Shelter 209, the SVT and HaZira present:
29.10 — 1.11
Jerusalem

Autumn Cult

On October’s darkest night, just as the new moon is born, an ensemble of artistic works, which exist separately yet develop together, begin to move. Each of the Cult’s events exists in its own right, yet, simultaneously, enables other artistic possibilities, too. For the Cult’s artists, like Hazira’s artists, creative processes are a way of life that requires a daily and sometimes Sisyphean development of the artistic language. This year, we will present several works or actions of a given artist as part of a series of Focuses: Claudia Castellucci (Italy), Natalia Gomez (Mexico), and Winter Family (France) will perform in the Autumn Cult and The Gathering a sequence of events from their vast and varied body of work. This year, the Autumn Cult is prominent within the local creative scene as it includes debuts of interdisciplinary pieces, whose substance defines the event’s format and form. These debuts are the outcome of prolonged research and fascinating collaborations. Due to the debuts’ link to the performance spaces, much like comets, their one-time nature reveals itself forcefully and then disappears into the black night.

 

Performance Conference 0:8 – Autonomy

Performance Conference 0:0 was initiated as an act of extending the School of Visual Theatre. An act that breaks away from the daily procedures of the curriculum, the familiar space and routine and ventures into new expanses. An act that allows artists and graduates to meet themselves and the audience in the conditions that we see as essential for the creative act. A place where SVT delineates its outlines and the boundaries of its responsibility for the cultural space. Since its inception, it gradually became interwoven in the school year, and so we have gotten used to the event that allows artists and graduates, international colleagues, practicing teachers, academics and students to come together around a theme each fall, a moment before the school year starts, and engage in discourse: lectures, workshops, performances, concerts.

A discourse that is a festival. A festival that is a gathering. A gathering that is a school of art.

more about Autonomy

Schedule of Autumn Cult + Performance Conference 0:8

24.10
Thu

Claudia Castellucci / School Fragment

Hansen House
Hansen House

Cònia is a school where teaching is connected to the human relations between teachers and students; together they forge a pattern and rhythm of life, working on the formative conditions of time and feeling. This research and the associated practice are particularly suited to the needs of young artists who are seeking to research representation of the world, using various techniques. It is an educational method that emphasizes listening, discussion, and subjectively centred exercises. The research itself touches on the strangeness of human representation, and to this end the school operates on the particular and unique ingredients that shape the grammar of concrete representation: purpose, material, technique, form, surface. The practical exercises, mainly dramatic in nature, promote experience of the quality of time's duration and the formal frames by which it is organized. The main subjects of study are grammar, the history of figurative art, the making of myth, chronology, the psychology of duration, community, gymnastics, poetry, measured ambulation, theory of representation.

The School Fragment in Jerusalem is constructed according to the Cònia model. The research and the exercises are aimed at experiencing the objective weight of time, and becoming deeply acquainted with spatial perspective, inasmuch as these are part of the vehicle of drama. In the workshop, two guest teachers from the school will work alongside Claudia: Stefano Bertolini, philologist, and Simone Menegoi, contemporary art critic and curator. The School Fragment will be taught in Italian with simultaneous translation into Hebrew.

The School Fragment is aimed at artists and creators; advance registration is required.

For further information: leah@visualtheater.co.il

 

With the support of the ICC – Italian Cultural Institute of Tel Aviv

29.10
Tue
14:30

Claudia Castellucci / Seminar

Hansen House | 14:30
Hansen House

The objective weight of time in figurative art works - Final seminar of a School Fragment of Dramatic Technique by Claudia Castellucci, founder of the Cònia School of Cesena.

The seminar is led by Claudia Castellucci, who, together with Stefano Bartolini and Simone Menegoi, illustrates the main topics of the study and collects any questions from the audience.

29.10
Tue
18:00-22:30

Opening Event: Twilights

Hansen House | 18:00-22:30
Hansen House

0:8 Performance Conference – Autonomy by The School of Visual Theater and Hazira’s Rite of Autumn will open with fascinating debuts in the mysterious spaces of Hansen House.

MAKE-BELIEVE / Adi Kahana

Opening Event: Twilight

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

Avigdor / Uri Shafir

Opening Event: Twilights

Avigdor is an event, a place, a practice, a performance. 

Avigdor explores what "being a body" means - by returning to it, or perhaps moving towards it.

Avigdor is an attempt to create a space for being and postponing - a space to observe what a body does.

