TEAM

 

     

Anja Foerschner
Anja is the founder of ECC Performance Art. Originally trained as a visual artist, she holds an MA in Art Pedagogy, Art History and Philosophy and a PhD in Contemporary Art History from Ludwig-Maximilians-University Munich. Anja has researched and curated performance art for almost a decade and worked with institutes such as Munich’s Haus der Kunst, the Getty Research Institute in Los Angeles and PerformanceHUB in Belgrade. She is passionate about exploring the many facets of performance art and the various ways in which it engages with our cultural, social, and political landscape.  

     

 

  Rene Rietmeyer
Rene Rietmeyer is president of the European Cultural Centre and Dutch artist mostly known for his own art form of the "Boxes", stimulated by American minimal art and the so-called new abstraction. He has organized events with artists such as Yoko Ono, Lawrence Weiner, Hermann Nitsch, Marina Abramovic and Mike Parr. He uses his vast network of artists and architects as well as his experience in education to coordinate the curriculum and lead strategic projects at the ECC Performance Art.

 

 

 

 

LECTURERS

 

Marta Jovanović
“Jovanovic is truly an artist of the twenty-first century. She can no longer call one country home, after living in Europe, the Middle East and North America. Her practice moves effortlessly between performance, sculpture, video and installation. She is interested in the legacy of feminism, but she also has deep admiration for her male forbears. Are these contradictory stances? They should not be. For identity today is a shifting and transforming process, rather than a fixed state. We have learned from the achievements as well as the mistakes of earlier feminist thought—prescribing what is a liberated feminism from what is not is a futile process. What is more enlightening is to understand that the post-feminist condition allows for a personal quantification of identity, one that is not forced or assigned. This is what our feminist predecessors fought for so bitterly—for our generation to have freedom to make our own choices about our bodies, our art, our lives.” Dr. Kathy Battista – Marta Jovanovic: Performing the Self (2013)
 

 



 

Francesca Albrezzi
Albrezzi is an art historian, curator, and digital humanist. She completed her PhD in the Department of World Arts and Cultures/Dance at the University of California - Los Angeles (UCLA), She also holds a Digital Humanities Graduate Certificate through UCLA's Digital Humanities Program. Her research interrogates modes of publishing, display, and information capture in museums and archives that illustrate a break from “traditional” models, and argues that digital modalities provide a distinctly different paradigm for epistemologies of art and culture that produce greater contextualized understandings. Specifically, she is interested in spectrums of immersive experience within GLAM organizations as offered by technologies such as virtual reality, augmented reality, and 360 photo and video capture. For over a decade, she has worked with museums including the Smithsonian’s National Museum of American History (Washington, D.C.), the Institut national d'histoire de l'art (Paris, France), the Los Angeles County Museum of Art, and the Getty Research Institute (Los Angeles, California). Francesca has garnered significant experience in developing and teaching digital tools for art historical practice and humanistic research, such as The Getty Scholars’ Workspace™ for conducting collaborative arts research and preservation. She currently works as a Digital Research Consultant at UCLA’s Institute for Digital Research and Education.
 

 

Marissa Vigneault
Marissa Vigneault’s research focuses on the role of performance and performativity in modern and contemporary art, with particular attention on the construction of identity in visual culture (fashion, burlesque, and films). Dr. Vigneault’s current research examines pioneering feminist artist Hannah Wilke (1940-1993), whose body-oriented performances and video art in the 1970s contributed to the art world’s re-visioning of the female nude. The study emphasizes Wilke’s art’s connections with New York City’s avant-garde fashion industry, department stores, burlesque clubs, cinema and television, and other “low culture” displays of female nudity and feminine spectacle in order to demonstrate the intersection between her feminist tactics and those of mass-market consumerism. Dr. Vigneault’s publications include essays in Women’s Studies and the anthology Contemporary Art and Classical Myth, as well as numerous essays for museum catalogues. She has presented her research at the College Art Association conference; Popular Culture Association conference; Feminist Art History conference; University of Johannesburg; Columbia University; Association of Art Historians conference; SECAC; and Association of Historians of American Art conference. She is currently lead book reviews editor for Panorama, the online peer-review journal of AHAA.

