s Degree in Creative Writing from Rhodes University. She is an executive creative producer, playwright, scriptwriter, poet, storyteller, stage director, translator and acclaimed performer on both international and national stages.
Napo is a founding member of Feela Sistah! Spoken Word Collective and with its demise, went on to become one of South Africa’s leading black female theatre makers, after her provocative and humorous one woman show My Bum Is Genetic Deal With It and The Fat Black Women Sing, which saw her being named one of the Top 100 youth in South Africa by the Mail & Guardian in (2007).
Napo Masheane is the winner of Mbokodo Award, under Theatre in (2012) and Pan African Language Award, PALA for Sesotho Language in (2014) and later worn SAFTA
in (2016) for Umlilo. She has three poetry collections, Caves Speak in Metaphors (2009) and Fat Songs For My Girlfriends (2012), and Heartbeat Of The Rain (2019) ... while picked up on the international circuit was one of her monologues performed by leading actor, Chiwetel Ejiofor (12 Years A Slave) at Royal Court.

Napo’s work credit includes working and collaborating with; Equal Opportunity Productions (Los Angeles), Wimbledon School Of Art (United Kingdom), The University of California, Los Angeles (UCLA), The Market Theatre Foundation (SA), Jungel Theatre in Bremen (Germany), University Of The Free State, Performing Centre Of The Free State (PACOFS), Joburg Theatres,University of Botswana, University of Johannesburg, University of Udine (Italy)
University of Pretoria (Drama Department), AfroVibes (Netherlands), Royal Court (London), British Council (ConnectZA), The South Africa State Theatre (SAST), MACUFE, McClymonds Youth & Family Centre (USA), Oakland (USA), Afrique-Carib Breathtaking Foundation (Netherlands), Toronto International Festival Of Authors (TIFA), Department of Sports, Arts and Culture (SA).
Napo Masheane became the first black women to produce, write and direct a play: A New Song, at the Market Theatre mainstage (John Kani Theatre). Between 2017/18, Napo held the position of Deputy Artistic Director at The South African State Theatre, where she wrote and directed KHWEZI... Say My Name, a stage adaptation of Redi Tlhabi’s book: KHWEZI...The Remarkable Story of Fezekile Ntsukela Kuzwayo. Napo is one of the advisory board member, at Stockholm University Of The Arts in (Sweden) under perform- ing arts and a guest lecture at SP Escola de Teadro (Brazil). Currently she is working on her new play My Va**na Was Not Buried With Him, which she is producing and performing in. Overall... Napo is also the Managing Director of Village Gossip Productions, a theatre company that allows her to travel the world... directing, researching, performing, documenting, and lecturing African Theatre History/ Herstory (Theatrics/ Narratives/ Poetics).

About:  Elisabeth Laasonen Belgrano PhD in Vocal Performance… performing contemporary & 17th century vocal music, pastor...
01/06/2022

About: Elisabeth Laasonen Belgrano PhD in Vocal Performance

… performing contemporary & 17th century vocal music, pastoral care and existential counselling; awarded a PhD in Performance in Theatre and Music Drama for Performing Nothingness through Operatic Mad Scenes and Lamentations, Univ. of Gothenburg (2011); supervising and examining through ‘performative methodologies’; investigating the Art of (Vocal) Ornamentation as an intra-active research tool for ’measuring’ Nothingness and the Unknown; becoming a priest in The Church of Sweden.
Portfolio: https://www.researchcatalogue.net/view/378762/430811

… performing musica vocale contemporanea e del settecento, e consulenze esistenziali e pastorali; dottorato di ricerca in Performance in Theatre and Music Drama for Performing ‘il Niente’ attraverso scene di pazzia and lamenti nel opera barocca, Univ. of Gothenburg (2011); insegnando attraverso “metodologie performative”; ricercando sull'Arte dell'ornamento vocale come strumento intra-attivo per "misurare" il Nulla e l'Ignoto; diventando sacerdote presso la Chiesa Svedese.
Portfolio: https://www.researchcatalogue.net/view/378762/430811

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