Kondenz 2014

KONDENZ 2014

21st – 26th October 

BELGRADE DANCEFRONT

Seventh KONDENZ will be held from 21st to 26th of October 2014 in various venues in Belgrade. Every year, KONDENZ gathers and presents a selection of the newest pieces in the field of contemporary dance and performing arts, created by authors both from Serbia and abroad, that are experimental and critical in terms of programme and production. It offers the audience, often by working with the audience, new formats of festival production, artistic expression and direct action in the field of culture and in the society.
This year festival will include performances by authors from Serbia, Croatia, Slovenia, Switzerland, Sweden, Germany, Singapur and USA. 7th KONDENZ will be held in Magacin in Kraljevića Marka, BITEF Theatre and in open, public space in Savamala.

Along with the performances, the programme consists of an exhibition, discussions, a workshop and an intervention in public space.

Welcome to the 7th KONDENZ!


>BELGRADE DANCEFRONT: NEW SPACE (FOR) STATION – DUŠAN MURIĆ & MARTIN SCHICK

21st to 26th October: all day, every day….

Plateau by the Sava River

(between Branko’s Bridge and Betonhala)

Geodesic Structure
Geodesic Structure

After experiencing the construction of a GEODESIC HOUSE in Switzerland in June 2014, Martin Schick (Switzerland) and Dušan Murić (Serbia) will build a bigger construction of the same type and logic. This time in Belgrade.
While the first part of the project in Switzerland was about post-capitalism, a near future so to say, second part is going to deal much more with present situation, thus reflecting the difference between a strong capitalist society looking for new models of organization of society, and a transitional society where problems are much more closer to what could be referred as ‘the past of capitalism’, namely first accumulation of capital. So, there is a dual focus in the Belgrade part of the project: one, involving post-capitalistic practices of sharing, solidarity, communality, and
the other, dealing with social and cultural injustices and misshapes in present day Serbian society. The artists will build a geodesic structure (at least 5m tall) that will serve as a symbolic replacement workspace for Station, the organizer of Kondenz, because Station is in danger of losing present space in Magacin, while there is no offer by those in power and in charge for another space where it can continue working. The process of making this geodesic structure, a new space for Station, will be marked by communal construction work, involving the artists of Station, artists and guests of the festival, artistic community of Belgrade, and of course the audience. During the process daily gymnastics for participants would be organized (inspired by ‘budget gymnastics’ of Kondenz festival, and by building process too).

>ETUDE FOR SLAVOJ ZIZEK TRIO STEP NINE – SLAVOJ ZIZEK Trio
22nd October [Wednesday]……. 20h
Magacin in Kraljevića Marka

[double bill – Mijačević/Zorec/Murić]

Etude for SZT
Etude for SZT

The piece is inspired by the text “Let’s pump pieces of ourselves into a luxurious instrumental of contemporary slavery” by choreographer and performer from Belgrade, Dušan Murić, and was created in the frame of Task project and festival platforma.hr in Zagreb in April 2014. In case you have to decide between repeating what is difficult to repeat and changing what is difficult to change, which would you choose? Presenting: un-ideological lecture / video screening / audile structure improvisation / documentation-technology worship / stage performance/self-categorization. Trio is active since 2007/2008, comes from Ptuj in Slovenia, lives and works in Ljubljana, developing strategies for critical observation of creative processes and collaborating with danceCO, G-Fart, inability crew. It is a venture for producing self-promoting material. Performers: Slavoj Zizek trio

[PERFORMANCE THAT CALLS ON DESTROYING THE WORLD – DUŠAN MURIĆ]

“I am here to make you think that I solve problems, but the fact is, I just think loud.” While working on the Dušan Murić-inspired piece, Ivan Mijaćević and his collaborator Aleš Zorec wrote some 50+ pages of explanation. Dušan Murić took this new text and used it along with his original text as a starting point for this Performance That Calls on Destroying the World, staying on the stage set left by Slavoj Žižek trio. It is a piece that calls on revolution; a prayer, a ritual, a cursing act. “If I am on the both sides of the display window – would I buy myself if I happen to be you?” Dušan Murić is author of these performances: “A Few Sweaty T-shirts“, “I’m pro: spam“, “Vrbovanje Utopije: sve što…“, “Snežna kraljica“, “Robinzon Kruso “, ”Martovske ide po starom kalendaru“. Initiatior of a few initiatives and projects in the field of contemporary performing arts (“Next Step“, “Jam Užina“, “Mozart Or Z of ART“, Stanica, “S.N.O.B“). Scholarship holder of insufficient number of scholarships and winner of insufficient number of awards, nihilist, botcher, non-member, zen green anarchist, happy father.

