Luis Armando Ordaz Gutierrez, Executive and Artistic Director of ProyectoTeatro

Participatory Workshop and Artist Talk

Thursday, March 10th – Saturday, March 12th

Presented by KALEIDOSCOPE Conference of the graduate students of the Department of Spanish and Portuguese and ART + SCHOLARSHIP Borghesi-Mellon Workshop
Curated by Marin Laufenberg, Megan Bailon, and Nicole Fadellin

Participatory Workshop: “Exploring What You Are Not Supposed To”

Thursday, March 10th, 7:00pm – 9:00pm

6321 Humanities (Art Department, 6th Floor)
To RSVP, email teatrodecimopiso@gmail.com

In this workshop for youth and adults, participants will have the opportunity to explore subject matters that impact their daily life, but that they are not encouraged to address for various reasons. Starting with inquiry-based conversations, we will throw down topics or situations that we would like to share and dissect—individually or collectively—as points of reference for the workshop. From there, we will write pieces of theatre (poetry or monologues) and create dance phrases (contemporary, hip-hop, or folklórico) to build short sequences of performance that express our points of view and unfiltered perspectives.

Artist Talk: “Fracturing the boundaries of theatre for youth by redefining the limits of performance, societal norms, and cultural aesthetics”

Saturday, March 12th, 11:00am – 12:30pm

313 Pyle Center

Boundaries, in an overall sense of the word, guide children as they grow up to be happy, healthy and productive members of society. But boundaries, in the context of art on the other hand, often hinder creativity and take away a child’s opportunity to become a true empowered artist or a proud cultural activist. Award-wining director Luis Armando Ordaz Gutiérrez shares the cultural gains of fostering an inquiry-based pedagogy that challenges the generic Western-European template of theatre for youth by allowing children to question (and at times break) all the rules they’ve been taught to follow on stage.

Luis Armando Ordaz Gutiérrez is the Co-founder and Artistic Director of ProyectoTeatro, a Spanish-language performing arts company based out of Austin, Texas. His work straddles culture, research, and performance art in order to highlight the Latino experience within the US and the world around. Luis is also recognized for developing culturally relevant arts programming that preserves and promotes the entire spectrum of Latin-American culture. Artistically, his work is driven by a commitment to riveting aesthetics and challenging conventional theatre blending theatre and dance to create visceral scenes of profound and multidisciplinary stage performance. Luis has had the opportunity to travel to countries like México, Thailand, Panama, and Perú to inspire communities to address social matters and political instabilities through performance and to find the strength and pride in their cultural backgrounds through community collectiveness.

Marin Laufenberg is a PhD candidate at UW-Madison who studies Latin American literature and focuses on contemporary Southern Cone performance and theatre.

Megan Bailon is a PhD candidate and Teaching Assistant in the Department of Spanish and Portuguese, where she studies Caribbean literature, theater, and performance.

Nicole Fadellin is a PhD candidate in the Spanish and Portuguese Department at UW-Madison, where she specializes in contemporary Caribbean literature.

This programming is co-presented by the Kaleidoscope Conference of the graduate students of the Department of Spanish and Portuguese and the Art + Scholarship Borghesi-Mellon Interdisciplinary Workshop in the Humanities, sponsored by the Center for the Humanities at the University of Wisconsin-Madison, with support from Nancy and David Borghesi and the Andrew W. Mellon Foundation. Funding is provided by Associated Students of Madison, Department of Spanish and Portuguese, Brittingham Fund, Kemper Knapp Bequest, LACIS and The Nave Fund.

Free and open to the public.

Untitled (Just Kidding): A Film/Performance by Jesse Malmed

Saturday, March 12th, 1:00pm 

Madison Public Library Central Branch, 3rd Floor

Presented by Art + Scholarship and Madison Public Library’s Bubbler
Curated by Alexandra Lakind

Untitled (Just Kidding) is a short experimental film, with performative elements. It is a series of works playing and plays working in creative reading, studied density, the one-(hundred)-liner, choirs, screen texts, the bootleg, the cover, jokes, speculative etymologies, accents, loops, the cinemagic, body swaps, poetry, citation and human voice. Conceptually engaged, language-intensive and visually mesmerizing, this suite scrambles somewhere in the intersects of conceptual comedy, dizzying illogics, the poetic plu-future and sustainable sourcing. Through deliberate mistranslation and strategic denaturing of languages and codes, Malmed revels in revealing their extra-communicative potential as sound, as image, as object, and shifting audiences’ concepts of the show, of the cinema. Unexpect the expected.

