<
p>The <
a href="https://www.cca-glasgow.com/whats-on/collection/re-playing-it-again
-symposium" target="_blank" rel="noopener" style="color: #993300;">Re-playi
ng It Again symposium is the culmination of a 4 year re
search project led by Baptiste Buob, Christophe Triau, Carl Lavery and Nath
alie Cau and is part of a larger Labex research programme, Les Passés dans
le présent : (Re)play it again : ree
nactments et non-reconstituables.What does it mean to re-play something – an event, a fil
m, a history, a politics, a building, a body, a set of gestures, an earth,
a life, a landscape? Why the hyphen in the word ‘re-play’? How does re-play
ing co-exist with established strategies of re-enactment? Where does the di
fference lie? And why are artists so drawn to re-playing as both method of
working and catalyst for production?
These are some of the questions that this symposium looks to
investigate at a time when there is so much clamour from progressive thinke
rs and activists to abandon the past and imagine the future, to leap beyond
the nightmare of the long twentieth century – the one that seems so imposs
ible to exit, that weights on the minds of the living like a tumour. But wh
at if the future was already in the past, lurking radioactively in roads no
t taken, in failed appointments and missed opportunities? Perhaps artists,
of all people, are the ones most keenly attuned to this disjunction, aware,
as they often are, that there is nothing new under the sun, that everythin
g is a recycling of something else.
If this is the case, then it seems crucial to explore how contempo
rary artists engage with the idea of re-playing, talking with them about th
eir practices, experimenting with their diverse findings. The artists and t
hinkers in the symposium have little truck with modernist and colonialist n
otions of ‘originality’ – a kind of scorched earth policy, a spurious, impe
rialist venture into terra nullius. Instead, they look to re-play the past,
stopping and stilling it, so that new possibilities can emerge from the ‘s
hock of the old’. In this ethics of ruin, this politics of abandonment, it
may become possible to reconfigure how we ‘do’ the present so as to contest
the progress myths of modernity and imperialism. This would be a perverse
and playful mode of contestation that moves forward by going backwards. In
this ‘tactics of the re-play’, one uncovers the power to resist all those r
eactionary notions of heritage and history that look to attribute everythin
g to its proper time and place. And through that – who knows? – it may even
be possible to breathe new life into that most seemingly defunct of all co
ncepts: the idea of revolution, conceived now as a geometric figure that, l
ike a compass, creates the new by rotating back on itself, coming full circ
le.
Artists and thinkers wh
o will be responding to these questions and showing work include Gerard Byr
ne, Delafontainetniel, La Compagnie Dodescaden, Sarah Browne, Conor Carvill
e, Minty Donald and Nick Millar, Graham Eatough, Ashanti Harris, Luke Fowle
r, Lee Hassall, Emmanuel Grimaud, Kevin Leomo, Sarah Neeley, Vincent Rioux,
Farah Saleh, and Simon Starling.
Symposium organised by Carl Lavery, Dominic Paterson and Melanie Lavery.< /span>
Panel Descriptions<
br />
Replaying Lostness – Wed 1
5 May, 16.00- 21.00 (Cinema)
This panel explores the relationship between re-playing and film
. Luke Fowler and Sarah Neely discuss Luke’s film Being in a Place in the c
ontext of what it means to re-play an unmade film project by Margaret Tait;
and Emmanuel Grimaud investigates how film is able to re-play the ghosts a
nd spectres of forgotten lives (historical and metaphysical) in the city of
Kolkota. The panel is bookended by Kevin Leomo’s new sonic piece, Sound sp
ace, based on a re-siting and rethinking of the German Klangraum, an annual
gathering of artists who participate in daily sharings of their work. Kevi
n’s piece will return throughout the Symposium, but always in a different f
orm.
Re-Playing Bod
ies and Gestures – Thursday 16 May, 9.30 – 14.15
This panel starts with a performance lecture
by scholar, choreographer and dancer, Farah Saleh in which she thinks of h
ow one can re-play an archive of lost Palestinian gestures. Artist Simon St
arling and theatre maker Graham Eatough continue the theme by constructing
a playful dialogue to reflect on a series of theatrical re-enactments they
have worked on together in past decade or so; and Lee Hassall performs a st
range, ekphrastic hommage to Dorothy Wordsworth’s 1803 text, Recollections
of a Tour Through Scotland.
