Janez Janša
(Rijeka, Hrvatska, 1964)
Janez Janša je autor, režiser i izvođač interdisciplinarnih performansa. Studirao je sociologiju i kazališnu režiju na Sveučilištu u Ljubljani i teoriju izvedbe na Sveučilištu u Antwerpu u Belgiji.
Njegovi komadi prikazivani su u cijelome svijetu – npr. performans za vojnike u mirovnim misijama “Svi smo mi Marlene Dietrich FOR” (u suradnji s Emom Ómarsdóttir), rekonstrukcija predstave iz 1969 “Pupilija, papa Pupilo pa Pupilčki” (2006), “Slovensko narodno gledališče” (2007) i “Život (u nastajanju) (2008). Sudjelovao je u improviziranom projektu At the table kustosice Meg Stuart. Janšini su radovi kritički, promišljaju odgovornost izvođača i gledatelja te se bave položajem performansa u neoliberalnim društvima.
Njegovi radovi uključuju vizualnu i multimedijsku umjetnost i performans – “The Cabinet of Memories” (u suradnji s Peterom Šenkom); interdisciplinarni umjetničko-istraživački projekt “The First World Camp”; interaktivni performans “Miss Mobile” i ”Name Readymade” (Janez Janša i Janez Janša). Kustos je interdisciplinarnih radionica te začetnik organizacije P.E.A.C.E.- peacekeepers’ entertainment, art and cultural exchange (u suradnji s Mare Bulc).
Objavio je niz eseja o suvremenom kazalištu i likovnoj umjetnosti uključujući i knjigu o flamanskom umjetniku i kazalištarcu Janu Fabreu (JAN FABRE – La Discipline du chaos, le chaos de la discipline, Armand Colin, Paris 1994; objavljeno na nizozemskom, talijanskom i slovenskom). Od 1999-2006 bio je glavni urednik časopisa za izvedbenu umjetnost Maska. Urednik je zbornika suvremene kazališne teorije (PRESENCE, REPRESENTATION, THEATRICALITY, Maska, Ljubljana 1996) i zbornika suvremene plesne teorije (THEORIES OF CONTEMPORARY DANCE, Maska, Ljubljana, 2001).
Janša je od 1999. direktor Maske – neprofitne organizacije za nakladništvo, produkciju i obrazovanje, sa sjedištem u Ljubljani.
Janez Janša is author, director and performer of interdisciplinary performances. He has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium.
His pieces have been shown throughout the world – WE ARE ALL MARLENE DIETRICH FOR – Performance for soldiers in peacekeeping missions (with Erna Ómarsdóttir), the reconstruction of the piece from 1969 – PUPILIJA, PAPA PUPILO AND THE PUPILCEKS (2006), SLOVENIAN NATIONAL THEATRE (2007) and LIFE [IN PROGRESS] (2008). He performed in the improvisation project At the Table curated by Meg Stuart. The works by Janša contain strong critical dimension, reflect responsibility of performers and spectators and deal with the status of performance in neoliberal societies.
Janez Janša’s work includes also visual, media and performance art works. Among others are THE CABINET OF MEMORIES, a tear donor session and interdisciplinary artistic and research project THE FIRST WORLD CAMP (with Peter Šenk), interactive performance MISS MOBILE, and NAME READYMADE (with Janez Janša and Janez Janša). He regularly curates interdisciplinary workshops and he is the initiator of the organization P.E.A.C.E. – Peacekeepers’ entertainment, art and cultural exchange (with Mare Bulc).
He has published numerous essays on contemporary theatre and art including the book on Flemish artist and theatre maker Jan Fabre (JAN FABRE – La Discipline du chaos, le chaos de la discipline, Armand Colin, Paris 1994; published in Dutch, Italian and Slovene as well). He has been editor in chief of the performing arts journal MASKA (1999-2006). He has edited a reader of contemporary theatre theories (PRESENCE, REPRESENTATION, THEATRICALITY, Maska, Ljubljana 1996), a reader of contemporary dance theories (THEORIES OF CONTEMPORARY DANCE, Maska, Ljubljana, 2001) and several other titles.
Since 1999 he is the director of Maska, non-profit organization in publishing, production and education, based in Ljubljana, Slovenia.
