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Open Rehearsal (Cycle 3, 2024)

Artun Alaska Arasli is an Amsterdam-based artist and writer. His visual work focuses on the moment of the artwork’s reception, while his theater work revolves around the rehearsal. Presentations of Artun’s work include Bird-Time, Bologna.cc, Amsterdam (2022); Prose, Kantine, Brussels (2018); Cardena: Warming Up, Rozenstraat, Amsterdam (2017); Porcupine, Jan Van Eyck Academie, Maastricht (2018) and The Beauty Commission, Stedelijk Museum, Amsterdam (2016). He published texts on Tangents, Le Chauffage, nY, and Interjection Calendar (Montez Press). Since 2017 Arasli co-authored plays for NTGent, Theater Oostpool, and Het Zuidelijk Toneel. He is the founder and co-director of Amsterdam Poet’s Theater.

Photo: Mahinur Songül Çenetoğlu

Rebecca Lillich//Krüger is a performance artist based in Amsterdam. Her work utilizes hyper-rhythmic text, aesthetic surrealism and the unrelenting force of the body as a basis for self-interrogation, inviting the audience into a new imaginative means of world making. This year her work Voyage was presented as part of Come Together (9) at Frascati and her first video work, The Ladder with Ahmad Mallah, was presented at Art Rotterdam/Prospects. Born in Germany and raised in New York, she received her BFA from the Alonzo King LINES Ballet Program and her MFA in Dance from Hollins University and is based at Broedplaats Bouw with Stichting Triplets. Aiming to meld her technical and artistic background with socio-political awareness, through many doubts she seeks to engage with work that dismantles singular paradigms in performance and invests in practices and communities that keep the heart beating.

Photo: Ziyao Yu

Yin Yin Wong is a multidisciplinary artist working across a range of media including film, sculpture, drawing and site specific installation. Previously as Publication Studio Rotterdam (2015–2021) they worked largely around themes of distribution, dissemination and circulation of visual culture through publishing artist books and curating exhibitions departing from text. Currently they are researching possible bridges and juxtapositions between their modernist graphic design education and their childhood growing up in a Malaysian-Chinese restaurant in the Netherlands. By focussing on themself as a site where different legacies and languages converge and complicate eachother, Wong looks for overlaps that speak cross-culturally. Through an auto-etnographic lens they question the dominant frameworks that permeate nearly every aspect of their life.

Photo: Paulina Rubio


We are thrilled to announce the participants in the third cycle of Open Rehearsal: Artun Alaska Arasli, Rebecca Lillich//Krüger, and Yin Yin Wong. The participants were selected by curator Mini Maxwell and the If I Can’t Dance artistic team.

Open Rehearsal is an initiative of If I Can’t Dance to support the development of performance practices across the diverse communities of artists based in Amsterdam and the Netherlands, aiming to create much-needed space for intimate dialogue on ideas and works-in-process. The programme welcomes artists from various practices such as, and not limited to, architecture, dance, music, theatre, and visual arts.

Taking the familiar form of the open rehearsal as a starting point, Open Rehearsal unfolds across online and on-site spaces, offering the participants opportunities for feedback from audiences, community peers and specialized practitioners. From June you are invited to follow the projects-in-development in our online studio and in late June and July the Open Rehearsal presentations will take place in our space at the WG terrain.

Projects

For Open Rehearsal, Artun will work with his mother Mahinur Songül Çenetoğlu, a self-taught (and recent) actress, in staging a carousel of roles she would have wanted to play if she had a career in acting.

spit + scotch tape is a conversation with the past in the present to propel into the future. A unraveling of given family myths and narratives, spit + scotch tape began as Lillich//Krüger’s Master’s thesis in 2018 and returns in a new light, a constant, insisting, depressing, repetitive why. spit + scotch tape offers identity as an echo, a collection of traces and references that accrue into an insistent yearning towards a blind future created by a never-ending past.

In their performance The Myth of the Dragon Gate (working title), they offer an intimate view into the once thriving and now gradually disappearing Chinese restaurant industry in the Netherlands.


Open Rehearsal (Cycle 2, 2023)

Welcome at the Open Rehearsal studio spaces of Miyoung Chang and Dakota Guo, Benjamin Francis and Clara Saito, participants in the second cycle of the ongoing initiative at If I Can’t Dance to support the development of performance practices across the diverse communities of artists based in the Netherlands, and with the aim of creating much-needed space for intimate dialogue on ideas- and works-in-process. From May you are invited to follow the projects-in-development in the studio, and on 17 June the Open Rehearsal on site presentations will take place at Pre-Reserved in Amsterdam. As space is limited, we kindly ask you to make a reservation.

Projects online

Clara Saito, Theater of Drag: Action, Healing and Telenovela ›››

Benjamin Francis, Control It — Delete It ›››

Miyoung Chang and Dakota Guo, Chu Renmei and Hye-Joo ›››


Introductions

The project Theater of Drag: Action, Healing and Telenovela by Clara Saito, consists of working with different queer activist collectives in the city of Amsterdam. The project is inspired by the techniques of the Theatre of the Oppressed by Augusto Boal, as well as the book Disidentifications: Queers of Color and the Performance of Politics by José Esteban Munoz, but also by drag and telenovela. Throughout the creation period, one collective will work with the artist to develop their own unique characters and storylines, drawing on their personal experiences and struggles. The project is a collaborative effort to use theater and performance as a means of exploring and addressing issues related to queer activism and social justice.

