65 Performance edition

Zehar #65

65 Performance edition

The current edition of Zehar asks of us, through performance, a dual task: to detach ourselves from the mere immersion in the images of which each moment of our daily lives is composed and also to refl ect on how these images are shaped and on the imperceptible relationships that are gradually woven between them.

In the same way that there are different ways to understand a performance, there are also manifold ways of making use of it. The use of the performance put forward in this number is like that of a broom employed to gather up and tidy the accumulated visual material that we have. The aim, then, is to arrange all the visual material that surrounds us and the structures that are brought to life and made sense of by these images, so allowing us to develop through them and to create new spaces that can respond to our needs.

We have put into print the edition exercises that different people have shown when faced by the accumulation of images of our surroundings. It will therefore be a chain of exercises in series, a kind of incomplete series of scores or rehearsals for different and possible performances. Some of the proposed exercises are theoretical, others deal with performative experiences and, fi nally, there are also actual performative exercises perse.

ZEHAR_65_EN.pdf — PDF document, 5369Kb

Maider Zilbeti, Maitane Otaegi

Interview. Esther Ferrer

[M. Zilbeti + M. Otaegi]

You’ve been here for two weeks now and you’ve been interviewed many times. What is the most-repeated question that you’ve been asked?

[Esther Ferrer]

The most-repeated? If performance art has evolved and how I began with performance art. I think those are the things that I’ve been asked the most and what I always get asked.

FERRER_EN.pdf — PDF document, 118Kb

Margarita Aizpuru

Performers: women, art and action, an examination

The emerging feminist movement of the 1960s analysed all aspects of the oppression of women. The 1960s and 1970s were years of great militancy with protests and demonstrations in the streets, discussions, readings from the most significant feminist writings of the time and debates.

AIZPURU_EN.pdf — PDF document, 910Kb

Blas Valdez


I see you pass by in the crowd with banners walking down Pine Street, a mix of workers, activists and students shouting «Jail ’em, don’t bail ’em», the march moves across Wall Street up to the AIG building and the neighboring Bank of America, where barricades and dozens of police are waiting, «Jail ’em, don’t bail ’em», I look for you in the ever-angrier chorus, «Jail ’em, don’t bail ’em», the chorus is so loud that the suits above peer out their windows and look down in fear, they see a young woman grab a megaphone and rail in her own sweet way against the bank bailout, and when I hear your voice my heart leaps up, and I leap and fl oat up to the front just as you lower the loudspeaker and the barricades come down, everyone scrambles and the beatings begin, I sidestep one two three bodies but can't fi nd you, I desperately look for you till I feel a blow on the back of my head, till I fall and see the megaphone lying on the ground among the scrambling feet, the warm blood runs down my back and I can just see the AIG logo on the door...

VALDEZ_EN.pdf — PDF document, 425Kb

Emily Roysdon

Talking back

The many facets of performance and performativity are all over our lives. Long theorized, long rehearsed, the forms of performance continue to unfold in every direction. There is something always new in performance, and always something borrowed. This issue of Zehar proposes that we consider performance as a kind of editing, a gesture of gathering, accepting, rejecting the information from the world around us. Editing our stimuli in order to make meaning —performance as process.

ROYSDON_EN.pdf — PDF document, 126Kb

La más bella + Roxana Popelka + 16 dear friends

Dear friends

Dear friends,

We have received a request from Arteleku’s Zehar magazine to submit a piece. The letter reads as follows: «In this edition of Zehar, we want to examine and implement the concept of performance art as a publishing tool, helping us to publish material from our everyday visual culture in new ways and so re-interpret the visual culture with and through which we live. We are therefore interested in the process you use in publishing your magazine».

LAMASBELLA_EN.pdf — PDF document, 270Kb

Judith Vidiella

Scenarios and actions for a theory of performance

What can a study of performance contribute to art education? What are performance studies and what is the object of their study? What relevance do performance studies have for history of art, visual culture, theatre, philology, philosophy, anthropology and education? What has been the attitude of playwrights, anthropologists, artists and educators to performance studies? What is the relationship between the study of drama and the study of performance arts and performativity?

VIDIELLA_EN.pdf — PDF document, 284Kb

Loreto Martínez Troncoso, Edurne Rubio

Do you remember what I remember?

edurne 19:09
I can’t remember it all. We remembered very
early that day.
loreto 19:09
edurne 19:09

MUGATXOAN_EN.pdf — PDF document, 171Kb

Maialen Lujanbio, Judith Montero

Stripping off the corset in public. Ornitorrinkus: bertsolaritza and experimental music

Ornitorrinkus session

To convey the notion of a verse session, English uses the term performance. The term in Spanish is actuación and in Basque saioa [session]1. Note the similarity: a performance is the act of forming or executing an action or feat. In other words, a session.

ORNITORINKUS_EN.pdf — PDF document, 146Kb

Christian Gattinoni

Concerning some seductive Unidentified Published Objects and other hybrid real and virtual arrangements

On the back cover of a young American rock band’s fi rst album is a phrase that could well be the motto of many experimental magazines: «We did it because we didn't know it was impossible». Economically and practically speaking, the fi rst issue of any new magazine is always a struggle. In the world of image and contemporary art, however, a number of French and other European magazines have managed to overcome some of the diffi culties with a new critical approach to the form and interface of publication.

GATTINONI_EN.pdf — PDF document, 98Kb

Josune Muñoz

Women, spaces and comics: those sharp shadows

In the last decade or so, a large number of comics by women from around the world have appeared on the Spanish graphic novel market. This means that after many years we are now in a position to make an analysis of the focus of women writers, the stories they choose and the way they draw.

MUÑOZ_EN.pdf — PDF document, 276Kb
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