“Život (u nastajanju)”, Janez Janša (Slovenija/Slovenia)
Ponedjeljak/Monday 30. 08., 20:00, Muzej moderne i suvremene umjetnosti, Dolac 1
Formalni okvir projekta Život (u nastajanju) teško je odrediti, on neprestano lebdi između performansa i izložbe. Život (u nastajanju) prvi je poljubac, posljednje ljubavno pismo, protest, ulazak u političku stranku, dosada, alkohol, bol, bijes, samozadovoljavanje, promjena imena i izgleda, osjećaj krivnje, prijatelji, preminuli bližnji, sukob majke i kćeri, romanse (uključujući i one koje su nam ostale u najboljem sjećanju). No, Život (u nastajanju) povrh svega je odluka o reagiranju ili samo promatranju. Suvremeni umjetnici poput Yoko Ono, Christiana Boltanskog, Jana Fabrea, grupe OHO, Carolee Schneemann, Lucija Fontana, Abramović & Ulay, Jannisa Kounellisa, Gina Pane, Pabla Picassa i Andya Warhola dio su vašega života, iako možda toga niste svjesni. Život (u nastajanju) stvara situacije u kojima se isprepliću sjećanja i vizije te one postaju nerazlučiva cjelina. Je li prošlost samo dio sjećanja ili političkih i kulturnih okolnosti? Koliko vizionarstva ima u našim vizijama? Je li vizija određena smrću ili strahom od smrti?
Život (u nastajanju) čine pisane, foto i video upute. Gledatelji su ujedno i glumci; prolazeći pored uputa oni stvaraju performans prema svojem ritmu, osjetljivosti, vjerovanju i (ne)aktivnosti. Performans počinje kada to posjetitelji odluče, a gledatelj se pojavljuje kao ”gledatelj-glumac“ – gledatelj i glumac u jednom.
Iako se performans odvija ovdje i sada, možemo ga promatrati kao ponovnu izvedbu originalnog performansa, koji je foto-dokumentiran i čini dio uputa. Intervencije ”gledatelja-glumaca“ za sobom ostavljaju izložbu života koja pretvara performans Život (u nastajanju) u izložbenu instalaciju. Ovaj projekt predstavlja osnovnu razliku između izvedbenih i vizualnih umjetnosti. Kod izvedbenih umjetnosti autori i institucije kontroliraju vrijeme izvedbe, dok kod vizualnih umjetnosti tu kontrolu ima gledatelj.
The formal framework of the project Life [in Progress] is difficult to determine; it constantly drifts between performance and exhibition. Life [in Progress] is the first kiss, the last love letter, protesting, entering a political party, boredom, alcohol, pain, rage, masturbation, the change of name and appearance, a feeling of guilt, friends, our dear departed, mother-daughter conflicts, romances (including the ones that have not left the nicest of memories), and, above all, it is a decision to react or merely observe. Contemporary artists Yoko Ono, Christian Boltanski, Jan Fabre, OHO, Carolee Schneemann, Lucio Fontana, Abramović & Ulay, Jannis Kounellis, Gina Pane, Pablo Picasso and Andy Warhol are – perhaps without you being aware – a part of your life. Life [in Progress] creates situations where memory and vision intertwine and become indistinguishable. Is the past only a part of memory or is it also a matter of a political and cultural condition? How much visionariness is there in our visions? And is vision determined by death or the fear of death?
Life [in Progress] is composed of written, photo, and video instructions. The spectators are also the actors; walking past the instructions they create the performance according to their own rhythm, sensibility, belief, and (non-) activity. The performance takes place when the visitors decide, and the spectator emerges as the terminal “spectActor”, a spectator and actor in one.
Although the performance takes place in the here and now, we can also think of it as a re-enactment of the original performance, which was photo-documented to provide the instructions. SpectActors’ interventions leave behind an exhibition of life that turns the performance Life [in Progress] into exhibited installation. The project displays the basic difference between performing and visual arts. In performing arts there are the authors and institutions that control the time of performance, while in visual arts the spectator is in control.
Koncept i režija/ Concept and direction: Janez Janša
Izvedba/ Created and performed by Caroline Decker, Dražen Dragojević, Teja Reba, Janez Janša u Janez Janša
Svjetlo/ Lights: Miran Šušteršič, Igor Remeta
Glazba/ Music: Dražen Dragojević
Fotografija/ Photography: Janez Janša
Glavni tehničar/ Lead technician: Igor Remeta
Produkcija/ Production: Maska
Izvršni producent/ Executive producer: Jedrt Jež Furlan
Koprodukcija/ Co-production: Tanz im August, Berlin, Stara mestna elektrarna – Elektro Ljubljana (SMEEL), Ljubljana
Koprodukcija istraživačkog projekta Vaditi svobodo: Tanzquartier, Dunaj/ Co-production of research project Vaditi svobodo: Tanzquartier, Dunaj
“Pupilija, papa Pupilo i Pupilčki”, Janez Janša (Slovenija/Slovenia)
Četvrtak/ Thursday 2. 09., 20:00 – Hrvatski kulturni dom na Sušaku, Strossmayerova 1
Predstava “Pupilija, papa Pupilo pa Pupilčki” rekonstrukcija je kultne neoavangardne predstave Dušana Jovanovića s kraja 60-tih godina, koja naglašava odmak od toga vremena i procesa.
