APIB June 2018
macedonian below>>>
02 June 2018
WE BEGAN WALKING THERE WE HAVE BEEN
by Özlem Alkis and Maayan Danoch
Concept and choreography: Özlem Alkis, Maayan Danoch
Performance: Maayan Danoch, Ivan Mijacevic
Music: Ivan Mijacevic
Space: Miha(sonda3)
Production: Özlem Alkış, Maayan Danoch
Co-production: tanz.tausch Festival
Supported by: Kunststiftung NRW, ZAIK and tanz.tausch Festival
The performance takes place in the frame of X-YUGO TOUR funded by Berlin Senate Department for Culture and Europe and Maribor Municipality. (https://www.facebook.com/We-began-walking-THERE-we-have-been-X-Yugo-Tour-186378325343851/?rc=p)
The performance WE BEGAN Walking THERE WE HAVE BEEN is part of the program ::Art::Politics::Institution:: Body, organised by LOKOMOTIVA-Centre for New Initiatives in Arts and Culture
For more information: https://artpoliticsinstitutionsbody.blogspot.mk/
PERFORMANCE DESCRIPTION
Darkness fills the space. Very slowly, the contours of more and more things begin to appear. All of the elements on stage – the bodies of two dancers, sound, light – are considered to be equal protag-onists. Each detail influences the progression of the choreography and opens up new realms of pos-sibility. Again and again, the two performers craft new layers and thus enable various perspectives on the events at hand. They take on new standpoints, create fanciful transition-al landscapes, pile up and then rearrange what they find in front of them. With its repetitive nature, this work develops an enduring narrative, an everlasting moment in time – a performance without beginning or end.
OR
we began walking THERE we have been is a performance for two performers and flashlights, which are operated by the two. It includes no other light source and from this perspective is literally a dark performance and includes moments of complete darkness.
The choreography is made of simple actions, focused on the interaction of light with body im-age/movement. As the performers simultaneously are operators and actors, so is the light. At times, its movement becomes the main player, so it’s perceived as an entity, a body. Other times, it illumi-nates another body or location.
we began walking THERE we have been is composed through a mirroring logic, meaning each ac-tion aims to reflect something of the previous one. The result is a detailed performance, in which each step, location and action are precisely measured and contributing to the overall visual, musical and sometimes magical experience.
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04- 09 June 2018
Co-curating movement – curatorial meeting 4.06.2018- 9.06.2018
This event gather four performing arts curators Lydia Bell, Anastasia Proshutinskaya, Marijana Cvetkovic and Biljana Tanurovska Kjulavkovski that will work on the development of the common future platform for curating, while also encountering local authors, organizations, students and other individuals through informal and formal meetings, presentations and lectures.
On 4th of June 2018, there will be a public event in which they will present their work, and art scenes in New York, Moscow and Belgrade, and on 7th June they will be holding a workshop as the part of the educational platform Arts/Politics/Institution/Body – Open Scene.
>>>>4th June @19:00<<<<<
Presentations of the curatorial practices in performing arts in New York, Moscow, Belgrade and Skopje
Guests Lydia Bell – Program Director Dancespace (New York City, USA), Anastasia Proshutinskaya -Curator, ZIL Culture Centre (Moscow, Russia) and Marijana Cvetkovic – Co-founder of Station Service for contemporary dance (Belgrade, Serbia) moderated by Biljana Tanurovska Kjulavkovski, – Executive director and program editor of Lokomotiva- Skopje will talk and present their own socio-political and economic contexts in which contemporary dance and performance are developed.
Questions that will be tackled in the discussion will include meaning of the selection vs curation, is curation shaped by the politics of economy, or socio-cultural environment, or is aesthetically independent? How does the curated programs communicate with the audience and what are their implications to the audience and professional community, and if curated programs communicate and influence general context? and some other…
Questions that will be tackled in the discussion will include meaning of the selection vs curation, is curation shaped by the politics of economy, or socio-cultural environment, or is aesthetically independent? How does the curated programs communicate with the audience and what are their implications to the audience and professional community, and if curated programs communicate and influence general context? and some other…
Presentation of the book AN UNTIMELY BOOK Critical Practice (Made in Yugoslavia) 3
Book is produced as part of the Critical Practice Made in Yu program of Life Long Burning project, co-organized by Lokomotiva, Skopje and Stanica, Belgrade representing Nomad Dance Academy.
Book is published by Lokomotiva – Centre for New Initiatives in Arts and Culture
Book is published by Lokomotiva – Centre for New Initiatives in Arts and Culture
Authors and Editors: Alexandra Balona, Nassia Fourtouni, Aleksandar Georgiev, Nina Gojić, Ana Letunić, Ellen Söderhult, Aniko Szucs
Book will be available for download.
