APPRAISERS

ENGLISH/ CASTELLANO /VIDEOS

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pics by Jorge Mirón 02/2016 Teatro Pradillo

ENGLISH.

APPRAISERS.

An appraiser (from Latin appretiare, to value), is one who sets a value upon property, real or personal (Wikipedia]

The project APPRAISERS explores the ramification of formats, concepts and methodologies that deal with information and data in the present using different modes of producing. It is a choreographic practice that is relevant and applicable to many fields. Through the development of skills and rules it aims to make visible the existence of presence as well as empowering the idea that we are “makers of our own reality”[1](Watzlawick, 1995).

Through the new information era we have gained the capacity of being prosumers.[2] So far presence as a concept is in continuous dialogue between our producing body and our environment; dealing with the capacity of staying and being able to inform yourself amongst the context that you inhabit. Due to the existence of many emerging technologies and devices that facilitates a diverse approach towards embodying presence, “just” being here-now is becoming more complex than ever. The compulsive desire and presumption to share information and experiences via social media platforms has become a routine part of daily life. The eye then becomes a filter, a discerner of what is of value. These new behavior affect our capacity to observe, behave, understand and experience. This domestication[3] of social media provides an easy di-attachment towards the physical places we inhabit.

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This project began in 2011 and is constantly evolving, re-adapting and re-shaping. So far, the work has had many different formats: dialogue choreography; movement structure; voice structure; cartography exposition; a solo lecture and thesaurus. The aim of the project is to keep investing in formats, ways of sharing the same idea and elicit questions that bring into focus relevant points regarding the process of making, labor, consumption and labelling. Even though this seems a broad aim, it is in fact very specific. The project concentrates on “the information that is already here”; precisely and responsibly focusing and mediating “what is already here” through our gaze to create an engrossment out of what is concrete. The work done opens up the senses by the simplicity of this task. By engagement of both outsider and/or insider, the work stimulates, becomes shareable and a dialogue develops with an inherent potential to expand.

I am curious to deepen my understanding around “value” (For example, the selection of information) and the project will explore, through disseminative platforms, the encouragement of the active and conscious witness of the contexts in which we find ourselves. In performance, the imperative is to inform, deliver, facilitate and generate certain content to an outsider. The theatre space is expected to create fictional realities. I am interested in give existence to the solid spaces we inhabit.

[1] “That we do not discover reality but rather invent it is quite shocking for many people. And the shocking part about it — according to the concept of radical constructivism — is that the only thing we can ever know about the real reality (if it even exists) is what it is not. It is only with the collapse of our constructions of reality that we first discover that the world is not the way we imagine.” Paul Watzlawick, “On the Nonsense of Sense and the Sense of Nonsense,” 1995

[2] Blend of producer and consumer, coined by futurologist Alvin Toffler in his book The Third Wave (1980). Concept based on suggestion by Marshall McLuhan and Barrington Nevitt in their 1972 book Take Today (p. 4) that consumers would take on producer roles in mass customization. (Wiktionary)

[3] “An approach in science and technology studies and media studies that describes the processes by which innovations, especially new technology is ‘tamed’ or appropriated by its users. First, technologies are integrated into everyday life and adapted to daily practices. Secondly, the user and its environment change and adapt accordingly. Thirdly, these adaptations feedback into innovation processes in industry, shaping the next generation of technologies and services. The theory was initially developed to help understand the adoption and use of new media technologies by households. (Wiki)

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An itinerary project that faces an approach towards modes of perception and consumption in artistic contexts.

We are interested in presenting the information as a motor of a continuous movement which  escapes meaning and that is constantly being re-define. Quim, considers this process a metaphor and a simplification of big part of our process of information, of selection and of archiving which enlighten our absolute “capitalism”, including the consumption of  time and the consumption of experience.

Project in residency at Laboratoriscenen in DanseHallerne (Copenhaguen), El Graner (Barcelona), L’Animal a l’esquena (Celrà), Teatro Pradillo (Madrid) and Festival Inmediaciones (Pamplona). Coming residency (2016-2017): Espai Nyam Nyam (Barcelona) and Dance House Leftkosia.

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APPRAISERS/Thesaurus. Festival INMEDIACIONES. Pamplona, 11/2014.