Rekonstrukcija predstave, ispunjene eksperimentom i otporom, i sama je svojevrsni eksperiment s obzirom da rekonstrukcije predstava nisu česta pojava u Sloveniji. Stoga je naglasak usmjeren na kazališni govor i njegovu kontekstualizaciju i rekontekstualizaciju. Predstava je puna dijaloga i intervencija originalnog glumačkog postava, ali i reprodukcija odgovora na te dijaloge. U predstavi se ističu procesi korišteni u originalnoj izvedbi s posebnim fokusom na otvorenost i neformalnost. Rekonstrukcija je napravljena s posebnom pažnju prema ponovnoj uspostavi sljedećih elemenata:
-općenitost i nevještost
-ne-spektakularnost i ekstremnost izvedbe
-otvorena improvizacija i folklor te vojna disciplina
-kolektivna svijest i ne-svijest
-otvoren, ne-estetiziran i nelinearan jezik i politički angažman.
Janez Janša’s theatre reconstruction of the cult and – for the Slovenian theatre – groundbreaking neoavantgarde performance by Dušan Jovanović brings about the spirit of the 60s, while at the same time exposes the distance toward that time and the procedures of the reconstruction.
The reconstruction of the performance, which is impregnated with the spirit of experiment and resistance, is itself an experiment, since reconstructions of performances are not common in Slovenia. The emphasis is thus on theatrical speech as well as on its contextualization and recontextualization. The performance is furnished with conversations and interventions by the original cast and also with reproductions of the responses to it. It stresses the procedures used in the original performance, with the focus on openness and non-formality. The reconstruction was focused on how to re-enact the following elements:
– commonness and unskilfulness
– non-spectacular and extreme execution
– open improvisation and folklore and military discipline
– collective mind and mindlessness
– open, non-aesthetic and non-linear language and political engagement.
Rekonstrukcija i režija/ Reconstructed and directed by: Janez Janša
Izvedba/ Created and performed by: Aleksandra Balmazović, Gregor Cvetko, Dražen Dragojevič, Lado Jakša, Alja Kapun, Boštjan Narat, Matjaž Pikalo, Dejan Srhoj, Ajda Toman, Irena Tomažin, Grega Zorc
Glazba/ Music: Gregor Cvetko, Lado Jakša, Boštjan Narat
Glavni tehničar/ Lead technician: Igor Remeta
Asistent redatelja/ Assistant director: Samo Gosarič
Projekcije/ Projections: Samo Gosarič, Emil Hrvatin, Igor Štromajer
Kamermani/ Camera operators: Gregor Lipičar, Iztok Sajdl
Montaža/ Montage: Gorazd Kernel
Vizašist/ Makeup artist: Barbara Pavlin
Fotografija/ Photography: Marcandrea Bragalini
Izvršni producent/ Executive producer: Barbara Hribar
Postprodukcija/ Postproduction: Tina Dobnik
Produkcija/ Production: Maska
Koprodukcija/ Co-production: Festival EX PONTO, Bunker Productions
Koprodukcija videa/ Co-producer of video: Videoprodukcija Kregar
Sponzor/Sponsor: Elle magazin
“Slovensko narodno gledališče”, Janez Janša (Slovenija/Slovenia)
Petak/Friday 3. 09. , 20:30 – Hrvatski kulturni dom na Sušaku, Strossmayerova 1
Janez Janša dobio je na 43. Borštnikovim srečanjima nagradu za inovaciju za koncept i režiju “Slovenskoga narodnog gledališča”. Performans rekonstruira stvarne povijesne događaje poput političkih demonstracija u Sloveniji 2006. godine. Priča o sukobu dvije zajednice, koje su postale medijskom temom, izvedena je kazališnom formom antičkog zbora te radio i televizijskim prijenosom. Ta kombinacija klasične kazališne forme i suvremene medijalnosti stvara jedan rastrojen događaj koji ponovo otvara pitanje tragedije u današnjem vremenu. “Slovensko narodno gledališče” peti je dio projekta Program! i ujedno prvi ponovljivi događaj u kojem se Janez Janša kroz pristupe i procese nastavlja na prve četiri manifestacije iz projekta.
