As part of the programme developed by the platform “If I Can't Dance, I Don’t Want to Be Part of Your Revolution”, and on the occasion of the third edition that focuses on the subject of “Masquerade”, a series of meetings and performances by the invited artists take place: Keren Cytter (Tel Aviv, 1977), Jon Mikel Euba (Bilbao, 1967), Olivier Foulon (Brussels, 1976), Suchan Kinoshita (Tokyo, 1960), Joachim Koester (Copenhagen, 1962), Sarah Pierce (Connecticut, 1968) and Stefanie Seibold (Stuttgart, 1967).

On Sunday September 28^th, two days after the inauguration of the show held in De Appel, a “conference-performance” by the artist from Bilbao Jon Mikel Euba will take place. Then, Keren Cytter will present “History in the Making (part 1)”. Her new film tells the story of a man who wished to change his life and, to do so, he divorces his wife and gets married again. Little by little, the faces of both characters start changing, and they become a different person. In Cytter’s works, daily life aspects intermingle with absurdity, reality with fiction.

On November 8^th, Olivier Foulon executes “The Soliloquy of the Broom” in De Appel. There, Foulon reflects about the concept of masquerade in relation with painting, on the basis of the work painted by Gustave Courbet in 1856 “Jo, the Beautiful Irish Girl” and the subsequent hand copies he makes and that are present today in prestigious museums.

Jon Mikel Euba works again with his performance “Re: Horse” in the Stedelijk Museum Bureau, a work he had presented previously within the context of the a/d Werf Festival of music, theatre and visual arts and as part of the second edition of “If I Can’t Dance” (2007). In his work, Euba questions some basic notions, such as the position of the stage, that of the public or the relation between script and its execution. Elements of the projection of a movie being filmed in that moment mix together with a rehearsal that is full of mistakes. Participants in the performance are expected to be able to find their own improvisation space within the script. The main elements are a white horse, present in space, and the projection of some of Andy Warhol’s legendary recordings of one of The Velvet Underground rehearsals, produced precisely to be shown in the concerts given by the band.

The following day, Keren Cytter completes her “History in the Making (part 2), this time at the OT301. This performance will be the starting point of the third chapter of the movie. Euba repeats “Re: Horse” that same day and in the same space as the previous performance.

The third part of this edition bears the title “If I Can't Dance Tonight”, a monthly event that operates as an experimental space, and which has become a recurrent element within the activities of the edition.

It takes place at the Frascati Theatre in Amsterdam, an eclectic programme of performances, conversations with artists, immediate exhibitions, projections, music, reading sessions, etc. It aims at establishing an atmosphere where new ideas can be debated and generated within the sphere of action and performance art in general, focusing this time on masquerade.

As part of the programme developed by the platform “If I Can't Dance, I Don’t Want to Be Part of Your Revolution”, and on the occasion of the third edition that focuses on the subject of “Masquerade”, a series of meetings and performances by the invited artists take place: Keren Cytter (Tel Aviv, 1977), Jon Mikel Euba (Bilbao, 1967), Olivier Foulon (Brussels, 1976), Suchan Kinoshita (Tokyo, 1960), Joachim Koester (Copenhagen, 1962), Sarah Pierce (Connecticut, 1968) and Stefanie Seibold (Stuttgart, 1967).

On Sunday September 28^th, two days after the inauguration of the show held in De Appel, a “conference-performance” by the artist from Bilbao Jon Mikel Euba will take place. Then, Keren Cytter will present “History in the Making (part 1)”. Her new film tells the story of a man who wished to change his life and, to do so, he divorces his wife and gets married again. Little by little, the faces of both characters start changing, and they become a different person. In Cytter’s works, daily life aspects intermingle with absurdity, reality with fiction.

On November 8^th, Olivier Foulon executes “The Soliloquy of the Broom” in De Appel. There, Foulon reflects about the concept of masquerade in relation with painting, on the basis of the work painted by Gustave Courbet in 1856 “Jo, the Beautiful Irish Girl” and the subsequent hand copies he makes and that are present today in prestigious museums.

Jon Mikel Euba works again with his performance “Re: Horse” in the Stedelijk Museum Bureau, a work he had presented previously within the context of the a/d Werf Festival of music, theatre and visual arts and as part of the second edition of “If I Can’t Dance” (2007). In his work, Euba questions some basic notions, such as the position of the stage, that of the public or the relation between script and its execution. Elements of the projection of a movie being filmed in that moment mix together with a rehearsal that is full of mistakes. Participants in the performance are expected to be able to find their own improvisation space within the script. The main elements are a white horse, present in space, and the projection of some of Andy Warhol’s legendary recordings of one of The Velvet Underground rehearsals, produced precisely to be shown in the concerts given by the band.

The following day, Keren Cytter completes her “History in the Making (part 2), this time at the OT301. This performance will be the starting point of the third chapter of the movie. Euba repeats “Re: Horse” that same day and in the same space as the previous performance.

The third part of this edition bears the title “If I Can't Dance Tonight”, a monthly event that operates as an experimental space, and which has become a recurrent element within the activities of the edition.

It takes place at the Frascati Theatre in Amsterdam, an eclectic programme of performances, conversations with artists, immediate exhibitions, projections, music, reading sessions, etc. It aims at establishing an atmosphere where new ideas can be debated and generated within the sphere of action and performance art in general, focusing this time on masquerade.