Avigdor is about persistence on in-between-ness, where we can stall the moment where the body becomes a stable thing, and rather stay in an ongoing becoming - while being concrete yet fictitious, full of will yet full of doubt, being "simply a body", yet celebrating its conflicts, representations, and oppositions. 

 

Masada / Galia Einey and Daniel Gamlieli

Opening Event: Twilight

I saw my first audiovisual show at Masada in the 1990s.
David Broza also sang  Mitachat Lashamaim at sunrise.

A lot of water evaporated from the Dead Sea since then.
We consume a feed that offers security and everlasting abundance, and we hug each other with a phone in our hands.

Indoors, the air-condition is on; outside, the world is burning up.
It is still hard to imagine there is something more important than I am.

There is a voice that says, “Act!” and another voice that says, “Later.”
Guilt is unecological.

IF MY HAND TALKED / Natalia Gomez and 1st Year SVT Students

Opening Event: Twilight

Every year, as tradition has it, the conference invites an artist to lead a day-long workshop for first year students at the School. As the day ends, and with the workshop completed, the students  exhibit  their work to the public. The activity seeks, to an even impossible extent, to close the gap between work in the studio and the moment of encounter with the public. This drawing-near gives rise to material that is exposed in its final stages, original and quivering, and is a kind of ritual of apprenticeship for the first year.

Natalia Gomez, who lives and works in Mexico, is a graduate of the School of Visual Theatre. The workshop/performance she will lead is one in a series of activities to be held within the framework of The Gathering

 

My hands salute.

My hands touch, my hands take, my hands make: 

Hands that saw, hands that cook, hands that build, brake, kill and talk. 

My hands push, my hands can hug, my hands can squeeze, my hands will shake.

A hand as a mirror,

my hands are small. 

Hands as walls, hands as pillows, hands as books, hands as snakes, hands as lens, hands as dildos, hands are digging a hole on a sunny beach.

I use hands as containers,

my hand contains.

My hand can touch my knee, my hands can stand as feet, my hand can hear my pulse. My hand now pointing you.

Come

Come

My hand says come

Que se vayan todos! [All of them must go!] / Mamuta Art and Research Center

Exhibition

“Que se vayan todos!” is a series of art interventions and an exhibition evoking and paying homage to the Argentinian civilian protests of late 2001, in which tens of thousands took to the streets across Argentina to protest the political, economic, and social situation in the country, resulting in changing the regime. The demonstrations came to a head in December 2001, prompting President Fernando de la Rúa to resign and flee in his helicopter from the “Pink House” (the President’s office), across from which the protests were taking place. The spontaneous mobilizations, which gave voice and strength to the citizens, had striking aesthetic, textual, visual, and acoustic manifestations. These aspects are the starting point of the exhibit.

The exhibition includes:

A sound installation tribute to the cacerolazo (a collaboration between Sala-Manca and Amir Bolzman and Ariel Armoni); a reconstruction of the cardboard helicopter displayed at a demonstration in Argentina in 2017 by the artist-activist group “Erroristas" which he establishment interpreted it as an unequivocal call for toppling the regime (the reproduction is a collaboration between Sala-Manca with Yeshayahu Rabinowitz); a room dedicated to the Portuguese-Argentinian artist João Delgado, who aspired in his works to bring about change through poetry and a variety of artistic projects; study room with documentation of the Caceralozo with Las Piratas Piratas on September 7th 2019.

29.10
Tue
20:00-23:00

Opening Event / Night Version

Hansen House | 20:00-23:00
Hansen House

As the night unfolds, Itamar Banai and Hakishufim will join the second round of opening events that will bring the night to an end in Horshat Hayareach.

MAKE-BELIEVE / Adi Kahana

Opening Event: Night

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

Avigdor / Uri Shafir

Opening Event: Night

Avigdor is an event, a place, a practice, a performance. 

Avigdor explores what "being a body" means - by returning to it, or perhaps moving towards it.

Avigdor is an attempt to create a space for being and postponing - a space to observe what a body does.

Avigdor is about persistence on in-between-ness, where we can stall the moment where the body becomes a stable thing, and rather stay in an ongoing becoming - while being concrete yet fictitious, full of will yet full of doubt, being "simply a body", yet celebrating its conflicts, representations, and oppositions.  

Masada / Galia Einey and Daniel Gamlieli

Opening Event: Night

I saw my first audiovisual show at Masada in the 1990s.
David Broza also sang  Mitachat Lashamaim at sunrise.

A lot of water evaporated from the Dead Sea since then.
We consume a feed that offers security and everlasting abundance, and we hug each other with a phone in our hands.

Indoors, the air-condition is on; outside, the world is burning up.
It is still hard to imagine there is something more important than I am.