The award wining performance for innovation and aesthetic breakthrough at 43rd Borštnik Meeting in the year “Slovene National Theatre” reconstructs the actual historical events: political demonstrations that took place in several villages across Slovenia in the year 2006. It performs the story about the conflict of two communities, which proved to be a prime media event, through the theatrical forms of Antique chorus and radio and television transmission. The combination of the traditional theatre form with contemporary mediality creates a shattering event and re-opens the question of tragedy in the present day. Slovene National Theatre is the fifth part of the project Program! and the first repeatable event in which Janez Janša resumes the procedures and approaches, developed through the first four manifestations of the project.
Koncept i režija/ Concept and directed by: Janez Janša
Izvedba/ Performed by: Aleksandra Balmazović, Dražen Dragojević, Janez Janša, Barbara Kukovec / Irena Tomažin, Matjaž Pikalo
Oblikovanje zvuka/ Sound design: Boštjan Narat
Video/ Video:Janez Janša
Kamera/ Camera: Janez Janša, Andrea Keiz
Montaža /Montage:: Janez Janša
Fotografija/ Photography: Marcandrea, Andrea Keiz
Izvršni producent/ Executive producer: Barbara Hribar
Tehnički director/ Technical director: Igor Remeta
Post-produkcija/ Post-production: Tina Dobnik
Zahvala/ Thanks to: Andrea Keiz, Janez Janša, Andreja Kopač, Samo Gosarič, Iztok Ilc, Maja Šorli, Jelena Milovanović, Marcela Okretič, Kerstin Schrott, Bojana Kunst, Irena Tomažin, Seminar suvremene izvedbene umjetnosti, TV Slovenija, Slovenska nacionalna i sveučilišna knjižnica
Produkcija/ Production: Maska, Ljubljana, 2007
Koprodukcija/ Co-production: Aksioma.
«Cookies» Ensemble 209 (Izrael/Israel)
Utorak/Tuesday, 31. 08. , 20:00 – Hrvatski kulturni dom na Sušaku, Strossmayerova 1
Performance Art Platform (PAP) jedini je centar u Izraelu koji se bavi izvedbenim umjetnostima. Centar je domaćin lokalnim i gostujućim izvedbenim umjetnicima, festivalima poput ZAZ festivala – međunarodnog festivala izvedbenih umjetnosti. U Centru se tijekom cijele godine organiziraju radionice. PAP je sjedište grupi interdisciplinarnih umjetnika – Ensemble 209. Samo dio njihove produkcije čine: “Bubblue” (izvedena na festivalu Acco, Shelter 209, Viener Festwochen, FFT – Dusseldorf, Fenomena – Jerusalem), “Dinner Dress – Tales about Dora” (u suradnji s Viener Festwochen, Zuercher Theater Spektakel, Kampnagal – Hamburg, također izvedena u Shelter 209, PAP i Israel museum. “The No book – Ivan’s play” (u suradnji s Viener Festwochen, izvedena u Shelter 209, Hazira Performance Art – Jerusalem, Holon theater, Teatri di Vita – Bologna, Kuenstlerhaus Bethanien – Berlin). “Measures and relations'” (u suradnji s Israel Festival – Jerusalem, izvedena na Blurrr – Performance Art biennale i PAP) “The second Law of Thermodynamics”, “Old Wives Tales”, “Amplifier”, “Cookies” (u suradnji s Umamai – food and art festival – N.Y.) i “Remix” (izvdena u PAP). U tijeku je rad na novoj produkciji, Lorca”The House of Bernarda Alba” – prostorno specifična produkcija za stan u Haifi.
Ensemble 209 podupiru Ministarstvo kulture Izraela i općina Tel-Aviv.
“The Performance Art Platform” is the only center in Israel concentrating on
performance Art, home for local and guest performance artists, hosts and
organizes ZAZ Festival, an annual international festival for performance
art. “PAP” holds year round Creativity Workshops.
“PAP” is the permanent base of “Ensemble 209” – a group of interdisciplinary
artists. The Ensemble’s productions (partial list): “Bubblue” (performed at
Acco festival, shelter 209, Viener Festwochen, FFT – Dusseldorf, Fenomena
– Jerusalem), “Dinner Dress – Tales about Dora” (coproduction of: Viener
Festwochen, Zuercher Theater Spektakel, , Kampnagal – Hamburg, performed
also at Shelter 209, PAP and Israel museum. “The No book – Ivan’s play”
(coproduction of: Viener Festwochen, performed at Shelter 209, Hazira
Performance Art – Jerusalem, Holon theater, Teatri di Vita – Bologna,
Kuenstlerhaus Bethanien – Berlin). “Measures and relations'” (coproduction
with the Israel Festival – Jerusalem, performed also at Blurrr – Performance
Art biennale, and PAP) “The second Law of Thermodynamics”, “Old Wives
Tales”, “Amplifier”, “Cookies” (coproduction with Umami – food and art
festival – N.Y.) and “Remix” (performed at PAP). A new production in
progress: “The House of Bernarda Alba” by Lorca, a site specific production
for an apartment in the city of Haifa.