Presentations and ramifications:

  • WELD, Stockholm. 05/2017. APPRAISERS/Re-place. With the collaboration of Soren Linding Urup, Paulina Chamorro and the support of Roger Adam, Paz Rojo and Jeanine Durning.
  • Nyam nyam. Barcelona. Festival Sâlmon. With Iñaki Álvarez, Ariadna Rodríguez and Raquel Tomàs. 11/2016.
  • Dancehouse Lefkosia, Nicosia. 10/2016. APPRAISERS/Explain.
  • Teatro Pradillo. 02/2016. APPRAISERS 4 RAMIFICATIONS:
    • APPRAISERS/Papel. Together with Raquel Tomàs and Pablo Caracol.
    • APPRAISERS/Moverlo. Together with Paulina Chamorro, Helena Martos and Søren Linding Urup.
    • APPRAISERS/ Orden. Together with Aitana Cordero, Raquel Tomàs and Fernando Gandasegui.
    • APPRAISERS/ Las cosas. Together with Pablo Esbert and Roberto Fratini.
  • APPRAISERS/Aquesta conversa. Festival Sâlmon. With Raquel Tomàs. Barcelona. 12/2015.
  • APPRAISERS/Movement. Structure for 4 dancers: Raquel Tomàs, Marina Colomina, Oihana Altube and Quim Bigas. 30 minutes. Festival IN Situ, Barcelona. 12/2014.
  • APPRAISERS/an introduction on the process of naming. Presentation of 10 minutes of a naming structure. K-3 Hamburg. 11/2014.
  • APPRAISERS/Thesarus. A piece created with the concepts and the representations of the project. With Raquel Tomàs. 40 minutes. Festival Inmediaciones. 11/2014.
  • Introduction/APPRAISERS. Presentation of 15 minutes at Festival EscenaPoblenou. With Raquel Tomàs.  Barcelona. 10/2014.
  • APPRAISERS/ Meeting. Presentation based on the outcomes during the Workshop around the topics of the work. Duration: 45 minutes. This workshop was curated as part of the Festival SITIO, Sta Cruz de Tenerife. 10/2014.

    APPRAISERS (192.8) A choreographical conversation with Raquel Tomàs
    APPRAISERS (192.8) A choreographical conversation with Raquel Tomàs
  • APPRAISERS/ 0.1 A movement structure of 30 minutes for two dancers: Marina Colomina and Quim Bigas. El Graner, Barcelona. 06/2014.
  • APPRAISERS (792.8). A choreographical conversation of 30 minutes between Quim Bigas and Raquel Tomàs. El Graner, Barcelona. 06/2014.
  • APPRAISERS/This. A 10 minutes structure based on the outcomes foundt during the residency at Laboratoriscenen, Copenhagen. Hall of DanseHallerne. 10/2013.
  • Porteatring Experience. An installation of drawings made in collaboration with Simon Asencio, Nicolas Roses, Jeanine Durning and Clara Saito. Room 201 of the Amsterdam School of the Arts. 04/2011.

This project have had the collaboration and contribution of:  Simon Asencio, Nicolas Roses, Jeanine Durning, Clara Saito, Asher O’Gorman, Costas Kekis, Carolina Backman, Marina Colomina, Oihana Altube, Raquel Tomàs, Masu Fajardo, Laida Azkona, Natalia Jimènez, Sofia Asencio, Aimar Pérez Gali, Carme Torrent, Roberto Fratini, the attendance at the course in FESTIVAL SITIO, Elena Carmona, Paulina Chamorro, Aitana Cordero, Helena Martos, Søren Linding Urup, Pablo Esbert, Fernando Gandasegui and Pablo Caracol.

Quim is a student at the MA on NEW PERFORMATIVE PRACTICES with the project APPRAISERS. Dir: Chryssa Parkinson.

CASTELLANO

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APPRAISERS/Moviment. Mostra In-SITU. 12/2014. Quim Bigas, Raquel Tomàs, Marina Colomina and Oihana Altube.

El proyecto APPRAISERS explora la ramificación de formatos, conceptos y metodologías relacionadas con la información y los datos en tiempo real a través de diferentes estéticas de producción. Para ello, navega con la idea del cuerpo como archivo o canal informativo, como reflejo del consumo y del proceso de etiquetaje. Simultáneamente, es una práctica coreográfica aplicable a muchos campos que está preparada para ser compartida en cualquier momento. A través del desarrollo de habilidades y reglas, APPRAISERS pretende dar visibilidad a lo presente, así como potenciar la idea de que somos “creadores de nuestra propia realidad”.

A partir de la “nueva” era de la información, hemos adquirido la capacidad de ser prosumidores (productores a la vez que consumidores). En cierta medida, el presente es un concepto que está en continuo diálogo entre nuestro cuerpo productor y su contexto; afrontándonos a la capacidad de quedarnos y ser capaces de informarnos dentro del contexto en el que habitamos. Debido a la existencia de muchas tecnologías y dispositivos que facilitan un enfoque distinto hacia la encarnación de la presencia, “sólo” estar “aquí y ahora” es una tarea cada vez más compleja. El deseo compulsivo y la presunción de compartir información y experiencias a través de las plataformas de medios sociales se ha convertido en parte de la rutina de la vida diaria. De forma explícita, el ojo se convierte en un filtro para discernir lo que es de valor. Este nuevo comportamiento afecta nuestra capacidad de observar, de comportarnos, de entendernos y tener experiencias. Esta domesticación social de los medios de comunicación resulta en un desapego hacia los lugares físicos que habitamos y las relaciones que generamos con nuestros cuerpos.