 

 


 

 

Katja Hilevaara
Katja Hilevaara is a collaborative artist, researcher, and teacher who works in performance, installation and art writing. Ideas around maintenance, care and enchantment are often foregrounded in her artwork, and she plays close attention to the everyday in the making and thinking of her various projects. Recent works have drawn on (auto)biography and reimagined histories, exploring ways that question existing narratives, and which might deliberately mis-remember or otherwise creatively interpret events to shift their perspective and meaning. Creative constraints such as tasks and instructions often shape her projects. Katja creates works with other artists and thinkers, cherishing the change to be inspired by dialogue and conversation. She is involved in a long-term collaboration with artist Emily Orley with whom she creates performances and writes. Katja is currently a lecturer in Theater and and Performance at Goldsmith's University of London.
Learn more about Katja on her website www.katjahilevaara.com
 

 

 


 

 

Rah Eleh
Rah Eleh is a video, net and performance artist based in Toronto, Canada. Rah's work focuses on and critiques the visual stereotypes and performative aspects that shape female gender identity and national and ethnic identity. She is interested in how race and gender are performed from multiple layered perspectives: exilic, decolonial, queer and diasporic. Rah has lectured and exhibited extensively internationally at institutions including NYU Tisch, The New School, Alfred University, Dalhousie University, Images Festival (Toronto), Museum London, Carleton University Art Gallery (Ottawa), Williams College Museum of Art (Williamstown, MA), Miami Art Basel, Nieuwe Vide (Haarlem, Netherlands), Pao Festival (Oslo, Norway), Kunst am Spreeknie (Berlin, Germany), Kunsthaus Graz Museum (Graz, Austria), and Onassis Cultural Center (Athens, Greece). Rah is represented by VTape, Canada's leading artist-run distributor for video art. 
Learn more about Rah on her website: https://www.rah-eleh.com/

 



 

Natasha Jozi
Natasha Jozi is a Fulbright scholar, performance artist and curator from Pakistan, interested in the collective human experiences and the intersections of science and the spiritual body. She has widely performed and exhibited her work in Colombo (Sri Lanka), New York, Chicago, Delaware, Winnipeg (Canada), Tetley (UK), Fribourg (Switzerland), and Venice. She is the founder and director of House Ltd., a platform that aims to promote performance art in Pakistan. Through her curatorial projects, she strives to generate critical discourse around the body, gender, and censorship. She is the recipient of the Prince Claus mobility grant. Jozi resides between Pakistan and Germany. 
Learn more about Natasha on her website: http://www.natashajozi.com

 


 

 

Alicia Grullón
Alicia Grullón uses performance and self-portrait (re)composing popular histories as a critique on the politics of presence - an argument for the inclusion of marginalized communities in political and social spheres. Grullón has participated in exhibitions including The 8th Floor; Bronx Museum of the Arts; BRIC House for Arts and Media; El Museo del Barrio; and Columbia University. She has received grants from Puffin Foundation; Department of Cultural Affairs of the City of New York; and Frankin Furnace Archives. Grullón has participated in residencies at the Hemispheric Institute for Politics and Performance at New York University; Center for Book Arts; and Bronx Museum of Arts AIM program. Her work has been reviewed in Hyperallergic, ArtNet News, New York Times and Women & Performance: A Journal of Feminist Theory.  Grullón is  a recipient of the 2019 Colene Brown Art Prize and the 2020-2022 Walentas fellowship at Moore College of Art and Design in Philadelphia. Grullón is an adjunct at the City University of New York and the School of Visual Arts and has an MFA from the State University of New York and a BFA from New York University. She has completed Doctoral course work in Art and Art Education at the Teachers College at Columbia University. 
Learn more about Alicia and her work on her website: https://aliciagrullon.com/home.html



 

 