The ensemble is supported by the Israeli Ministry of Culture and Tel-Aviv
municipality.
“COOKIES”
Performans Cookies premijeru je imao u travnju 2008. godine u Roulettu u New Yorku u suradnji s festivalom hrane i umjetnosti UMAMAI. Performans je vrlo intiman, poput performativne poezije koja se nadovezuje na fenomen mnogih gurmana koji poeziju povezuju s dobrom hranom. Tijekom performansa peku se Kolačići, ali se istovremeno referira na virtualne kolačiće (i na čin brisanja istih). Virtualne kolačiće čine male tekstualne datoteke koje web stranice spremaju na osobna računala korisnika, a mogu se koristiti za spremanje podataka o posjeti korisnika web stranici. Performans je baziran na principu dekonstrukcije slova u riječi “Performance” u projektu L.E.P.P.: Lesson on Performance in English / English Lesson on Performance / Performance in English on Lesson / Performance on English Lesson.
First performed in April 2008 at ROULETTE, New York with the cooperation of UMAMAI, food and art festival. This is an intimate performance, a kind of performative poem that relates to the phenomenon of many gourmet aficionados comparing good food to poetry. During the performance, cookies are baked, but reference is also made to “cookies” (and to the act of “deleting the cookies”) in the virtual world – small text files that websites can save on the personal computer that can be used to save information about the user’s visit to their website. The performance is based on the principle of deconstructing the letters of the word “performance” in the project L.E.P.P.: Lesson on Performance in English / English Lesson on Performance / Performance in English on Lesson / Performance on English Lesson.
Izvedba/Performance by: Tamar Raban i Ensemble 209
Glazba i zvuk/ Music and sound: Guy Gutman
Direktor izvedbe/ Performance manager: Kineret Max
Kreativni suradnici/ Creative participants: Efi Ben-David, Guy Gutman, Haya Barshinski Segalis, Hili Fridberg, Tamar Raban
Hvala/ Thanks to Carole Godin
«Heroine», Mila Čuljak (Hrvatska/Croatia)
Utorak/Tuesday 31. 08., 22:00 – Molekula, Delta 5/1
koreografija i izvedba/ choreography and performance: Mila Čuljak
glazba/ music: Adam Semijalac
vizualni savjetnik/ visual advisor: Lara Mamula
produkcija/ production: prostor+
oblikovanje/ design: manufaktura
trajanje/ duration: 35 min
premijera/ premiere: 12.11.2005. HKD na Sušaku, Rijeka
zagrebačka premijera: 05.12.2005., WARP2, Teatar &TD
Pred nama se izmjenjuju rock-heroina i zadihana plesačica, dinamika pokreta varira od polagana i smirena do razigrana, energična trka i skoka. Kontinuitet je pritom zadržan razojem koreografskog materijala, a dojam nije onaj nesigurnosti, nego naprotiv neopterećenosti i nepretecioznosti autorice, kako u pojedinim segmentima koreografije, tako i u predstavi u cijelini. U podlozi Heroina nema prepoznatljivih referencija, nema citata popularnih teoretičara ili kritike pop-kulture. Heroine su tako i djevojke koje svakodnevno susrećemo, one koje su nam prijateljice, koje se znoje u dvorani ili rade za računalom, o kojima pišu tabloidi ili koje se voze gradskim autobusom.
Ivana Ivković, Vijenac, 19.01.2006.
U istraživanje krenulo se pomalo neuobičajenim putem, naime, najprije su nastali stihovi zatim glazba i na kraju koreografski materijal predstave. Heroine su svo troje. One su impresum autorice o nekim ženskim osobama.
The rock-heroine and the dancer alternate in front of us. The dynamic of movement varies from slow and calm to playful and energetic, while choreography ensures continuity. The performer gives the impression of unpretentiousness and freedom throughout the play.
The performance is not underlined with distinguished references, quotations of popular theoreticians or pop-culture critique. Heroines are girls we meet every day, they are our friends, they sweat in the gym, they work at the computer, and they are tabloid news…
Ivana Ivković, Vijenac, 19 January 2206
The research had a somewhat unusual path – first came the verses, then the music and finally the choreography. All three are heroines. They represent the author’s impression of certain females.