>KINETIC MAKEOVER – MILKA DJORDJEVICH

23rd October [Thursday]……. 20h
Bitef Theatre

Kinetik Makeover
Kinetic Makeover

Milka Djordjevich’s Kinetic Makeover is a dance solo giving power and autonomy to one body. This body attempts to produce various images through the self-imposed task of repeatedly and compulsively moving. Perpetual action is a means for change in order to establish a new way of seeing and being. The various thresholds of the body are revealed through this self-directed persistence. Actions oscillate between being repetitive, mechanical, mundane, sustained, hypnotic, energetic, aggressive and euphoric. The act of doing is always in negotiation of the past, present and future. The dance is an attempt at the here-and-now, a never-ending effort that ceases to exist. The work is a reimagining of the body and its potential, what it represents and how it exists. Milka Djordjevich is a US based artist interested in exploring the border between where dance begins and where it ends. She received a B.A. in World Arts and Cultures from UCLA and an M.F.A. in Choreography from Sarah Lawrence College. Her choreography has been shown at several New York City venues, including Dance Theatre Workshop, Danspace Project, Movement Research at Judson Church, The Chocolate Factory Theatre, The 2010 Whitney Biennial, Dixon Place and the Catch! Performance series and in San Francisco at Counterpulse and the Garage. Internationally Djordjevich’s work has toured to the Solo in Azione Festival (Milan, Italy); Artdanthe Festival (Vanves, France); Toihaus Theatre (Salzburg, Austria); WUK (Vienna, Austria); Ophelia is Not Dead Festival (Lodz, Poland); Fabrik Potsdam (Potsdam, Germany); Uferstudios (Berlin, Germany); Serbian National Theatre (Novi Sad, Serbia); Bitef Theatre (Belgrade, Serbia); Rex (Belgrade, Serbia); and at the Gateshead International Festival of Theatre (Gateshead UK). She has received funding from New York Live Arts/Dance Theatre Workshop’s Suitcase Fund; a commission from the Danspace Project 2010-11 Commissioning Initiative, with support from the Jerome Foundation; and residencies at Fabrik Potsdam and PACT-Zollverein in Germany. Djordjevich was a 2006-2007 Movement Research Artist-in-Residence, a visiting artist at P.A.R.T.S. (Brussels), and a 2008 and 2010 danceWEB Europe Scholar. Recent collaborations include music-dance investigations with composer Chris Peck and Made in China with Serbian dance artist Dragana Bulut.

>REARRANGING (AND) THE SELF-ARRANGED - SONJA PREGRAD & NIVES SERTIĆ

24th October [Friday]……. 20h

Magacin in Kraljevića Marka

REARRANGING (AND) THE SELF-ARRANGED
REARRANGING (AND) THE SELF-ARRANGED

This work in progress is a result of Identity.Move! residency programme. The project deals with topics of identity, process and connection of Eastern European dance institutions, but is also connecting dance artists with artists of other disciplines. For Nives and Sonja, question of identity is also question of relation(ship) and way we reflect those that we are in relation(ship) with. Friends and collaborators are building a research on relation of two media (dance and video/film), two bodies, two id-entities, two of them. Question of relationship between two media and two women. About how subject and object are dancing together in a sentence, on the stage or in the picture. Sonja Pregrad is an author and performer. She is currently living between Berlin and Zagreb, making a new work “A dance in 2043/4” with Willy Prager, teaching at the Zagreb Academy of Fine Arts, Department for Animated Film and New Media, SMASH programme in Berlin and co-creating an international interactive dance publication/project TASK with TALA Dance Centre. Nives Sertić graduated in 2009 from the Department of Animated Film and New Media at the Academy of Fine Arts in Zagreb. Nives was the main coordinator of The Academy as a laboratory project on the Zagreb Academy of Fine Arts. She realised many collaborations with the theatre and dance scene. In late 2009 she started an ongoing work on the interdisciplinary project “O MM”, focused on history and the recent state of the MM center (Multimedia center) of the University of Zagreb Student Center. From 2009 to 2012 she and the artist Iva Cepanec designed and led the collaborative interdisciplinary platform for young artists and cultural workers Antibiotik at AKC Medika, where she also participated in many group exhibitions.

>#aspellforfainting – GILLIAN CHADSEY & IVAN TALIJANČIĆ / WAXFACTORY

25th October [Saturday]……. 20h
Location: tbc

#aspellforfainting
#aspellforfainting

A brand new ensemble work for a solo performer/PJ, a sound artist/DJ and a video artist/VJ, #aspellforfainting is an improvisational piece, created anew for each performance by using disparate textual sources (The Seagull, Macbeth, Hamlet, Streetcar Named Desire, American Idol, Dancing with the Stars, YouTube instructional videos, etc), an array of musical selections and sounds, and a multitude of objects as an investigation in the chaos of creation. The performer is given a series of tasks to complete while the DJ/VJ team shifts through a constantly rotating series of textual sources, sound cues, light changes, and props placed in the performer’s path. 6 Using Charcot’s Tuesday night lectures at the Salpêtrière and his instigation of hysterical performance as a leaping-off point, we trace the lines of fainting, hallucination, delusion, and love letters that run through the source material. #aspellforfainting vividly celebrates the live, raw neurosis of being a performer. The tempest that occurs between the initial brilliance of an idea and the dread one encounters when they can’t figure out what they were thinking just a moment before. The crippling of an artistic block, unforeseen circumstances, nightmares, getting out of one’s own way… and what happens when one confronts the reality of what was created, exposed, capsized, deconstructed, demolished, and uprooted. WaxFactory is an ensemble of interdisciplinary artists dedicated to exploring a multiplicity of theatrical visions. The company focuses on original works devised by its founders, along with innovative adaptations of literary and cinematic works. WaxFactory’s productions are characterized by unconventional narrative styles, visual and physical rigor, integrated use of new media and technologies, and site-specific work. www.waxfactory.org