Book will be presented by Aleksandar Georgiev, Biljana Tanurovska Kjulavkvoski and Marijana Cvetkovic.
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Bios of the guests:
Bios of the guests:
Lydia Bell
Lydia Bell is a performance curator and administrator based in New York City. She is currently Program Director at Danspace Project, where she oversees programming, publications and research initiatives. Most recently she co-curated the Bessie award-winning Platform 2016: A Body in Places with Judy Hussie-Taylor and Eiko Otake. She has also organized projects at Danspace Project with artists such as Yve Laris Cohen, DonChristian, Ruth Patir and Xaviera Simmons. From 2009-2011, she coordinated the three-year tour of the Eiko & Koma Retrospective Project in collaboration with 15 partner venues, including the Walker Art Center and the Museum of Contemporary Art, Chicago. Lydia has worked on projects with Movement Research, Sam Miller/OAM Company, and the Institute for Curatorial Practice in Performance. She has contributed to publications such as Judson Now (Danspace Project, 2012), Museum and Curatorial Studies Review, and Movement Research Performance Journal and spoken nationally and internationally about her work. Lydia is a graduate of Wesleyan University (B.A., Dance and Classics) and the Institute for Curatorial Practice in Performance at Wesleyan University.
Lydia Bell is a performance curator and administrator based in New York City. She is currently Program Director at Danspace Project, where she oversees programming, publications and research initiatives. Most recently she co-curated the Bessie award-winning Platform 2016: A Body in Places with Judy Hussie-Taylor and Eiko Otake. She has also organized projects at Danspace Project with artists such as Yve Laris Cohen, DonChristian, Ruth Patir and Xaviera Simmons. From 2009-2011, she coordinated the three-year tour of the Eiko & Koma Retrospective Project in collaboration with 15 partner venues, including the Walker Art Center and the Museum of Contemporary Art, Chicago. Lydia has worked on projects with Movement Research, Sam Miller/OAM Company, and the Institute for Curatorial Practice in Performance. She has contributed to publications such as Judson Now (Danspace Project, 2012), Museum and Curatorial Studies Review, and Movement Research Performance Journal and spoken nationally and internationally about her work. Lydia is a graduate of Wesleyan University (B.A., Dance and Classics) and the Institute for Curatorial Practice in Performance at Wesleyan University.
Anastasia Proshutinskaya Curator, ZIL Culture Centre (Moscow, Russia)
Anastasia Proshutinskaya – researcher, curator and producer – is employed with Dance Department of ZILCC since 2012. At this position, she is mainly focused on emerging young dance artists and their artistic development through residencies and various educational events. She had been in charge of over 50 premiered productions on black box stage of ZILCC. Her international projects vary from individually designed residencies for invited artists to broad networking with academic programs in contemporary choreography. Anastasia Proshutinskaya acquired M.A. in Art Theory and History from Moscow State University and M.A. in Performance Studies from The Southern Illinois University; she held internships at Dance Theatre Workshop and The Kitchen (New York, NY USA).
Anastasia Proshutinskaya – researcher, curator and producer – is employed with Dance Department of ZILCC since 2012. At this position, she is mainly focused on emerging young dance artists and their artistic development through residencies and various educational events. She had been in charge of over 50 premiered productions on black box stage of ZILCC. Her international projects vary from individually designed residencies for invited artists to broad networking with academic programs in contemporary choreography. Anastasia Proshutinskaya acquired M.A. in Art Theory and History from Moscow State University and M.A. in Performance Studies from The Southern Illinois University; she held internships at Dance Theatre Workshop and The Kitchen (New York, NY USA).
Marijana Cvetkovic
Completed MA in management in culture and cultural policy at the University of Arts in Belgrade and University Lyon 2, France. Currently works on her PhD research at the University of Arts in Belgrade. Initiated and realized various programs and projects in the fields of cultural policy, international and Balkan cultural cooperation, contemporary dance, visual arts and museums…
Co-founder of Station Service for contemporary dance, Nomad Dance Academy, Balkan platform for development of contemporary dance and performing arts and the independent cultural center Magacin in Belgrade. Cultural activist at the independent cultural scenes of Belgrade and Serbia. Previously worked at the University of Arts in Belgrade (head of International Relations, 2002- 2010), Nomad Dance Academy (member of the Coordination Office, 2006-2013) and the Museum of Contemporary Arts in Belgrade (strategic development manager). Since 2009 teaches at the UNESCO Chair in cultural management and cultural policy at the University of Arts in Belgrade. Gives lectures and workshops on diverse topics related to self-organization, independent cultural scene, contemporary dance field, museum development, networking… Organized and curated international conferences and exhibitions: Centre Georges Pompidou, Museum of contemporary arts in Belgrade, Gallery FLU, University of Arts in Belgrade, BITEF Festival, Kondenz Festival of contemporary dance and performance and many others. Edited several books and published numerous articles in various magazines and edited books (in Serbo-Croatian, English, Italian, Polish, German, Swedish and French).
