Acción Gorila

June 5,  kl. 18-20

at Kunsthal Charlottenborg

Free Entrance

Acción Gorila presents a lecture by the German artist and film-maker Florian Schneider titled “Counterenactment” (Rethinking the turns in performance and documentary) and the performance “Another 12” (A practice on translation and emancipation) by Danish/Venezuelan choreographer, performer and teacher Sara Gebran. The evening is organized in collaboration with the Danish National School for Performing Arts (SSKS), The Royal Danish Academy of Fine Arts and Kunsthal Charlottenborg.

Acción Gorila, The Very Organized Guerrilla Economy of Contingency Movement, (Tracking back Donna Haraway’s Koko the Gorilla in National Geographic on primates) creates a series of events arranged in different periods and spaces in the city of Copenhagen and Malmö, conceptualized by visual artist, curator and writer Mathias Kryger and choreographer, teacher, performer Sara Gebran. The events are set as collaborations with SSKS and The Royal Danish Academy of Fine Arts, aiming to use the potentiality of the art school’s visiting international lecturers and teachers and to present works or discussions to an audience outside the class room in combination with works by local artists and occasionally student’s work. It also aims for new forms of collaboration between practitioners and scholars from the dance and visual art fields, the two art schools, the art spaces/venues and the audiences.


18.00 Counterenactment (Rethinking the turns in performance and documentary) lecture by Florian Schneider 

Over the past two decades, a specific notion of "contemporariness" in the art world has been revived by turning the attention to documentary practices as well as by a renewed encounter with performance, dance and choreography.
Rather than seeing these parallel developments independently from each other, they need to be understood as intrinsically linked or connected.
A practical critique of the documentary image as evidence must not be limited to an ever-abstract deconstruction of the event. Through the concept of "counterenactment" it may open up to a variety of strategies of reading history against the grain and subverting its exchange value by undermining and revaluating meaning.
At the same time, critical performative practices may lead to a new understanding of the work of the artist as living labor, which is countering rather than re-affirming the economic laws of the spectacle and its ephemeral commodity form.

 19.15 “Another 12” (a practice on translation and emancipation) performance by Sara Gebran

“Another 12” is the last solo of a series of three solo performances related to one another by a similar starting point – with different compositional arrangements: artists from different disciplines and countries translated images from another project, chosen by Sara, into a movement phrase, resulting in their translation of 32 dance phrases of maximum 2 minutes each.
Translation comes after the original and continues and develops from it, staying close to it, while undergoes a transformation and a renewal from the original towards an afterlife. Since all translations mark their stage of continues life, so it is the translation of the audience, an “afterlife continuum” without the mediation of given meaning, a continue surrendering from the original.
“Another 12” also investigates freedom between the parts, between the movements, and in the passages between medias. It is an exercise for the emancipation of composition, in order to liberate it from the relations which binds the parts to the whole, the original and the translator, the maker and the viewer, opening for new spaces in between them, as collective spaces for new relations and new meanings to emerge.

Concept: Sara Gebran
Choreography in collaboration with Rebecka Stllman.
Performer: Sara Gebran
Guest Performer: Rebecka Stillman

32 movement phrases:  David Zambrano, (Choreographer, performer, teacher, Be/Vz), Mette Edvardsen (Maker, Be/No), Paula Caspao (Researcher, choreographer practicioner Fr/Pt), Hildegard de Vuyst (Dramaturg KVS, Be), Célia Fechas (Actress, Be/Pt), Anna Koch (Choreographer/director of Weld, Se), Tor lindstrand (Architect, Se), Vera Nevanlinna (Choreographer, performer, Fi), Yukiko Shinozaki (Choreographer, performer, Be/Jp); Nikolina Pristas (Choreographer, Performer, teacher, Cr); Manuel Perez (Dancer, Be/Vz); Valentina Desideri (Choreographer, It); Emma-Cecilia Ajanki (Choreographer, Performer, Se/Dk); Meike Shalk (Architect, De/Se); Yazan Khlaili (Photographer/architect, Pl); Astrud Angarita (Dancer, Vz); Anders Mosslim (Actor, Se/Dk); Mathias Kryger (visual artists, Dk); Lars Persson (Producer of 3r: Väningen, Göterbor, Se); Jesper Nordalh (visual artists, Se); Åsa Andersson Broms (Visual artists, professor, Se); Monica Aasprong (Poet, No/Se); Britta Forestier (Arachitect, Se); Kajsa Sandström (Choreographer/dancer, Se), Cecilia Järdemar (visual artists, Se); Tara Motazedkivani (Dancer, Se); Annika Olofsdotter (Game designer, Se);  kai Eng ((Scientist researcher, S); Sviatana Viarbitskaya (Scientist researcher); Yumiko Hoshi (Textile designer, Jp); Philipp Gallon (Photographer, Ge/Se); Erik Pold (Performing artists, Dk).

The performance is supported by: Projektstøtteudvalget for Scenekunst,


Florian Schneider is a filmmaker, writer, and curator. He is Professor for Art theory and documentary practices at theTrondheim Academy of Fine Art at the Norwegian University for Science and Technology, where he currently acts as Head of Department. His work is investigating the border crossings between mainstream and independent media, art and activism, theory and open source technology, documentary practices and new forms of curating. http://fls.kein.org/view/155

Sara Gebran is Choreographer, Performer, Urban planner, and currently Head of the education on Choreography at the Danish National School of Performing arts. Her works is situated within the performance art field, exploring ways of re-presenting the body in relation to socio-political context, space and time, mixing medias and field of art in order to create and question the experiences produced between the audience and the performers, generating different perceptual relations, and perspectives.




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