Nicoletta Cappello
Nicoletta Cappello is a performing artist, educator, and doctoral researcher at UdG and UniCT. In her work, she is interested in studying processual forms and exploring the common ground between Performing Arts, Performance Art, and Embodied Learning. Her pieces experiment with participatory, intermedia, and immersive formats and invite the audience to collaborate as another performer by actively moving their bodies.
As an author, she has presented her work in prestigious venues such as Teatro de la Abadia de Madrid, Matadero Madrid, and Teatro Libero Palermo. She has also won several awards such as the 'Extraordinary Award to Creation at the Distance' by Theatre Lluire Barcelona, the Residency Award Citofonare PimOFF, and the Residency Award of Fabra I Coats Barcelona-Centre for Contemporary Creation. As a teacher, she has collaborated with the Master in Performing Arts program of UCM Madrid, the School of Dramatic Arts Paolo Grassi in Milan, the Department of Theatre and Interculturality of UniBo, and the Institute of Teaching Innovation of UFV, among others. She leads 'El Público', as a member of Planea - Network of Art and School, a project that implements the performing arts as tools of embodied learning and feminist pedagogy inside general education. For more information visit www.elpublico.org

 


 

Tina Mariane Krogh Madsen
Tina Mariane Krogh Madsen is an artist and researcher, who works at the intersection between performance art, media, and matter. Madsen is currently a doctoral candidate at Aalto University School of Arts, Design, and Architecture in Finland, where their artistic research evolves around environmental performance art and affective relations in a critical ethico-aesthetic practice. Madsen has an art educational background from the College of Arts, Crafts, and Design (Denmark) where they started studying performance art in 1999, and holds a Master of Arts in Art History from Aarhus University in Denmark. Madsen has performed internationally in many formats and contexts. They are the founder and organizer of Performance Protocols, a nomadic platform for instruction-based art and collaborative processes. Madsen has lecturing and teaching experience from Node Center for Curatorial Studies Berlin (online courses), Kunstpionererne at Kunsthal Nord (Denmark), Aarhus University, and Aalto University Department of Art and Media, among others. Madsen is further a certified facilitator of Deep Listening Workshops from the Center for Deep Listening, Rensselaer Polytech Institute in the US.
For more info on Tina visit http://tmkm.dk/ and http://performance-protocols.net/

 

 


 

Emily Orley
Emily Orley is an artist, writer, and educator based in London. Her work includes performance, video, installation, and hybrid modes of writing. She has published many chapters and articles that explore and enact practices of creative-critical writing. She also co-edited The Creative Critic: Writing As/About Practice with Routledge in 2018. Her research interests often revolve around ideas to do with memory, maintenance, and enchantment, and un-fixing notions of time, heritage, and place. Always open to new forms of experimentation, nothing inspires her more than lively discussions, new encounters, and unlikely assemblages. As a practitioner-researcher, she is a firm believer in breaking down the false binaries that separate practice and theory, making and thinking and writing about making.
More information about Emily and her work can be found at www.emilyorley.com.

 

Rodrigo Arenas-Carter

Rodrigo Arenas-Carter uses performance art to problematize conceptualizations that condition our freedom: nationality, gender, success, seriousness, among others. He has participated in exhibitions and festivals including Paris Biennale, Hemispheric 2016 and 2019, Proxy the Wrong, Terremoto Magazine, and UNAM. He has received grants from the Ministry of Culture of Chile, BAX/Brooklyn Arts Exchange, YAXS foundation and Goethe Institut (Bogota - Colombia). Also, he is an LGBTQ+ activist in Cuirpoétikas, and a member of the International Network for Contemporary Performance Arts (IETM), Central-American Arts Network (RACA) and Research Network of and from the Bodies. Rodrigo has participated in residencies at the Centro Cultural de España en Ciudad de Guatemala, Centro Cultural de España en Costa Rica, and Experimenta Sur (Colombia). His work has been reviewed in Central-America in Action, The Detail,  and  Revista Cultura de Guatemala. Rodrigo co-organized the biyearly performance-art festival Forma y Sustancia. He has participated in several academic journals, has a column about performance in Gazeta Guatemala, and published the book “The Vital Scarcity. Poetry and Performance Art in Latin-America and Chile” (2017). He holds an MA in Literature from UPLA, Valparaiso, Chile.
For more info visit Rodrigo’s website: https://arenascarter.weebly.com/