Within the framework of Open Rehearsal Benjamin Francis will be presenting the work: Control It – Delete It. He will be working with new methods of pedagogy in the form of an anatomical theater lesson, where participants will be asked to lay on an autopsy table, as they are being cleansed by performers, who will be analyzing and processing their (dirty) artwork subject. The participant turns from an active subject to a silent object, being cleansed for their own good.

In the duo project Chu Renmei and Hye-Joo two daredevil friends, Miyoung Chang and Dakota Guo, come together in an attempt to study and exhaust the conventions of East Asian horror filmmaking. Claiming that they are not afraid of western ghosts in the arrogance of their displacement from the geographical sites where “effective” haunting would be possible, the duo delves into the mechanisms of the cinematic apparatus through which an abstracted horror affect of the absent presence of ghosts is nevertheless generated.

Projects on-site

Benjamin Francis, Control It — Delete It, (2023), performance. Photo: Maarten Nauw. ›››

Miyoung Chang and Dakota Guo, Chu Renmei and Hye-Joo, (2023), performance. Photo: Maarten Nauw. ›››

Clara Saito, Theater of Drag: Action, Healing and Telenovela, (2023), performance. Photo: Maarten Nauw. ›››


Participants

Portrait in colour of a female looking person, with dark hair and wearing stockings, in front of a silver background, looking up to a higher positioned camera.

Clara Saito is a performance and visual artist based in Amsterdam. Since the beginning of her work making in the Netherlands, she has been part of the queer community in Amsterdam, volunteering and organizing performance nights in socio-cultural centers. In her recent works she transitions between different characters, such as the drag king persona Kurt Dickriot and a rockstar in performance arts called Lady Dada amongst others. All these experiences come together in her exploration of themes such as dissociation, multiplicity of being/ characters, transformation and being a body and spirit in constant flexibility, which Saito believes is also a political way to experience the world.

Photo: Ginta Tinte

Portrait in colour of a male looking person, with dark hair and wearing black jeans shirt and trousers, photographed from just under the middle, looking straight into the camera, his left arm behind his back, his richt arm relaxed along his side.

Benjamin Francis reflects in his work on his lived experience of continuously being corrected for spelling mistakes, due to his dyslexia. These dissonances or errors are carefully corrected in our current-day society, as anything outside the norm is deemed unproductive and therefore excluded. By exposing the hidden dynamics of the power relations that structure and regulate the way we were taught to distinguish right from wrong, he questions how those systems came into existence and who holds the position to dictate those binary oppositions. 

Photo: Igor Zynwala

Two persons photographed in black and white, from the back and shot from the middle, standing in front of a wall. Both are having half-long hair; the left persons has a strand of hair curling up, the right person follows with its right arm and middle finger the curved line of that strand.

Miyoung Chang (b.1994. Seoul) metaphorically elucidates the dilemma of the third person “그녀” (she) into frantic quasi-auto-fiction that seduces one to retrospect (and also be pursued by) the self and the construct that the self is built in. Dakota Guo (b. 1994, Taiyuan) describes her practice as pseudo-theory making, through which she fabricates a corpse-ghost continuum conceived on the basis of what she calls the Chinese (cosmo-)necrological infrastructure. 

Photo: Raffia Li


Open Rehearsal (Cycle 1, 2022)

Welcome at the Open Rehearsal studio spaces of Billy Mullaney, Jae Pil Eun and Mariana Jurado Rico, participants in the inaugural cycle of the ongoing initiative at If I Can’t Dance to support the development of performance practices across the diverse communities of artists based in the Netherlands, and with the aim of creating much-needed space for intimate dialogue on ideas- and works-in-process.

Projects online

Jae Pil Eun, Butterfly Dreams ›››

Billy Mullaney, Gloria Ex Machina: A Glory Machine Director’s Cut with Commentary Track ›››

Mariana Jurado Rico, Failed Manifest(o) ›››


Introductions

Jae Pil Eun (b.1991, Wonju) is a writer and performance artist exploring modes of translating personal and intergenerational memories through mythologies, rituals and Korean traditional music. Studying and interpreting practices deemed “primitive” in Western society, Jae’s practice treats performance as an affective site that can challenge dominant worldviews. His Open Rehearsal: Butterfly Dreams weaves historical research into Peking Opera, the figure of Mei Lanfang together with his personal lived experience. The project experiments with auto-fictional narratives and durational strategies of representation.



Billy Mullaney (b.1988, Minneapolis) is an artist working in theater, choreography and performance art. His work probes the representational practices associated with various sites of performance, as well as the modes of spectatorship they conventionally engender, and how interventions into the former affect the latter. His Open Rehearsal: Gloria Ex Machina: A Glory Machine Director's Cut with Commentary Track builds on the theatricality of the contemporary demand to curate, perform and document idealized versions of ourselves and the repercussions it posits on both the form and content of performative practices.



Mariana Jurado Rico (b.1991, Bogotá) is an artist and curator working with printing, publishing, radio, and (video) performance to facilitate points of convergence between people; mobilizing humor, failure, impatience and contradiction as mediums of resistance. Her Open Rehearsal: Failed Manifest(o) proposes a performative politics of failure that responds to the inherent tension between the societal and super-egoic pressure to be successful and the ruthless order that condemns one to fail.

Projects on-site

Mariana Jurado Rico, Failed Manifest(o), (2022), performance. Photo: Temra Pavlovic. ›››

Jae Pil Eun, Butterfly Dreams, (2022), performance. Photo: Temra Pavlovic. ›››

Billy Mullaney, Gloria Ex Machina: A Glory Machine Director’s Cut with Commentary Track, (2022), performance. Photo: Temra Pavlovic. ›››


Open Rehearsal is supported by AFK #openrehearsal