Exhibition

12-17 April 2010

expo zéro

On Friday and Saturday, 16–17 April 2010, BAK, basis voor actuele kunst presents the public days of expo zéro, a project by Musée de la danse/Centre chorégraphique national de Rennes et de Bretagne, Rennes. The public days take place at BAK from 12.00–18.00 hrs.

expo zéro is a project developed by Boris Charmatz, director of the Centre chorégraphique national de Rennes et de Bretagne, which he renamed Musée de la danse [Museum of Dance]. The edition of expo zéro in Utrecht is initiated by Boris Charmatz, Cosmin Costinas, Martina Hochmuth, and Bettina Masuch, co-curated by Cosmin Costinas and Martina Hochmuth, and produced by BAK together with Springdance, Utrecht.

expo zéro is an exhibition without objects; it is set into being by a group of people, with their memories, their actions, the fruits of their collaborations, and interactions. A group of ten people, which includes choreographers, dancers, visual artists, philosophers, theorists, and architects, spend four days at BAK working together as a kind of think tank. Over this period, the participants reflect on the issues raised by the conceptual framework of a “museum of dance” from the perspective of their own disciplines, and try to jointly conceive a staging of the exhibition taking place in the final two days of the project.

Participants expo zéro Utrecht
Boris Charmatz, initiator expo zéro
Heman Chong, artist and curator
Cosmin Costinaş, curator BAK
deufert&plischke, artists
Nikolaus Hirsch, architect
Sung Hwan Kim, artist
Boyan Manchev, philosopher
Valda Setterfield, dancer and actress
Sigal Zouk Harder, dancer

Tim Etchells, artist and writer, contributed to the newsletter of expo zéro with the project Photomusée de la danse.

Publications

Newsletter
Musée de la danse, expo zéro

Exhibition text
Musée de la danse, expo zéro
by Cosmin Costinas

Essay
Excerpt from the Manifesto for the National Choreographic Centre
by Boris Charmatz

In collaboration with

Suggestions from the archive

Learning

10 May, 12.00–12 May, 18.00 2023

Complaint Making: Setting Up Conflict-Positive Spaces for Community Building Praxis

Vishnu would like to share feminist governance tools (FGT) focused on three of many tiers in community building praxis. FGT is based on the values of equity with an emphasis on creating psychologically safe environments, drawing on the use of consent. Decision-making processes, setting up conflict-positive spaces, and complaint-making as diversity work will form the body of this three-day training. Rooted in Vishnu’s autho-ethnographic practice, this work will explore the power dynamics that impact decision-making processes.

Performative

10 May, 12.00–12 May, 18.00 2023

The Diamond Mind II

In this dance training, the people will use a one-minute film of their own movement as material for a booklet—a sixteen page signature—that distributes their presence, their gesture, as an act of EQ. 

Learning

3 May, 12.00–4 May, 18.00 2023

Too Late To Say Sorry? 

A bad apology can ruin a friendship, destroy a community, or end a career. In this workshop, we will investigate the impact of apologies on our relationships and our worlds. Why and how do we make apologies? What can giving and receiving apologies teach us about values and integrity? Should you apologize for something you don’t really feel sorry for? We will explore conflict and how we like to be in conflict with others. We will dive into our own boundaries. We will seek to understand how honoring limits becomes an act of building (or freeing) better worlds capable of holding so many, many more of us.

Learning

28 April, 12.00–29 April, 18.00 2023

Huisje, Boompje, Beestje (D.A.F.O.N.T.)

In this rare masterclass, retired teacher and artist Glenda Martinus teaches participants a thing or two about painting with Microsoft Word. Martinus shares tips, tricks, and secrets on how to use this software to its unexpected potential as a drawing tool. Participants learn how to draw three basic objects—a house, a tree, and an animal—in a seemingly innocent exercise that perhaps contains more layered social commentary. Drawing the worlds we desire does not require expensive tools or education, simply a curiosity to understand how the monster’s tools can topple the house of the master.