Jesse Malmed is an artist and curator, working in video, performance, text, occasional objects and their gaps and overlaps. He’s recently exhibited at Roots and Culture, the Chicago Cultural Center, Cinema Contra (Denver), Museum of Contemporary Art Chicago, Microlights (Milwaukee) and the University of Chicago Film Studies Center. Present curations include Live to Tape Artist Television Festival, programming at Nightingale Cinema, the mobile exhibition space Trunk Show (with Raven Falquez Munsell), programming through ACRE TV, and the recently inaugurated Western Pole. Jesse earned his BA and MA at Bard and University of Illinois at Chicago, respectively, and currently teaches at UIC.

Alexandra Lakind is pursuing a PhD in Education & Environmental Studies. She’s interested in participatory environments that encourage interdisciplinarity and creativity.

This programming is co-presented by The Bubbler at Madison Public Library and the Art + Scholarship Borghesi-Mellon Interdisciplinary Workshop in the Humanities, sponsored by the Center for the Humanities at the University of Wisconsin-Madison, with support from Nancy and David Borghesi and the Andrew W. Mellon Foundation.

Free and open to the public.




The Return of Chicken Woman: Linda Mary Montano Flies Home

Thursday, Oct 1st – Friday, October 2nd

Legendary feminist performance artist and University of Wisconsin-Madison alum Linda Mary Montano returns to Madison for an interactive artist talk, workshop, and performance. Montano’s first major performance Chicken Woman (1972) was based on her MFA sculpture show The Chicken Show (1969) in the Art Department at UW-Madison. She went on to become a major pioneer in living sculpture and life/art performance. Returning to her roots, Montano will now present a new site-specific Chicken Woman performance based upon her early work.

Workshop: Thursday, October 1st, 12:00pm – 1:00pm

Email art.scholarship.mellon@gmail.com to RSVP

A one-hour exploration of methods to empty out nightly news mind and appreciate an alternative consciousness. Wear loose clothing, and dress in all one color if you wish or come as a chicken. Bring something to lie down on.

Artist Talk: Thursday, October 1st, 7:00pm – 8:30pm

Madison Museum of Contemporary Art, Lecture Hall, 227 State Street

Featuring Ron Kean, Poultry Specialist
In 1969, for my MFA, I showed 9 chickens in 3 large chicken wire sculpture-cages on the roof of the new Humanities Building. For my show I also rode around Madison with chicken sounds coming from my car loudspeaker and installed chicken sounds on my phone’s answering machine. Why chickens: because I spent more time with them on campus than I did in “school” while I was a grad student at UW-Madison. Bawkkkkkkkk, bawkkkkkkkk.

Performance: Friday, October 2nd, 12:00pm – 7:00pm

Curatorial Lab, Art History Department, Elvehjem Building, 800 University Ave, North Entrance, 1st Floor

Come and visit with Chicken Woman. Ask any question about your art or life.  Receive a chicken drawing. At the end of the performance, walk & bawkkk with Chicken Woman to the Agriculture Department. Maybe we will see the chickens: 7pm.
Please come dressed like a chicken or wear one color chakra/rainbow clothes to all events if you wish.

This series of events is presented by the Art + Scholarship Borghesi-Mellon Workshop, the UW-Madison Center for the Humanities, and Madison Museum of Contemporary Art. Co-sponsored by Art, Art History, and DesignLab.

All events are free and open to the public.

Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging, and she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London. See more at http://www.lindamontano.com.




We’re excited to announce our Spring 2015 Calendar of Events! We present two Theory-Practice Collaboratories, a series of participatory workshops integrating theory and practice, creativity and criticality. The series showcases exciting, boundary-pushing work happening across campus, and provides artist-scholars a space within which to experience each other’s work. Facilitating conversations between experimental scholarship, creative writing, performance, new media, digital text, and visualization studies, these Collaboratories engage a richly interdisciplinary nexus of questions, practices, and possibilities for unsettling generic and medium-specific boundaries. Collaboratories will provide opportunities to engage in collective exploration of playful, creative scholarship through such practices as performance-making, sensory awareness, digital remediation, public discourse, and relational aesthetics. We hope to collaboratively produce new conceptual and aesthetic possibilities, acknowledging disciplinary constraints and expectations while exploring ways that our research might take on new shapes, reveal assumptions, and prompt unexpected questions.

We’re also presenting two major visiting artists, Martha Wilson and Tehching Hsieh!