There is a voice that says, “Act!” and another voice that says, “Later.”
Guilt is unecological.

IF MY HAND TALKED / Natalia Gomez and 1st Year SVT Students

Opening Event: Night

Every year, as tradition has it, the conference invites an artist to lead a day-long workshop for first year students at the School. As the day ends, and with the workshop completed, the students  exhibit  their work to the public. The activity seeks, to an even impossible extent, to close the gap between work in the studio and the moment of encounter with the public. This drawing-near gives rise to material that is exposed in its final stages, original and quivering, and is a kind of ritual of apprenticeship for the first year.

Natalia Gomez, who lives and works in Mexico, is a graduate of the School of Visual Theatre. The workshop/performance she will lead is one in a series of activities to be held within the framework of The Gathering

 

My hands salute.

My hands touch, my hands take, my hands make: 

Hands that saw, hands that cook, hands that build, brake, kill and talk. 

My hands push, my hands can hug, my hands can squeeze, my hands will shake.

A hand as a mirror,

my hands are small. 

Hands as walls, hands as pillows, hands as books, hands as snakes, hands as lens, hands as dildos, hands are digging a hole on a sunny beach.

I use hands as containers,

my hand contains.

My hand can touch my knee, my hands can stand as feet, my hand can hear my pulse. My hand now pointing you.

Come

Come

My hand says come

Thorns / Itamar Banai

Thorns - A Small Ceremony

A short, intimate

nightly encounter

In the forest I got lost in

Reenacting

a short, intimate

nightly encounter

I had in the forest

With three witches

that performed a short

intimate nightly ritual

with me

Showing me

who I can become

If I only open my heart

and give in

to a short

intimate

nightly encounter

such as this

Que se vayan todos! [All of them must go!] / Mamuta Art and Research Center

Exhibition

“Que se vayan todos!” is a series of art interventions and an exhibition evoking and paying homage to the Argentinian civilian protests of late 2001, in which tens of thousands took to the streets across Argentina to protest the political, economic, and social situation in the country, resulting in changing the regime. The demonstrations came to a head in December 2001, prompting President Fernando de la Rúa to resign and flee in his helicopter from the “Pink House” (the President’s office), across from which the protests were taking place. The spontaneous mobilizations, which gave voice and strength to the citizens, had striking aesthetic, textual, visual, and acoustic manifestations. These aspects are the starting point of the exhibit.

The exhibition includes:

A sound installation tribute to the cacerolazo (a collaboration between Sala-Manca and Amir Bolzman and Ariel Armoni); a reconstruction of the cardboard helicopter displayed at a demonstration in Argentina in 2017 by the artist-activist group “Erroristas" which he establishment interpreted it as an unequivocal call for toppling the regime (the reproduction is a collaboration between Sala-Manca with Yeshayahu Rabinowitz); a room dedicated to the Portuguese-Argentinian artist João Delgado, who aspired in his works to bring about change through poetry and a variety of artistic projects; study room with documentation of the Caceralozo with Las Piratas Piratas on September 7th 2019.

30.10
Wed
15:00

Schools as an Artistic Act

Hansen House | 15:00
Hansen House

Art schools. A meeting of initiators, educators, administrators and artists.

The panel will discuss the basic outlines of the school of art. It will consider the role of such a school in relation to students and to the society in which it operates; its responsibility to the field of art, and its contribution to the geographical space. We will talk about art, pedagogy and education, and about the tendency to inquire, via ground-breaking initiatives, over and over again: what is an art school?

30.10
Wed
17:00-19:00

Twilight Performances in Hansen House

Hansen House | 17:00-19:00
Hansen House

Adi Kahana, Lee Lorian, and Shelly Palmon in captivating debuts. Partners in fragility, sharpness, and wisdom. Very few seats are available – don’t be left out…

**No worries: after this event, you can make it in time for the Evening Shows at the Jerusalem Theater **

Only if I Have Nothing to Cite, I Dance / Li Lorian

Twilight Performances in Hansen House

Dear Bojana, I am sitting at the National Library in Jerusalem, trying to focus on my term-paper. Even though I sit still in front of Butler's writing on subversive mimetic acts, little drops of salty sweat run down my armpits. Is this the performative expression of Reading? An essay titled Diaspora: Generation and the Ground of Jewish Identity peeks at me from beneath a pile of notes, while a documentation of Arkadi Zaides' Archive is open in a new tab.

Perhaps it's just the summer heat in the Middle East.