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This event is part of the program Art:: Politics:: Institution:: Body organised by Lokomotiva- Skopje.
This project is supported by the GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding.
Completed MA in management in culture and cultural policy at the University of Arts in Belgrade and University Lyon 2, France. Currently works on her PhD research at the University of Arts in Belgrade. Initiated and realized various programs and projects in the fields of cultural policy, international and Balkan cultural cooperation, contemporary dance, visual arts and museums…
Co-founder of Station Service for contemporary dance, Nomad Dance Academy, Balkan platform for development of contemporary dance and performing arts and the independent cultural center Magacin in Belgrade. Cultural activist at the independent cultural scenes of Belgrade and Serbia. Previously worked at the University of Arts in Belgrade (head of International Relations, 2002- 2010), Nomad Dance Academy (member of the Coordination Office, 2006-2013) and the Museum of Contemporary Arts in Belgrade (strategic development manager). Since 2009 teaches at the UNESCO Chair in cultural management and cultural policy at the University of Arts in Belgrade. Gives lectures and workshops on diverse topics related to self-organization, independent cultural scene, contemporary dance field, museum development, networking… Organized and curated international conferences and exhibitions: Centre Georges Pompidou, Museum of contemporary arts in Belgrade, Gallery FLU, University of Arts in Belgrade, BITEF Festival, Kondenz Festival of contemporary dance and performance and many others. Edited several books and published numerous articles in various magazines and edited books (in Serbo-Croatian, English, Italian, Polish, German, Swedish and French).
***
This event is part of the program Art:: Politics:: Institution:: Body organised by Lokomotiva- Skopje.
This project is supported by the GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding.
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macedonian>>
Концепт и кореографија: Özlem Alkis, Maayan Danoch
Изведувачи: Maayan Danoch, Ivan Mijacevic
Музика: Ivan Mijacevic
Простор: Miha(sonda3)
Продукција: Özlem Alkış, Maayan Danoch
Ко- продукција: tanz.tausch Festival
Поддржано од: Kunststiftung NRW, ZAIK and tanz.tausch Festival
Претставата се одвива во рамките на X-YUGO TOUR, финансирано од Berlin Senate Department for Culture and Europe and Maribor Municipality. (https://www.facebook.com/We-began-walking-THERE-we-have-been-X-Yugo-Tour-186378325343851/?rc=p)
Перформансот WE BEGAN Walking THERE WE HAVE BEEN е дел од програмата Уметност:: Политика:: Институција:: Тело:: во организација на LOKOMOTIVA-Centre for New Initiatives in Arts and Culture
Повеќе информации: https://artpoliticsinstitutionsbody.blogspot.mk/
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Темнината го исполнува просторот. Многу бавно, контурите на сè повеќе и повеќе работи, почнуваат да се појавуваат. Сите елементи на сцената - телата на двата танчери, звук, светлина - се сметаат за еднакви протагонисти. Секој детал влијае на прогресијата на кореографијата и отвора нови области на можноста. Повторно и одново, двајцата изведувачи создаваат нови слоеви и на тој начин овозможуваат различни перспективи за настаните што се присутни. Тие заземаат нови гледишта, создаваат нереални транзициски предели, се натрупуваат, а потоа го преуредуваат она што го наоѓаат пред нив. Со својата повторлива природа, оваа работа развива траен наратив, и вечен момент во времето - претстава без почеток или крај.
ИЛИ
we began walking THERE we have been е перформанс за два изведувачи и рефлектори, кои се управувани од изведувачите. Не вклучува друг извор на светлина и од оваа перспектива буквално претсавува темен перформанс и вклучува моменти на целосна темнина.
Кореографијата е направена од едноставни дејства, фокусирани на интеракцијата на светлината со слика на телото / движењето на телото. Како што изведувачите истовремено се оператори и актери, така e и светлината. Понекогаш, нејзиното движење станува главен играч, така што се перцепира како ентитет, тело. Во други времиња, се осветлува друго тело или локација.
we began walking THERE we have been, е составен преку логика на пресликување, што значи дека секоја акција има за цел да одрази нешто од претходниот. Резултатот е детален перформанс, во која секој чекор, локација и акција се прецизно мерени и придонесуваат за целокупното визуелно, музичко, а понекогаш и магично искуство.
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