Re-Playing Beckett – Thursday 16 May, 15.00- 18.00
This panel investigates the peren
nial appeal that Samuel Beckett has for contemporary visual artists and fil
m-makers. Gerard Byrne premieres a new work based on Beckett’s plays, Conor
Carville provides a critical introduction to Beckett’s relationship with v
isual art, and Sarah Browne reflects on how Beckett’s texts can be repurpos
ed for non-neurotypical modes of sensing with reference to her public art p
roject Echo’s Bones.
Re-Playing the City – Friday 17 May, 9.30-12.30
This panel asks what does it mean to re-pla
y a city? The architect-artists delafontainetneil respond to the provocatio
n by creating a short, time-lapse film in which two very different images o
f Paris are juxtaposed in the single time-space of the screen. By contrast,
Minty Donald and Nick Millar seek to re-play the city of Glasgow by encour
aging participants to engage in a process of ‘re-scoring’, a method based o
n the performance ‘scores’ of avant-garde practitioners from the 1950s onwa
rds.
Re-Playing Dan
ce – Friday 17 May, 14.30 – 16.00
This panel consists of two dance performances that engage w
ith the idea of re-playing in different ways. Ashanti Harris extracts a seg
ment from her dance work Dancing a Peripheral Quadrille for the physical sp
ace of the CCA and in the premiere of Jellyselfish, the Marseille-based com
pany Dodescaden re-work their previous re-rendering of Jean Rouch’s 1955 fi
lm Les Maîtres Fous.
Re-playing the Re-play – Saturday, 18 May, 9.30 – 13.00
This panel starts with a performanc
e lecture by French artist Vincent Rioux, which meditates on the function o
f entropy in In Absensia, a previous collaboration with La Compagnie Dodesc
aden. Rioux’s ‘re-playing of a re-play’ is continued in a specially curated
discussion led by the organisers in which all participants (artists and au
dience) in the ‘Re-Play It Again’ symposium are invited to return to any th
eme or image that enthused them and to re-play it in present time. The pane
l ends with Kevin’s Leomo’s sonic score.
Cinema Film Loop – 16 and 17 May
There will be a selection of films playing o
n loop in cinema on 16 and 17 May. These are free.
< p> X-ALT-DESC;FMTTYPE=text/html:
The Re-playing It Again symposium is the cu lmination of a 4 year research project led by Baptiste Buob, Christophe Tri au, Carl Lavery and Nathalie Cau and is part of a larger Labex research pro gramme, Les Passés dans le présent : (Re)play it again : reenactments et non-reconstituables.
What does it mean to re-play som ething – an event, a film, a history, a politics, a building, a body, a set of gestures, an earth, a life, a landscape? Why the hyphen in the word ‘re -play’? How does re-playing co-exist with established strategies of re-enac tment? Where does the difference lie? And why are artists so drawn to re-pl aying as both method of working and catalyst for production?;
These are some of the questions that
this symposium looks to investigate at a time when there is so much clamour
from progressive thinkers and activists to abandon the past and imagine th
e future, to leap beyond the nightmare of the long twentieth century – the
one that seems so impossible to exit, that weights on the minds of the livi
ng like a tumour. But what if the future was already in the past, lurking r
adioactively in roads not taken, in failed appointments and missed opportun
ities? Perhaps artists, of all people, are the ones most keenly attuned to
this disjunction, aware, as they often are, that there is nothing new under
the sun, that everything is a recycling of something else.
If this is the case, then it seems crucial
to explore how contemporary artists engage with the idea of re-playing, ta
lking with them about their practices, experimenting with their diverse fin
dings. The artists and thinkers in the symposium have little truck with mod
ernist and colonialist notions of ‘originality’ – a kind of scorched earth
policy, a spurious, imperialist venture into terra nullius. Instead, they l
ook to re-play the past, stopping and stilling it, so that new possibilitie
s can emerge from the ‘shock of the old’. In this ethics of ruin, this poli
tics of abandonment, it may become possible to reconfigure how we ‘do’ the
present so as to contest the progress myths of modernity and imperialism. T
his would be a perverse and playful mode of contestation that moves forward
by going backwards. In this ‘tactics of the re-play’, one uncovers the pow
er to resist all those reactionary notions of heritage and history that loo
k to attribute everything to its proper time and place. And through that –
who knows? – it may even be possible to breathe new life into that most see
mingly defunct of all concepts: the idea of revolution, conceived now as a
geometric figure that, like a compass, creates the new by rotating back on
itself, coming full circle.