«Let us think of these things always. Let us speak of them never» Every house has a door (SAD/USA)
Srijeda/ Wednesday 1. 09., 20:00 – HNK Ivana pl. Zajca
Petak / Friday 3. 09., 20:30 – HNK Ivana pl. Zajca
Nakon dvadesetogodišnje suradnje u grupi Goat Island, Lin Hixson i Matthew Goulish osnovali su grupu Every House Has a Door s namjerom ostvarivanja određenih suradničkih performansa s pozvanim gostima. Grupa zadržava uski tematski fokus i strogu prezentaciju Goat Islanda, no istovremeno se razvija kroz međukulturnu suradnju sa svim njenim nepoznanicama i nelagodnostima.
Lin Hixson and Matthew Goulish, after a twenty-year collaboration as co-founders of Goat Island, have formed Every house has a door to create project-specific collaborative performances with invited guests. This company seeks to retain Goat Island’s narrow thematic focus and rigorous presentation, but to broaden the canvas to include careful intercultural collaboration, and its unfamiliar, even awkward, spectrum.
“LET US THINK OF THESE THINGS ALWAYS. LET US SPEAK OF THEM NEVER.”
Predstava, odnosno redateljica Lin Hixon, izvođači Selma Banich i Mislav Čavajda iz Zagreba te Stephen Fiehn i Matthew Goulish iz Chicaga predstavljaju susret između Hrvatske i SADa kroz reakcije na rad švedskog redatelja Ingmara Bergmana. Jugoslavenske reakcije na Bergmana proizlaze iz rada Sweet Movie Dušana Makavejeva, američke reakcije na Bergmana (i Makavejeva) citiraju filozofa Stanleya Cavella, te one zajedno čine temeljni okvir za kazališni komad koji se bavi poviješću utopizma i promjena/otpora u nepravednom svijetu. Film postaje osnova za koreografiju, određenu dozu humora pruža katalog napuštenih praksi, a kazalište zamišlja susret različitosti u osjetljivoj sadašnjosti.
“Glavna uloga filmske umjetnosti je pretvoriti teška, komplicirana, zbunjujuća i ružna pitanja o ljudskome postojanju u nešto nalik pjesmi ili letećem tepihu.” Dušan Makavejev
”Bio bi to neki drugi svijet – ma koliko on bio kratak, virtualan ili izmišljen (svo troje može proizvesti jaki doživljaj) – unutar ovoga svijeta: pa makar se samo i odvijao u tih sat i nešto kada nas u kazalištu podsjete koliko se malo međusobno poznajemo.” Joe Kelleher, Theatre & Politics
“LET US THINK OF THESE THINGS ALWAYS. LET US SPEAK OF THEM NEVER.”
Under the direction of Lin Hixson, artists Selma Banich and Mislav Cavajda from Zagreb, and Chicagoans Stephen Fiehn of Cupola Bobber and Matthew Goulish, propose an encounter between Croatia and the US through responses to an unlikely, “equidistant” third entity, Swedish filmmaker Ingmar Bergman. Yugoslavian responses to Bergman, derived from the work of Dusan Makavejev (Sweet Movie), and American responses to Bergman (and Makavejev) extracted from philosopher Stanley Cavell, provide the foundation for a theatrical work that engages in the histories of utopianism and revulsion/revolt in an unjust world. Film becomes a basis for choreography, a catalogue of abandoned practices offers a degree of humor, and theater frames an encounter of difference in the delicacy of the present.
“The main work of film art is to transform heavy and difficult and confusing and ugly questions of human existence into something close to a song or a flying carpet.” Dusan Makavejev
“That would be another world that, however brief, however virtual, and however fictional (the brief, the virtual, and the fictional are, after all, equally capable of exerting a memorable force), takes its place in this world: if only during that hour or so in the theatre when we are reminded of how little we know of each other.” Joe Kelleher, Theatre & Politics
Predstava Let us think of these things always Let us speak of them never je projekt National Performance Networka (NPN), Creation Funda i Forth Funda. Pripremljena je u suradnji s centrom Performance Space 122, Muzejom suvremene umjetnosti iz Chicaga, Festivalom Fusebox i NPNom. Creation Fund podržavaju Doris Duke Charitable Foundation, Ford Foundation i National Endowment for the Arts. Forth Fund podržava Andrew W. Mellon Foundation. Više informacija na : www.npnweb.org.
Let us think of these things always. Let us speak of them never. is a National Performance Network (NPN) Creation Fund/Forth Fund Project co-commissioned by Performance Space 122 in partnership with Museum of Contemporary Art, Chicago, Fusebox Festival and NPN. The Creation Fund is supported by the Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts (a federal agency). The Forth Fund is supported by the Andrew W. Mellon Foundation. For more information: www.npnweb.org.