Martha Wilson is an artist, scholar, and curator whose whose playfully irreverent work with feminist, queer, and gender performance was pioneering and foundational to the history of performance art and conceptual art. In the 1970s she emerged as a major video and performance artist, making innovative work that challenged social conventions, expanded the role of art in society, and increased the visibility of women in the art world. In addition to working with photography, performance art, and digital video, she also co-founded DISBAND, a feminist performance art band. Her work is collected by MoMA (Museum of Modern Art in NYC) and elsewhere, and she has received many awards including the Women’s Caucus for Art Lifetime Achievement Award, National Endowment for the Arts (NEA) Fellowship, Yoko Ono Courage Award for the Arts, a Bessie Award, and an Obie Award. In addition to her art practice she is committed to documenting and historicizing contemporary art practices as a scholar, writer, curator, and gallery director. An important force for arts programming and social engagement, she founded the organization Franklin Furnace in 1976, which champions avant-garde and experimental art practices and remains an important locus of arts programming currently supported by the National Endowment for the Humanities (NEH). Wilson’s explorations of identity and embodiment in visual culture and mass media continue to inspire investigation of subjectivity, relationality, and performance in everyday life, calling attention to and disrupting social scripts of gender and sexuality.

Tehching Hsieh is a foundational performance artist who enacted a series of durational works that bracketed everyday life as performance, testing the limits of blurring art and life. During Hsieh’s first three One Year Performances, One Year Performance 1978-1979: Cage PieceOne Year Performance 1980-1981: Time Clock Piece, and One Year Performance 1981-1982: Outdoor Piece, he confined himself spatially and temporally throughout the year-long duration of each piece, living in a cage in his gallery with very little human contact, requiring himself to clock in to a time clock in his gallery every hour on the hour, and living outdoors.  Each of these pieces radically changed Hsieh’s everyday life, as the demanding rules of each piece supplanted his ability to perform regular, everyday activities. Departing from the form of his first three year-long performances mapped onto the time-space of life, Hsieh’s fourth piece, Art/Life One Year Performance 1983-1984: Rope Piece, embedded the year-long performance into life. Throughout the duration of the piece, Hsieh and Linda Montano, a fellow performance artist researching life/art practice, were tied together with a rope of eight feet, literalizing the process through which subjects constrain and enable each other’s subjectivities. His fifth One Year Performance was a rejection of art-making, and this was followed by a thirteen year performance during which he would make art but not show it publicly. Formally disrupting the separation between art and life, Hsieh’s work imbues the temporal processes of daily life with aesthetic awareness and ethical attention to others.

Both artists will give a talk and a workshop, and we’ll screen their work in advance.

Finally, with Madison Performance Philosophy Collective we are presenting MAD THEORY 2: A Performance Philosophy Symposium, an experimental and dynamic time and space to demonstrate and discuss exciting new interdisciplinary work.

We invite you to join us for one or several of these events!




Mellon Fall 2014 Calendar Poster 


We’re excited to announce our Fall 2014 Calendar of Events!  We present four Theory-Practice Collaboratories, a series of participatory workshops integrating theory and practice, creativity and criticality.  The series showcases exciting, boundary-pushing work happening across campus, and provides artist-scholars a space within which to experience each other’s work.

Facilitating conversations between experimental scholarship, creative writing, performance, new media, digital text, and visualization studies, Theory-Practice Collaboratories engage a richly interdisciplinary nexus of questions, practices, and possibilities for unsettling generic and medium-specific boundaries. Collaboratories will provide opportunities to engage in collective exploration of playful, creative scholarship through such practices as performance-making, sensory awareness, digital remediation, public discourse, and relational aesthetics. We hope to collaboratively produce new conceptual and aesthetic possibilities, acknowledging disciplinary constraints and expectations while exploring ways that our research might take on new shapes, reveal assumptions, and prompt unexpected questions.

Each Collaboratory event functions as a mini-symposium, highlighting a particular topic and showcasing two models of exciting work. The one-hour break is intended to 1) separate the two workshops so that participants can choose to either attend both workshops or to attend just one, and 2) provide time for a lunch break and/or informal conversation for those who do attend both workshops. In some cases the break also provides time for a location switch.  Each workshop is linked but distinct, such that, according to their schedules and interests, participants can attend as few or as many workshops as they like.

Since the workshops are participatory and interactive, we imagine that conversation and reflection will occur within each workshop. We also hope that the break after each morning workshop will provide informal opportunities for discussion, and depending on participants’ interest/energy we may also initiate an informal social gathering after each afternoon workshop.