MAKE-BELIEVE / Adi Kahana

Twilight Performances in Hansen House

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

Clown 2 / Shelly Palmon

Twilight Performances in Hansen House

Since 2011, I have been creating confession-dance, solo pieces that like diary entries wish to bring slices of the movement, behavioral, and aesthetics of the prosaic.

 

In this piece, the confession is joined by the figure of the clown, the one that people so love to watch falling down and crashing. Through the darkness of his defeat, we can feel the joyous air of playfulness.

 

The piece is the continuation of a solo that was debuted at the 2018 Room Dance Festival.

30.10
Wed
17:30-19:45

Twilight Performances in the Jerusalem Theatre

Jerusalem Theatre | 17:30-19:45
Jerusalem Theatre

The Jerusalem Theater? Really? You bet! Anywhere we can... We invite you to alter your mind in an intensive show of virtuosity and radical performances with May Zarhy, the Priestess of Darkness, and Binyamin Yom Tov, the Peacock of a Thousand Identities.

**No worries: after the Dusk Shows in the Jerusalem Theater, you can make it in time for the Evening Shows at Hansen House. Once these are over, you can parachute into Natalia Gomez’s ANAN **

 

Tavas / Binyamin Yom Tov

Twilight performances in Jerusalem Theatre

Tavas - An extravagant performance by a man in underpants.
“Tavas” (Hebrew for Peacock) is a show that saws through the lie of a consistent, unified identity to exude intense characters, both archetypal and half-baked and mashes back together these amorphic lumps of mud and clay to form a single being, an unstable man who is absorbed into far-fetched situations, observes and transforms with them.
Benjamin Yom-Tov, born and raised in Netanya to parents who immigrated from Iran. The youngest of four, who always preferred a world of fantasy rather than reality.
Benjamin served in the army as an infantry soldier, all the while dreaming of performing in musicals with his Arab “cousins”.
He prayed in the synagogue, simultaneously daydreaming of coming out of the Holy Ark, radiating in bright ultra-violet colors, sparkles and flickering lights.
“Tavas” is a fusion of a play in a theater, a live standup show and a party in a club. The journey through all the ups and downs, masculinity, femininity, infancy, old-age, Iran, Israel, the towns Netanya and Tel Aviv - is only one, shared-taxi ride away.

untitled / May Zarhy

Twilight Performances in Jerusalem Theatre

“My body knows unheard-of songs…” (Hélène Cixous)

untitled is a continuation of Zarhy’s exploration into the interweaving of body and sound. Through a loose tribute to the fluorescent light works of artist Dan Flavin, Zarhy places the work in-between choreography and the visual arts. Together with musician Elad Bardes, the artists create a resonating space of image and sound, where the two elements sustain a continuous contrapunt moving between states of immersion, diversion, and at times audiovisual clashes. The piece asks to cut through language and to dive into the flesh, to operate in the field of the senses, aiming to reverberate in “that” which we all have: a body.
Based on a series of recordings of own physical bodily activities that are sampled and recomposed in real-time, the artists compose a disorienting, fantastic and at times uncanny environment. Through an aesthetic proposition, that is as much a performance, as a live sculpture or a transforming 3D painting, a physical experience takes place, triggering the spectator’s senses and demanding his*her full presence and sensitivity to be an imminent part of this rite.

30.10
Wed
18:30-21:00

Evening Performances in the Jerusalem Theatre

Jerusalem Theatre | 18:30-21:00
Jerusalem Theatre

Binyamin Yom Tov, the cat-dazzling peacock, and May Zarhy, who travels through dimensions, offer radical and virtuosic performances.

**No worries: once the event ends, you will be able to walk to Natalia Gomez’s ANAN, the final concert of the evening, at Hansen House**

 

untitled / May Zarhy

Evening Performances in the Jerusalem Theatre

“My body knows unheard-of songs…” (Hélène Cixous)

untitled is a continuation of Zarhy’s exploration into the interweaving of body and sound. Through a loose tribute to the fluorescent light works of artist Dan Flavin, Zarhy places the work in-between choreography and the visual arts. Together with musician Elad Bardes, the artists create a resonating space of image and sound, where the two elements sustain a continuous contrapunt moving between states of immersion, diversion, and at times audiovisual clashes. The piece asks to cut through language and to dive into the flesh, to operate in the field of the senses, aiming to reverberate in “that” which we all have: a body.
Based on a series of recordings of own physical bodily activities that are sampled and recomposed in real-time, the artists compose a disorienting, fantastic and at times uncanny environment. Through an aesthetic proposition, that is as much a performance, as a live sculpture or a transforming 3D painting, a physical experience takes place, triggering the spectator’s senses and demanding his*her full presence and sensitivity to be an imminent part of this rite.