Predstavu su koproducirali: OOUR, Centar za dramske umjetnosti
Predstavu su podržali: Trust for Mutual Understanding, Gradski ured za obrazovanje, kulturu i šport Grada Zagreba, Ministarstvo kulure RH, Ekscena, CeKaO “Zagreb”, The School of the Art Institute of Chicago, FACE Croatia i United States Artists Ziporyn Fellowship
The creation of this performance has been supported by a grant from the Trust for Mutual Understanding. It is a co-production with OOUR and Centre for Drama Art with further support from the City Office for Culture Zagreb, The Ministry of Culture of the Republic of Croatia, ekscene platform in collaboration with CeKaO “Zagreb”, The School of the Art Institute of Chicago, FACE Croatia, and a United States Artists Ziporyn Fellowship.
«Poluinterpretacije ili kako objasniti suvremeni ples nemrtvom zecu», BADco (Hrvatska/Croatia)
Subota/Saturday, 4. 09., 22:00 – Hrvatski kulturni dom na Sušaku, Strossmayerova 1
BADco. je izvedbena skupina osnovana 2000.g. koja djeluje u Zagrebu. Jezgru skupine danas čine Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš i Zrinka Užbinec, a jedna od suosnivačica bila je i Ivana Sajko.
Skupina u kojoj djeluju umjetnici različitih edukacijskih i profesionalnih povijesti – četiri plesna umjetnika, dva dramaturga i jedan filozof – od svog osnutka sistematski usmjerava pažnju na istraživanje protokola izvedbe, predstavljanja i gledanja strukturirajući svoje projekte oko različitih formalnih i percepcijskih odnosa i konteksta. Rekonfiguriranje postojećih konvencionalnih odnosa između izvedbe i gledatelja, preispitivanje perspektivalnih datosti teatra i arhitektonike izvedbe te problematizacija komunikacijskih struktura ključna su obilježja koja su rad skupine svrstala među značajne kazališne pojave u međunarodnom kontekstu.
Četrnaest predstava (Čovjek.Stolac, 2tri4, Diderotov nećak ili krv nije voda, Solo Me, Persen, Misa za predizbornu šutnju i kopita u grlu, Walk This Way, Rebro kao zeleni zidovi, Brisane poruke, Fleshdance, Žena-bomba, Stanje br.2, Memories are made of this… izvedbene bilješke, Promjene i 1 poor and one 0), brojni istraživački projekti, radionice i predavanja kojima su se BADco. predstavili jasno upućuje na raznolikost pristupa stvaranju teatra, umjetničku znatiželju i intelektualna nastojanja skupine.
BADco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are: Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš and Zrinka Užbinec, and Ivana Sajko was one of the co-founders.
The collective combines artists with different educational and professional background – four choreographers / dancers, two dramaturges and one philosopher. Since it’s beginning in 2000 BADco. systematically focused on researching protocols in performance, presentation and observation by structuring its projects around diverse formal and perceptual relations and contexts. Distinct features of their work include reconfiguring established relations between performance and audience, challenging perspective givens and architectonics of performance as well as questioning communicational structures. All this enabled BADco. to become part of the significant international theatre scene.
Fourteen performances (Man.Chair, 2tri4, Diderot’s Nephew or Blood is Thicker than Water, Solo Me, RibCage, Walk This Way, Mass (for Election Day Silence), Deleted Messages, Fleshdance, memories are made of this… performance notes, Gravidation, Changes, 1 poor and one 0, The League of Time), numerous research projects, workshops and lectures clearly present the collective’s diverse approaches to theatre, artistic inquisitiveness and intellectual endeavours.
“POLUINTERPRETACIJE ili kako objasniti suvremeni ples nemrtvom zecu”
“Ne znam kako stvari stoje. Ne znam ni tko sam ni što želim, ali drugi tvrde da to znaju za mene, drugi koji me određuju, tjeraju me na govor, interpretiraju moje riječi i uključuju me. Bilo da sam oluja, štakor, stijena, jezero, lav, dijete, radnik, gen, rob, nesvjesno ili virus, oni mi šapuću, navode me, nameću interpretaciju toga što sam i što mogu biti.”
Bruno Latour, Pasterizacija Francuske
“SEMI-INTERPRETATIONS or how to explain contemporary dance to an undead hare»
“I don’t know how things stand. I know not who I am nor what I want, but others say they know on my behalf, others, who define me, link me up, make me speak, interpret what I say, and enroll me. Whether I am a storm, a rat, a rock, a lake, a lion, a child, a worker, a gene, a slave, the unconscious, or a virus, they whisper to me, they suggest, they impose an interpretation of what I am and what I could be.”