RSVP is encouraged for all workshops: email art.scholarship.mellon@gmail.com

Theory-Practice Collaboratory #1:  Philosophy in the Performative

Friday, September 26, 10:00am-3:00pm

Frederic Neyrat, “Nietzsche Machine Metaphor”
10:00am – 12:00pm, Elvehjem L166
Leaning on philosophical essays and art works, I will try to shed some light on what I call the metaphorical, which is not a trope, but the imaginary load by which every organic or inorganic life form gets its singularity. The metaphorical is a bridge above the void.

Reading (email art.scholarship.mellon@gmail.com for access):

  • Friedrich Nietzsche, “On Truth and Lies in a Nonmoral Sense”

[12:00-1:00: Lunch/Break]

Jill Casid, “Doing the Deformative”
1:00 – 3:00pm, Elvehjem L166
Let’s get into it. Grappling with the powers and possibilities of not the performative but rather the deformative, this workshop re-opens negation as a range of powerful tactics in the negotiation and even transformation of everyday sites of damage.

Readings (email art.scholarship.mellon@gmail.com for access):

  • Lauren Berlant and Lee Edelman, “What Survives,” in Sex and the Unbearable
  • Sigmund Freud, “Negation”

Theory-Practice Collaboratory #2:  Social Practice

Friday, October 24, 10:00am-3:00pm

Spatula&Barcode, “Cooking with…Spatula&Barcode”
10:00am – 12:00pm, Private Residence
The collaborative known as Spatula&Barcode (Laurie Beth Clark and Michael Peterson) will guide participants through an experience of cooking, eating, and discourse in their studio kitchen. Project details at www.spatulaandbarcode.net.
RSVP Required. RSVP no later than Oct. 15 to art.scholarship.mellon@gmail.com

[12:00-1:00: Lunch/Break]

Sarah Bennett, “I’ll follow your lead: experiencing and mapping our movement relationships”
1:00 – 3:00pm, Humanities 6321
We’ll explore relational movement through activities, games, and visualization. Our movements will involve giving in, causing surprise, attending, and answering. Our goal will be to understand how movement builds relationships between bodies and things.

Theory-Practice Collaboratory #3:  Speech Acts

Friday, November 14, 10:00am-3:00pm

Jen Plants, “Verbatim Theatre Master Class”
10:00am – 12:00pm, Humanities 6321
This interactive workshop invites participants to experiment with creating interview-based performance texts. Come dressed comfortably and bring a smart phone (or a small recording device) with headphones if possible. No previous theatre experience is required.

[12:00-1:00: Lunch/Break]

Helen Lee, “WORD”
1:00 – 3:00pm, Art Lofts Digital Lab + Glass Lab
In this workshop, Helen Lee will discuss her use of glass as a means for thinking about language and the body in her studio practice. Her approach to glass is shaped by the definition of glass—not as a material—but as a state-of-matter, and the notion of glassblowing as primarily a movement-based practice vs. an object-making practice.

Theory-Practice Collaboratory #4:  Queering Digitality

Friday, December 12, 10:00am-3:00pm

Megan Milks, “Open Channels: Slash Aesthetics and Queer Affect”
10:00am – 12:00pm, Location TBA
In this workshop, we will theorize slash as a postconceptual queer appropriative practice, a site of queer affect—and desire. We will compose our own slash monologues and collaborate on an interactive slashfic using Twine.

[12:00-1:00: Lunch/Break]

Oliver Bendorf, “Gender as a Moving Image”
1:00 – 3:00pm, Location TBA
How does your gender move? Creative practice and queer theory unite as we draw, cut, paste, rewind, animate, and flipbook our way through gender as a moving image technology of the body.




Source: Ann Hamilton, (tropos • books) 1993




Warm-Up to Methodologies in Motion

March 6 @ 4:30, Elvehjem, L170

In preparation for P.A. Skantze and Matthew Fink’s four-day series of collaborative workshops and performances, we will meet to discuss Skantze’s Itinerate Spectator/Itinerant Spectacle (2013) accessible at: http://punctumbooks.com/titles/itinerant-spectator-itinerant-spectacle/

Public Manifesto and Conversation

March 26 @ 6, Elvehjem, L140

All that Fell:  Physical Radio

Workshop: March 26 & 27, 3-5 PM at the Center for Visual Cultures in Memorial Library
Performance: March 28 @ 8, Elvehjem, L160