Tavas / Binyamin Yom Tov

Evening Performances in the Jerusalem Theatre

Tavas - An extravagant performance by a man in underpants.
“Tavas” (Hebrew for Peacock) is a show that saws through the lie of a consistent, unified identity to exude intense characters, both archetypal and half-baked and mashes back together these amorphic lumps of mud and clay to form a single being, an unstable man who is absorbed into far-fetched situations, observes and transforms with them.
Benjamin Yom-Tov, born and raised in Netanya to parents who immigrated from Iran. The youngest of four, who always preferred a world of fantasy rather than reality.
Benjamin served in the army as an infantry soldier, all the while dreaming of performing in musicals with his Arab “cousins”.
He prayed in the synagogue, simultaneously daydreaming of coming out of the Holy Ark, radiating in bright ultra-violet colors, sparkles and flickering lights.
“Tavas” is a fusion of a play in a theater, a live standup show and a party in a club. The journey through all the ups and downs, masculinity, femininity, infancy, old-age, Iran, Israel, the towns Netanya and Tel Aviv - is only one, shared-taxi ride away.

30.10
Wed
20:30-22:00

Evening Performances at Hansen House

Hansen House | 20:30-22:00
Hansen House

Whether you have just arrived or came from the Twilight performan at the Jerusalem Theater, you will be right on time to see Adi Kahana, Shelly Palmon, and Lee Lorian in their second round of performances.

Very few seats are available. Those without tickets shall be given a sympathetic smile.

**After these events, you can stay for Natalia Gomez’sANAN concert that will bring the night to an end at Hansen House**

Clown 2 / Shelly Palmon

Evening Performances at Hansen House

Since 2011, I have been creating confession-dance, solo pieces that like diary entries wish to bring slices of the movement, behavioral, and aesthetics of the prosaic.

 

In this piece, the confession is joined by the figure of the clown, the one that people so love to watch falling down and crashing. Through the darkness of his defeat, we can feel the joyous air of playfulness.

 

The piece is the continuation of a solo that was debuted at the 2018 Room Dance Festival.

Only if I Have Nothing to Cite, I Dance / Li Lorian

Evening Performances at Hansen House

Dear Bojana, I am sitting at the National Library in Jerusalem, trying to focus on my term-paper. Even though I sit still in front of Butler's writing on subversive mimetic acts, little drops of salty sweat run down my armpits. Is this the performative expression of Reading? An essay titled Diaspora: Generation and the Ground of Jewish Identity peeks at me from beneath a pile of notes, while a documentation of Arkadi Zaides' Archive is open in a new tab.

Perhaps it's just the summer heat in the Middle East.

MAKE-BELIEVE / Adi Kahana

Evening Performances at Hansen House

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

30.10
Wed
22:00

ANAN / Natalia Gomez

Night Concert
hansen House | 22:00
hansen House

ANAN is the solo project of the multidisciplinary artist Natalia Gómez, in which going through Art Pop and Electronica, brings forth her own musical genre using electronic beats, voice loops and synthesizers, as well as a variety of acoustic instruments, all operated by Natalia herself to result in an engaging sound for the audience.

 

 

 

31.10
Thu
15:00

Rondo: Participatory Discourse on Autonomy

Hansen House | 15:00
Hansen House

Rondo is a play-based gathering for short conversations surrounding the question: What is autonomy? In the transient area of the game, autonomy is defined by an “expert,” comprises multiple perspectives, and changes depending on the focus of the question. How does one achieve the authority for independent government (and whom does it include) through the political imagination? What is the right of self-definition and why is the creative performance of my life independent (or dependent)? How do the aesthetic dimension and art open up a free space (and where is the catch)?

Sitting in two parallel rows, the participants will take part in a discourse generating game comprising several timed rounds. Each round will open with a presentation of one of the speakers’ perspective, leading to a dialogue with random partners. Pieces of inspiration and conversation will accumulate and branch into a myriad of thought and action avenues centered around the notion of autonomy.

Rondo invites artists, students, academics, and anyone who is curious and wishes to devote a moment to shared thinking.

31.10
Thu
17:30-19:00

Twilight Performances in the Jerusalem Theatre

Jerusalem Theatre | 17:30-19:00
Jerusalem Theatre

Two SVT graduates, Shani Shabtai and Anna Sgan Cohen, return with two new premiers created especially for the performance conference.

Inspiration and a torn heartstring are guaranteed to the purchasers of the first 90 tickets.

