Monday, 17 August 2015

Self interview

I am currently working on a small publication to be published by wotadot before the end of this year. This book/ publication will contain a compilation of short pieces of writing that I have done throughout the years, in notebooks and sketchbooks, alongside my visual work. I have recently noticed that I am writing more and I am curious about this process and where it can go with my visual and performative work.

(The vague) Self Interview

How are you feeling right now?

I’m quite anxious. I’ve been biting my nails a lot. Yeah, I’ve been anxious a lot, actually.

Are you ready to start?

I’m not sure I am ready. Maybe we shouldn’t start yet. I think I need to calm down. I will not know what to say….I haven’t prepared.

So, should we wait for bit?

Uuumm, maybe. Let me just move around a bit…see how I feel afterwards. Are you in a hurry?

Not really, I mean, we can wait …are you sure you are alright?

Yeah, I’ll be fine. I just need to move around for a bit. [Breathes in through the nose and out through the mouth noisily]
[Pacing around nervously] You know, the other day I went to an event and one of the hosts started by talking about delaying starting. Delaying starting something puts you in a position where there are more possibilities. Once you’ve started, the possibilities are substantially less.

            Why did you bring that up? Does that interest you?

It does. Has been on my mind ever since: delay the start. Maybe because I tend to procrastinate a lot and this idea fit in well with that (?) Well, …not really. Seriously [Still moving], maybe because I am interested in things that are not final, finished, polished. In my work, that is. The emphasis is in the process and not in a finished outcome. Once I consciously start, I loose interest.

            How do you resolve your work/ a project?

[Stops slightly out of breath] That is a good question.
[Long pause]
When I am working, finishing what I am doing doesn’t get thought about too much, as in a conscious way. Everything just tends to unravel and happen and it is considered finished when the particular process I am following at the time comes to an end; often a task, or a procedure or a sequence of events / tasks. But I would like to think that I never really started, therefore never finish.

            What sort of work are you talking about?

I am referring to visual work, drawing and photography. That’s interesting: I momentarily forgot about the bookwork. A book is a finished thing, right? So what I said before doesn’t make entire sense. I need to keep moving for longer [breathes in and out, noisily and fast, again]. I’m not making any sense.

            Where do you get your ideas from? What makes you do the work that you do?

[Stops, standing still] Its difficult- perhaps interestingly so- to define a clear source for ideas. I think ideas tend to be more impulses and tend to come from actions. They tend to be intuitive and responding to something material, some quality/ connection that is visible to me in that particular moment in time. It seems that there is an inner intelligence that I can’t rationalise which recognises all these little connections. Maybe I don’t work with ideas….that may explain why I can’t work to briefs/ commissions.

Now- movement and performance are whole new territories for me. I am still figuring out a process that is mine. [Sits down]

            Are you ok?

Yes, I’m much better now.

            Ok, should we start?

Ana Vicente
16th May 2015

Sunday, 16 August 2015

Art Book Fair coming up...

Tuesday, 28 April 2015

Failure, a connection, a performance

Events happen very fast, in a totally interlinked way, that makes me wonder if it all had been scripted and I am simply following that script.


. started and intensive live art- body in performance course and one of the texts I was given to read were various accounts on the theme of the body by members of the performance group Goat Island. It is discussed, in these accounts, imitation as a process of generating performance material. For instance, taking an existing dance piece (Pina Bausch's choreographies are mentioned) and copy the movements. The realisation that the performers (not dance trained) would never get the movements right and the idea of staging a failure is valued by the group, in that it represents inability and provides the performers with fragility and unstable possibilities.


. attended an audition for a place in Boris Charmatz's Roman Photo piece to be performed at the MuseƩ de la danse at the Tate Modern in May. The piece is a recreation of every picture in David Vaughan's Merce Cunningham: Fifty Years (1997) as a speed-up version of Cunningham's work. Performed by amateurs (not professional dancers), Charmatz is interested in the idea of re-creating something fake that may or may not succeed. While recreating one of the pictures I sprained my calf muscle stopping me to continue the audition. I was not called for the rehearsals.

BUT                   NOTHING

On movement- trying to get it right

Sunday, 12 April 2015

Domestic performances - Ensemble (Improvisation)

Ana Vicente, Ensemble (Improvisation), 31.03.2015, video (domestic) performance 

Ana Vicente, Broken cups composite, 2015, digital photography

Tuesday, 30 December 2014

PERFORMANCE- Piece 1 in two parts (creating and developing)

Rehearsal: sketchbook, 11 x post-its, laptop (displaying image slideshow), headphones, pen

Ana Vicente, Piece 1 in two parts (part 1- still from recorded performance), 12.12.14
Holy Redeemer Church Hall, Exmouth Market,  London

Ana Vicente, Piece 1 in two parts (part 2- still from recorded performance), 12.12.14
Holy Redeemer Church Hall, Exmouth Market,  London

Tech-sheet page 1

Tech-sheet page 2

Part 1:
Birds singing
Seating down
Series of 11 different stretches

Part 2:
Stomping slow paced to fast paced
Running front back side ways
Arm & leg movement