Workshop: March 28, 12-2 PM, The CVC in Memorial Library
Performance: March 29 @ 6, The University Club

This participatory collaboratorium with international guests P.A. Skantze and Matthew Fink is dedicated to the mobilization of a political aesthetics of affective attention. A public manifesto sets the stage for public conversation that is at once demonstration, provocation and practice in the cultivation of “attention.” The workshops and public performances aim to energetically re-enliven what might seem the deadening or inert questions of “research methods,” moving past the hide-bound and binding divisions of the grounded and practical how-to and the seemingly abstruse and airy speculations of the theoretical and the aesthetic. Skantze and Fink provocatively prompt us toward methods that convey and embody the motion and vibrance of performance, of the spectacular and the aud-actular.

All events are open to the Public. Please email the CVC at cvc@education.wisc.edu in advance, to participate in workshops and performances. A part of the Center for Visual Cultures lecture series “Global Affect, Materiality, and the Senses” and with the support of the Anonymous Fund and co-sponsorship from the Department of Art, and the Department of Theatre and Drama. For additional information: http://www.visualculture.wisc.edu/



March 26-April 17, The Curatorial Lab, Elvehjem


April 17 @ 6-9, show @ 7 w/ Lewis Freedman and Cover Cover



April 12, 10:00am-6:00pm, Madison Public Library Central Branch

With a balance of performance and discussion, “Mad Theory” will provide space to both demonstrate and discuss work.  The symposium will feature a diversity of approaches, styles, and methods:  lecture performances, paper presentations, experimental talks, live art, interactive installations, roundtable discussions, collaborative praxis-based workshops, site-specific work, durational work, and hybrid theory-practice sessions.  Hosted by Performance Philosophy Collective


Discussion of works by Gregg Bordowitz, April 25 @ 4, L150 Elvehjem
Performance, May 1 @ 7, L150 Elvehjem
Brown Bag, May 2 @ 12, L170 Elvehjem

Gregg Bordowitz’s career is a nexus for thinking through artistic creation, theoretical reflection, and disciplinary boundaries. He has played a crucial role in AIDS media activism. His video Fast Trip, Long Drop (1993) explores the difficulty of living with AIDS in an age when narratives of triumph prevail. He is the author of several books, including General Idea: Imagevirus (2010), a study of AIDS as word and image, and The AIDS Crisis Is Ridiculous and Other Writings 1986–2003 (2004), a collection of historical, theoretical, and autobiographical writing. Most recently, his work turns to performance, including improvisational lectures and an opera about Michel Foucault’s History of Sexuality.

Co-sponsors: Art Department, Department of Art History, and Department of Communication Arts.

TO RECEIVE EVENT UPDATES: art.scholarship.mellon@gmail.com     






What is the work of art and theory?

Workshop meeting

Monday, November 4, 2013 @ 4:00pm
Wisconsin Institutes for Discovery, room 1160

This session will take up questions not only of the object of art and theory but also the labors, implications, and ends of such an inquiry. We will frame a discussion around shared materials as a way of introducing central concerns of the workshop to participants. Additionally, participants will have the opportunity to introduce their projects, research, and investments in the works of art and theory.


Optional readings


Mapping & Overlapping Territories of Influence

Exploratory Workshop

Friday, November 15, 2013 @ 4 PM
Wisconsin Institute for Discovery, Room 1160

In this workshop we will attempt to visually map connections, intersections, overlaps, and incongruities between and within the work of theorists. It will be messy as we constellate, draw and connect lines of inquiry. We will pull forward from the past to intertwine with contemporary practice, while also thinking about artists who activate, extend or push against scholarship with their ideas and practice.


Collaboratory: Serious Play

Exploratory Workshop, with guest Jon McKenzie

Monday, November 18, 2013 @ 6:00pm
Wisconsin Institute for Discovery, Room 1160

This art and scholarship workshop/discussion/collaboration focuses on playful, creative scholarship.  At the center of our inquiry will be performative scholarship, artistic play within scholarly research, and performance-as-research.  When and how is theorizing a creative act?  How can art theorize?  What intersections do we notice between creative writing and scholarly writing?  Activities may include:  experimental theory workshop; discussing texts and objects that challenge our assumptions about what characterizes art vs. scholarship; collaborative brainstorming; and translating and remediating ideas across scholarly, artistic, and hybrid forms and genres.


The Undercommons

Monday, December 2, 2013 @ 4:00pm
University Club, Room 313

Discussion of Fred Moten & Stefano Harney’s The Undercommons (excerpt)

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