**International synchronization: once these events end, you will be able to wander to Hansen House to see the fourth show in Natalia Gomez’s series**

Emalet / Anna Sgan-Cohen

Twilight Performances in Jerusalem Theatre

Towards the end of the play "Hamlet" and towards the end of Hamlet himself, he demands his friend Horatio:

"Absent thee from felicity a while,

And in this harsh world draw thy breath in pain,

To tell my story." 

Horatio is doomed to a life of sadness and pain, all to tell the story of the Other.

There are human, cultural and personal stories that draw the narrator to the point of identity loss.

The meaning of Horatio: "time, hour"

What does one do with the time spent between being embedded into another's story and trying to be oneself?

Lizards / Shani Shabtai

Twilight Performances in Hansen House

He put the blowdrier against my temple and whispered, if I do it without washing your hair first, the whole place will smell like a corpse, that's just blowdrying 101.

I looked in the mirror so I wouldn't miss the expression on my face and his as I grabbed his necklace and choked him. Chai, baby? Chai?

31.10
Thu
18:00-19:00

Twilight Performances at the Hansen House

Hansen House | 18:00-19:00
Hansen House

Adi Kahana in the third day of the ritual – art installation – performance, and Natalia Gomez in the fourth performance of her series of performances / actions in the context of The Gathering. Two highly intense and perceptive artists.

**Uncertain? Confused? No worries: this event is timed so when they end, you can immediately go see the Evening Shows at the Jerusalem Theater, and watch the two premiers of Shani Shabtai and Anna Sgan Cohen**

The importance of knowing how to do useless things / Natalia Gomez

Twilight Performances in Hansen House

Doing something useless is (and will be) something that we’ll always try to avoid. Thus, inviting you to a show where someone does “useless things” for 30 minutes might sound nuts. However (and if you wish so), witness Natalia convince you of how important this useless things are. By the end of the presentation you will be able to identify and (best case scenario) perform your own useless things. And only then you will understand how necessary they turn out to be. 

MAKE-BELIEVE / Adi Kahana

Twilight Performances in Hansen house

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

31.10
Thu
19:30-21:00

Evening Performances in the Jerusalem Theatre

Jerusalem Theatre | 19:30-21:00
Jerusalem Theatre

Two SVT graduates, Shani Shabtai and Anna Sgan Cohen, return with two new premiers created especially for the performance conference.

Inspiration and a torn heartstring are guaranteed to the purchasers of the first 90 tickets.

**Are you fit walkers? Are you adventurous? Once these events end, you can board a shuttle near the Jerusalem Theater, and proceed to the performance Two Gardens by Carmel Bar and Einav Rosalio that will take place in Hall #1 in the Sublet (The old Rav Chen Movie Theater, Talpiot)**

Emalet / Anna Sgan-Cohen

Evening Performances in the Jerusalem Theatre

Towards the end of the play "Hamlet" and towards the end of Hamlet himself, he demands his friend Horatio:

"Absent thee from felicity a while,

And in this harsh world draw thy breath in pain,

To tell my story." 

Horatio is doomed to a life of sadness and pain, all to tell the story of the Other.

There are human, cultural and personal stories that draw the narrator to the point of identity loss.

The meaning of Horatio: "time, hour"

What does one do with the time spent between being embedded into another's story and trying to be oneself?

Lizards / Shani Shabtai

Evening Performances in the Jerusalem Theatre

He put the blowdrier against my temple and whispered, if I do it without washing your hair first, the whole place will smell like a corpse, that's just blowdrying 101.

I looked in the mirror so I wouldn't miss the expression on my face and his as I grabbed his necklace and choked him. Chai, baby? Chai?

31.10
Thu
20:00-21:00

Evening Performances at Hansen House

Hansen House | 20:00-21:00
Hansen House

Adi Kahana, on the third day of the ritual – art installation – performance, and Natalia Gomezin the fourth performance of her series of shows/actions in the context of The Gathering. Two highly intense and perceptive artists.

**Did we whet your appetite? Did you vow to stay awake all night until dawn?

Please note: following the Evening Shows, a shuttle will take you to the performance Shnei Genim(Two Genes)by Carmel Bar and Einav Rosaliothat will take place in the Sublet (Rav Chen Movie Theater, Talpiot.) Your ticket to this show includes admission to Leil Kol Hakedoshot, curated by Hadas Blass, till morning light**

The importance of knowing how to do useless things / Natalia Gomez

Evening Performances at Hansen House

Doing something useless is (and will be) something that we’ll always try to avoid. Thus, inviting you to a show where someone does “useless things” for 30 minutes might sound nuts. However (and if you wish so), witness Natalia convince you of how important this useless things are. By the end of the presentation you will be able to identify and (best case scenario) perform your own useless things. And only then you will understand how necessary they turn out to be. 