Bruno Latour, The Pasteurization of France
Kompozicija i modulacije /Composition and modulations: Nikolina Pristaš
Bilješke i blackboxing /Notes and blackboxing: Goran Sergej Pristaš
Suradnici /Collaborators: Jasmin Dasović (sound), Alan Vukelić (light), Silvio Vujičić (costume), Ana Ogrizović (hare).
Poluinspirirano radovima /Semi-inspired by work of: Joseph Beuys, Francoise Delsarte, Steven Shaviro, Bruno Latour and Graham Harman
Projekt podržan /Project is supported by: Zagreb City Office for Education, Culture and Sport, Ministry of Culture of the Republic of Croatia
«Duchampovi svjedoci», Milijana Babić (Hrvatska/Croatia)
Subota/Saturday 4. 09. 10:00 – 14:00 – Korzo
Milijana Babić rođena je 1974. u Rijeci. Diplomirala je 2002. na odsjeku Likovnih umjetnosti (kiparstvo) na Durban Institute of Technology, Durban, Južnoafrička Republika. Magistrirala je 2007. na Akademiji za likovno umetnost in oblikovanje u Ljubljani. Od 2004.-2006. radi u organizaciji Internacionalnog festivala suvremene umjetnosti – Mesto žensk, Ljubljana, s kojim i dalje surađuje.
Živi i radi u Rijeci. Članica je HZSU-a i HDLU-a Rijeke i Zagreba. Vanjska je suradnica na Katedri za kiparstvo na Akademiji primijenjenih umjetnosti u Rijeci.
Milijana Babić was born in Rijeka in 1974. She graduated in 2002 as a sculptor from the Durban Institute of Technology in South Africa and holds an MA from the Academy of Visual Arts in Ljubljana. In 2004 – 2006 Babić participated in the organization of the international festival of contemporary art – The city of women, Ljubljana.
She lives and works in Rijeka and is the member of the Croatian Association of Visual Artists (HDLU) both in Zagreb and Rijeka and of the Croatian Freelance Artists’ Association (HZSU). She is an associate at the department for sculpture at the Academy of Applied Arts in Rijeka.
Miljana started exhibiting in South Africa (NSA Gallery, Durban Art Gallery, Grahamstown Art Festival). She participated in international manifestations (Centraal Museum, Utrecht, 2003; Festival Mesto žensk, Ljubljana, 2003; S.M.A.K, Gent, 2004; Rohkunstbau Castle, Berlin, 2005; Association of Visual Arts, Cape Town, 2007; Trouble Festival, Brussels, 2008; Galleria Communale d’Arte Conteporanea, Monfalcone, 2009; Fondazione Bevilacqua La Masa, Palazzetto Tito, Venice, 2010.). Since 2004 she is active on the Croatian scene, especially in Rijeka.
Projekt Duchampovi svjedoci bazira se na ideji Jehovinih svjedoka, svijetom raširene sekte čija je misija pridobiti što više poklonika za svoju vjeru. Posuđujući njihove manire, Duchampovi svjedoci propovijedaju suvremenu umjetnost i šire glas svojeg proroka Marcela Duchampa. Duchampovi svjedoci posuđuju i naziv njihovog časopisa Probudite se!, za svoju publikaciju koja čini okosnicu rada.
Brošura se sastoji od slijedećih poglavlja: Tko su Duchampovi svjedoci?; Tko je Marcel Duchamp?; Što je suvremena umjetnost?; Kratka povijest Duchampovih svjedoka; Duchampovi svjedoci danas; Slikovnica Duchampovih svjedoka; Česta pitanja zainteresiranih osoba o našoj sekti; Pozivamo vas.
Brošura je pisana jednostavnim rječnikom i edukativnog je karaktera, s ciljem dostizanja najšire publike. Njezin “Jehovin” ton može biti bezbrižan, ali i provokativan, u smjeru religije ili umjetnosti same.
“DUCHAMP’S WITNESSES” use the form of communication practiced by the Jehovah’s Witnesses, but they preach contemporary art and the words of their prophet Marcel Duchamp. The focus of the project is the brochure ”Wake up!” – the name was borrowed from the brochure of Jehovah’s Witnesses.
The brochure consists of eight chapters: Who are Duchamp’s Witnesses?; Who is Marcel Duchamp?; What is contemporary art?; Short history of Duchamp’s Witnesses; Duchamp’s Witnesses today; Duchamp’s Witnesses picture book; Frequent questions; We invite you.
The language is simple and educating, aimed at the masses. The Jehovah’s voice can sound carefree but yet provocative as regards religion or art.
Produkcija/Production: Perforacije – tjedan izvedbenih umjetnosti, Zagreb
Projekt je sufinancirao/ The project is supported by Odjel gradske uprave za kulturu Grada Rijeke