Artists and thinkers who will be responding to these questions and showing
work include Gerard Byrne, Delafontainetniel, La Compagnie Dodescaden, Sar
ah Browne, Conor Carville, Minty Donald and Nick Millar, Graham Eatough, As
hanti Harris, Luke Fowler, Lee Hassall, Emmanuel Grimaud, Kevin Leomo, Sara
h Neeley, Vincent Rioux, Farah Saleh, and Simon Starling.
Pa
nel Descriptions
Re
playing Lostness – Wed 15 May, 16.00- 21.00 (Cinema)
<
br />This panel explores the relationship bet
ween re-playing and film. Luke Fowler and Sarah Neely discuss Luke’s film B
eing in a Place in the context of what it means to re-play an unmade film p
roject by Margaret Tait; and Emmanuel Grimaud investigates how film is able
to re-play the ghosts and spectres of forgotten lives (historical and meta
physical) in the city of Kolkota. The panel is bookended by Kevin Leomo’s n
ew sonic piece, Sound space, based on a re-siting and rethinking of the Ger
man Klangraum, an annual gathering of artists who participate in daily shar
ings of their work. Kevin’s piece will return throughout the Symposium, but
always in a different form.
Re-Playing Bodies and Gestures – Thursday 16 May, 9.30 – 14.15
This panel starts wi
th a performance lecture by scholar, choreographer and dancer, Farah Saleh
in which she thinks of how one can re-play an archive of lost Palestinian g
estures. Artist Simon Starling and theatre maker Graham Eatough continue th
e theme by constructing a playful dialogue to reflect on a series of theatr
ical re-enactments they have worked on together in past decade or so; and L
ee Hassall performs a strange, ekphrastic hommage to Dorothy Wordsworth’s 1
803 text, Recollections of a Tour Through Scotland.
This pane
l investigates the perennial appeal that Samuel Beckett has for contemporar
y visual artists and film-makers. Gerard Byrne premieres a new work based o
n Beckett’s plays, Conor Carville provides a critical introduction to Becke
tt’s relationship with visual art, and Sarah Browne reflects on how Beckett
’s texts can be repurposed for non-neurotypical modes of sensing with refer
ence to her public art project Echo’s Bones.
This panel asks wha
t does it mean to re-play a city? The architect-artists delafontainetneil r
espond to the provocation by creating a short, time-lapse film in which two
very different images of Paris are juxtaposed in the single time-space of
the screen. By contrast, Minty Donald and Nick Millar seek to re-play the c
ity of Glasgow by encouraging participants to engage in a process of ‘re-sc
oring’, a method based on the performance ‘scores’ of avant-garde practitio
ners from the 1950s onwards.
Re-Playing Dance – Friday 17 May, 14.30 – 16.00
This panel consists of two dance pe
rformances that engage with the idea of re-playing in different ways. Ashan
ti Harris extracts a segment from her dance work Dancing a Peripheral Quadr
ille for the physical space of the CCA and in the premiere of Jellyselfish,
the Marseille-based company Dodescaden re-work their previous re-rendering
of Jean Rouch’s 1955 film Les Maîtres Fous.
This panel
starts with a performance lecture by French artist Vincent Rioux, which med
itates on the function of entropy in In Absensia, a previous collaboration
with La Compagnie Dodescaden. Rioux’s ‘re-playing of a re-play’ is continue
d in a specially curated discussion led by the organisers in which all part
icipants (artists and audience) in the ‘Re-Play It Again’ symposium are inv
ited to return to any theme or image that enthused them and to re-play it i
n present time. The panel ends with Kevin’s Leomo’s sonic score.
Cinema Film Loop – 16 and 17
May
There will be a sele
ction of films playing on loop in cinema on 16 and 17 May. These are free.<
/span>
DTSTAMP:20260629T174334 DTSTART;TZID=Europe/Paris;VALUE=DATE:20240515 DTEND;TZID=Europe/Paris;VALUE=DATE:20240519 SEQUENCE:0 TRANSP:OPAQUE END:VEVENT END:VCALENDAR