MAKE-BELIEVE / Adi Kahana

Evening Performances at Hansen House

Make-Believe is a performative installation that invites you to a life changing experience through an encounter with one of three divine characters. Through this meeting, addressing our relationship between reality and illusion and how belief ties them together.

The piece is inspired by fairy tales, myths and superstitions borrowed from numerous traditions and cultures. These elements, weaving together a solid foundation for turning dreams to reality.

31.10
Thu
22:00

Two Gardens / Carmel Bar and Einav Rosolio

Night at 'Sublet'
Sublet (Old Rav Chen cinema) | 22:00
Sublet (Old Rav Chen cinema)

Inside a deserted cinema, in the twilight zone of Talpiot, we will find ourselves a pace to lie down and to sink in a personal dionisiac fantasy.

The space will shed it’s skin and will put on a costume of a far different world. A world in which, it’s only the viewers mind, that could trace the limits of the experience. Siw human beings will also shed their skin and will become a contemporary version of ancient heroes.

Slowly, all the senses will sharpen and the more we give in to the world created around, it will carrey un deeper in the fertile subversive and yet, arousing  dionisiac horizon.

 

 

 

1.11
Fri
11:00

VERSO LA SPECIE / Claudia Castellucci

The Moon Woods, Hansen House | 11:00
The Moon Woods, Hansen House

dance

The difference between the way of creating within a school and with a company is a question of procedure. A school creates a study rhythm, long before it causes the production of a dance. The dance that arises out of a school represents the conclusion of a knowledge first gathered and then manifested in a theatrical space, not the final goal towards which every day of rehearsal is oriented. A school does not repeat actions with a view to a final result, but practices in the fullness of every day. 

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created –whether the long-standing one in her own city, Cesena, or the shorter ones, in other cities– e and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

 

T o w a r d s  t h e s p e c i e s  is a dance whose models lie in the metrics of archaic Greek poetry, and, from a figurative point of view, in the rhythm of the movements made by horses. If one thinks about all the intervals that separate one position from the next, by passing through a transition, one comes to understand that the rest is an essential element of the rhythmic structure of movement. One can thus attempt to inhabit this time of passage, between one gesture and the next, to live the duration of movement fully, not with an intermittent presence.

1.11
Fri
13:00

VERSO LA SPECIE / Claudia Castellucci

The Moon Woods, Hansen House | 13:00
The Moon Woods, Hansen House

dance

The difference between the way of creating within a school and with a company is a question of procedure. A school creates a study rhythm, long before it causes the production of a dance. The dance that arises out of a school represents the conclusion of a knowledge first gathered and then manifested in a theatrical space, not the final goal towards which every day of rehearsal is oriented. A school does not repeat actions with a view to a final result, but practices in the fullness of every day. 

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created –whether the long-standing one in her own city, Cesena, or the shorter ones, in other cities– e and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

 

T o w a r d s  t h e s p e c i e s  is a dance whose models lie in the metrics of archaic Greek poetry, and, from a figurative point of view, in the rhythm of the movements made by horses. If one thinks about all the intervals that separate one position from the next, by passing through a transition, one comes to understand that the rest is an essential element of the rhythmic structure of movement. One can thus attempt to inhabit this time of passage, between one gesture and the next, to live the duration of movement fully, not with an intermittent presence.

1.11
Fri
13:00-14:30

Midday at 'Sublet'

Sublet | 13:00-14:30
Sublet

A second and final round of the two works Two Gardens in Hall #1 and Throns Hall # 2.

Please note: you may park at the parking lot at Rami Levi supermarket for two hours (free of charge)

 

Two Gardens / Carmel Bar and Einav Rosolio

Midday Performances at 'Sublet'

Inside a deserted cinema, in the twilight zone of Talpiot, we will find ourselves a pace to lie down and to sink in a personal dionisiac fantasy.

The space will shed it’s skin and will put on a costume of a far different world. A world in which, it’s only the viewers mind, that could trace the limits of the experience. Siw human beings will also shed their skin and will become a contemporary version of ancient heroes.

Slowly, all the senses will sharpen and the more we give in to the world created around, it will carrey un deeper in the fertile subversive and yet, arousing  dionisiac horizon.