Este proyecto comenzó en 2011 y está en constante evolución, re-adaptación y re-configuración. Hasta ahora, el trabajo ha tenido varios formatos: diálogo coreográfico, estructura de movimiento, estructura de voz, exposición cartográfica, una conferencia en solitario, un disparador para una conversación y un Tesauro. El objetivo del proyecto es mantener la inversión en los formatos, formas de compartir la misma idea y suscitar preguntas que ponen su atención en la toma de decisiones, el trabajo, el consumo y el proceso de clasificación. A pesar de que esto parece un objetivo bastante general, es muy específico. El proyecto se centra de forma precisa en “la información que ya está aquí” utilizando la mirada para crear un engrosamiento de lo que es concreto. El trabajo se abre a los sentidos por la simplicidad de su tarea, se convierte en compartible y en una conversación que se desarrolla con potencial inherente a expandirse.

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Ilustración de Pablo Caracol con estructura de Quim Bigas para APPRAISERS.Papel. Teatro Pradillo. 02/2016

Presentaciones y ramificaciones:

  • WELD, Estocolmo. 05/2017. APPRAISERS/Re-place. Con al colaboración de Soren Linding Urup, Paulina Chamorro i el soporte de Roger Adam, Paz Rojo and Jeanine Durning.
  • Nyam nyam. Barcelona. Festival Sâlmon. Con Iñaki Álvarez, Ariadna Rodríguez y Raquel Tomàs. 11/2016.
  • Dancehouse Lefkosia, Nicosia. 10/2016. APPRAISERS/Explain.
  • Teatro Pradillo. 02/2016. APPRAISERS 4 RAMIFICACIONES:
    • APPRAISERS/Papel. Junto a Pablo Caracol y Raquel Tomàs.
    • APPRAISERS/Moverlo. Junto a Paulina Chamorro, Helena Martos y Søren Linding Urup.
    • APPRAISERS/ Orden. Junto a Aitana Cordero, Raquel Tomàs and Fernando Gandasegui.
    • APPRAISERS/ Las cosas. Junto a Pablo Esbert and Roberto Fratini.
  • APPRAISERS/Aquesta conversa. Festival Sâlmon. Barcelona. 12/2015.
  • APPRAISERS/Moviment. Partitura para 4 intérpretes: Raquel Tomàs, Marina Colomina, Oihana Altube and Quim Bigas.  30 minutos. Festival IN Situ, Barcelona. 12/2014.
  • APPRAISERS/una introducción al proceso de nombrar. 10 minutos. K-3 Hamburg. 11/2014.
  • APPRAISERS/Thesarus. Pieza creada con la ayuda de este lenguaje documental. Junto a Raquel Tomàs.  40 minutos. Festival Inmediaciones. 11/2014.
  • Introducción/APPRAISERS. 15 minutos para Festival EscenaPoblenou. Junto a Raquel Tomàs.  Barcelona. 11/2014.
  • APPRAISERS/ Encuentro
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    Cartografía de APPRAISERS.

    . Presentación post-taller. 45 minutos. Incluído en la programación de Festival Sitio. Sta Cruz de Tenerife. 10/2014

  • APPRAISERS/ 0.1 Estructura de movimiento para dos intérpretes: Marina Colomina and Quim Bigas. El Graner, Barcelona. 06/2014.
  • APPRAISERS (792.8). Una conversación coreográfica entre Quim Bigas y Raquel Tomàs. 30 minutos.  El Graner, Barcelona. 06/2014.
  • APPRAISERS/This. Post-residéncia. 10 minutos. DanseHallerne. 10/2013.
  • Porteatring Experience. Una instalación de cartografías/dibujos con la participación de: Simon Asencio, Nicolas Roses, Jeanine Durning and Clara Saito. Amsterdam School of the Arts. 04/2011.

Hasta la fecha, el proyecto ha contado con la colaboración y contribución de: Simon Asencio, Nicolas Roses, Jeanine Durning, Clara Saito, Asher O’Gorman, Costas Kekis, Carolina Backman, Marina Colomina, Oihana Altube, Raquel Tomàs, Masu Fajardo, Laida Azkona, Natalia Jimènez, Sofia Asencio, Aimar Pérez Gali, Carme Torrent, Roberto Fratini, el grupo asistente en el FESTIVAL SITIO, Elena Carmona, Paulina Chamorro, Aitana Cordero, Helena Martos, Søren Linding Urup, Pablo Esbert, Fernando Gandasegui y Pablo Caracol.

Quim es estudiante del Máster en Nuevas Prácticas Performativas con el proyecto APPRAISERS. Dir: Chryssa Parkinson.

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