>POLIGON. THE UNBEARABLE LIGHTNESS OF PARTICIPATION – BOJAN DJORDJEV, KATARINA POPOVIĆ, JANA JEVTOVIĆ, SINIŠA ILIĆ, DUŠAN BROĆIĆ, LJILJANA TASIĆ, MAJA MIRKOVIĆ, DRAGANA JOVOVIĆ

26th October [Sunday]……. 17.30h
Bitef Theatre

 

Poligon is a material score for performance, and an active and performative social space. It widens the conventional understanding of the notion of the stage and poses questions about participation in contemporary art and the current socio-political moment. Moving through several spaces of the Bitef Theatre building while following instructions, the public, who at the same time are the performers of this work, will encounter a series of visual, audio, architectural, and conceptual challenges and tasks which condition his or her visit in the space and determine the duration of the performance itself. The project has been created in the frames of Nomad Dance Academy and Performance Situation Room / Life Long Burning.

>A TALK – JOLIKA SUDERMANN & ALMA SÖDERBERG

26th October [Sunday]……. 21h

Magacin in Kraljevića Marka

A Talk
A Talk

What is the melody of a love story? What rhythm is created when we doubt or correct one another? Do we dance differently when we talk about a checklist or tell each other secrets? What does a silence say: the moment between the words? 7 We all talk every day, about this and that. Sometimes to communicate something that seems important to us; sometimes just to indulge in the sound of our own voices. Lately, we have been very closely observing and listening to conversations – ours and other people’s. What we have encountered is melody, gesture and rhythm. We are more and more convinced that when we meet to talk we actually meet to sing and dance to each other, to enter into a playful game of language composition. We zoom into music and dance and we extract the failures, the many ruptures that occur when we talk. All the things that are part of language but that you won’t find in a dictionary are what we pay attention to. Sudermann and Söderberg celebrate language with childlike pleasure, constantly oscillating between sensuousness and sense-making. Alma Söderberg (SE) works as a choreographer, performer and performer-musician after having studied flamenco, contemporary dance and choreography. She graduated from SNDO, the choreography department in the Amsterdam arts academy, in 2010. Alma Söderberg makes performances where sound, movement and speech are equally important and in her eclectic practice she is constantly re-discovering how intertwined the three are. Jolika Sudermann (DE) is a freelance theatremaker with a background in dance and environmental sciences. She studied dance theatre in Hamburg and graduated from the Mime course at the Amsterdamse Hogeschool voor de Kunsten in 2010. Jolika is based in Berlin and works as an artist in residence at Het Veem Theatre Amsterdam.

>Critical Practice (Made in YU)

Kondenz Festival programme will be enriched and supported by the Critical Practice (Made in YU), a platform oriented toward empowering discursive reflections on contemporary performing arts and their breakthrough to the larger public. This programme is organized in collaboration of Station Service for contemporary dance, Nomad Dance Academy and Life Long Burning.
EU Culture 2007 – 2013

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>TEMPORARIES - EXHIBITION

Station and the project team of Temporaries will present a photo exhibition that will allow presence of the Temporaries artists at Kondenz 2014 while they are physically dispersed around Europe where they study, produce and live. The exhibition problematizes and ironically emphasizes the absence of the local scene players at one of the rare programmes & events in Serbia which promotes their work and supports them
>WORKSHOP - SONjA PREGRAD & NIVES SERTIĆ

25th October [Saturday]……. 10:30 – 15:30

Magacin in Kraljevića Marka

What is a reflection between medium of theatre and the one of video? How do these two media reflect in each other and what is the product of this relationship? How can a body that we understand as an object of gazing at a stage suddenly look while being looked and explain us that what we see is just an angle opposite to the one from which it looks? Relation of two media / two bodies / two gazes / two perspectives: body behind the camera and body in front of the camera. The workshop is organized for dancers, choreographers and film/video makers. Applications can be sent to tatjanastanica@gmail.com, until October 20th

>SENTIENT / SPITTING - CARMEN C. WONG

25th October [Saturday]…… 16h

Kalemegdan Fortress, terrace overlooking Sava river

Sentient / Spitting by Carmen C. Wong (USA) is a gastro-performance that turns the banal, everyday experience of eating/spitting into a symbolic expression, subverting what is usually seen as an act of contempt into an act of blessing and creation. Participants will be asked by facilitators to ingest a set of food (curated from a collection of eating narratives), and expel the seeds embedded within, while standing behind the shooting walls of the Belgrade Fortress. In this way eating/spitting is framed as a kind of knowledge, a way to retell a story through food metaphors, and a ritual that meditates on the future. Participants become performers – active agents who can choose to transgress norms, deciding what to reject/eject, physically delivering the potential of change. Beneath the surface of food and play (and playing with food) the project explores what could be preserved and what is consumed; what might be savored and what is expelled.

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