 

 

Thorns / Itamar Banai

Midday Performances at 'Sublet'
Thorns - A Full Ceremony
I woke up
I met a free man.
And immediately realized I wasn't one.
But I want to be.
I focused my attention
I've looked inside. Nothing.
I've looked outside. Nothing.
In that case, I said to myself, I'll look to the place where both meet.
I grounded myself
I brought three witches, for help.
Together, we've created a ceremony. A ritual.
In order to unite, for a single moment, this two worlds.
Now, all there's left to do, is to let go and let it happen.
1.11
Fri
19:00-23:00

Friday Exhibitions at the SVT

School of Visual Theatre | 19:00-23:00
School of Visual Theatre

This is The Gathering’s final show, and the School of Visual Theater will host The Autumn Cult in the School’s various spaces.

Throughout the event, two sculptural sound installations will dissolve the complex boundaries between the perceptible and the imaginary, that which is seen and that which is heard, that which is alive and that which is not.

Fauna / Niv Gafni

Friday Exhibitions at SVT

In the installation “Fauna,” artist Niv Gafni builds a set of metal sculptures and positions them as a flock. Gafni projects natural/animalistic properties on synthetic materials, focusing on the material’s characteristics and behavior, in terms of both movement and sound. What could have happened outdoors, in a hidden lake in a high valley between the mountains, had been pushed into a small room with somewhat rusty metal machines, which in their very nature stands in contrast to the outcome that takes shape in the space.

Sha’ar / Amir Meir and Gideon Levi

Friday Exhibitions at SVT

A sound installation. Free admission.

The seam between what is seen and what is heard is a boundary that our daily experiences cannot cross or perceive. But there are gates through which you can contact these deep connections. Here, synesthetic descriptions accompany events, mystical experiences, and breaches of reality’s limits, starting with Moses on Mount Sinai (“And all the people saw the voices.”) Our work addresses this seam through the Dodon– a handmade musical instrument that transforms light and shapes into sounds. Using this instrument, we will try to peek beyond the gate for a moment.

About the instrument: the Dodon is a light-synthesizer that is named for the French composer Jacque Dodon, who is the inspiration for this project. The Dodoninstrument translates alterations in light-exposure to sound. A photoelectric cell collects the light beams that break through an array of circling discs and partially transparent filters, which create swift changes in various frequencies. The way the Dodon creates sound allows for unorthodox expressive possibilities and reveals a vibrant and dynamic sonar world. The models that are printed on the discs originate from various spheres, starting with meticulous waveforms of fixed proportions that create pure overtones and scales, and ending with Escher’s drawings and Indian mandalas that allow plenty of room for coincidence, and unplanned and unexpected tones.

1.11
Fri
20:00

Winter Family: Hebron H2

School of Visual Theatre | 20:00
School of Visual Theatre

A documentary theatre performance

H2 is the area administered by Israel in the Palestinian city of Hebron. Shuhada Street is the central street of H2 Zone. It was the main artery and the market of the city of Hebron, 200,000 inhabitants, the most populated city in the West Bank in Palestine.

Shuhada Street is now "sterilized" according to the terminology of the Israeli army, that is to say, emptied of its Palestinian inhabitants for "security reasons" because of the settling in the shadow of the Tomb of the Patriarchs of some radical Jewish families protected by the Israeli army. It is today a ghost street where destinies and narratives intersect, juxtaposes, observes and clashes in a dramatic and absurd microcosm, infernal Rashomon in which there are only Truths.

  • The show will be held in English

 

 

1.11
Fri
22:00

Winter Family: Closing Concert

School of Visual Theatre | 22:00
School of Visual Theatre

Bio for Concert 

Winter Family is an israeli-french duo composed by Ruth Rosenthal and Xavier Klaine. They have met in Jaffa in 2004 and since then play music and live together in rage & blood. They play a minimal, obsessive & saturated music which people define as 'weird wave' or 'funeral pop'. 

Ruth chants, plays drums and machines, Xavier plays harmoniums & old organ. 

Their albums are released on the labels Sub Rosa (bel), Alt-Vinyl (uk), Psychic Mule (USA) and Ici d’ailleurs (fr).

They have been playing concerts in galeries, venues, clubs and churches around the world and collaborated with numerous choreographers, filmmakers, musicians and artists. Winter Family created also 3 documentary theater performances with which they tour since in 2011 (Japan, Europe, North America). 

Winter Family published also a cd/book, cassettes, and composed numerous tracks for cinema, dance, theater and commercials (Chanel, European Union, etc). Currently they are living in Paris and dreaming of Acapulco. sometimes they perform with their 11 years old daughter Saralei.