Kondenz 2023 Logo
Kondenz 2023 Logo

Feminist Futures Festival / KONDENZ contemporary dance and performance festival

The 16th edition of Kondenz will be marked by a polyphonic body of works and addressed subjects, carried out by artists coming from the post-Yugoslav region, Europe and three other continents, South America, Africa and the Middle East.

Are you concerned?

Witnessing the societal downfall in Serbia after the socialist period, it is impossible not to connect it with the general closeout of public goods and commons as a necessary step towards privatization and restoration of capitalism. A mode of production that has reshaped the entire social structure keeps on insatiably eating away and eroding the already devastated soil that we stand on. Inequality and exploitation that are penetrating the porous grounds are sustaining one another and thus establishing a principle that offers no room for an alternative. These deeply rooted paradigms are continuously pushing different aspects of our lives in a state of crisis by dividing our common ground along the lines of private interests. We are consequently looking at not only a violent delamination of societies into new classes, but a decomposition of communities and their elementary bonds, an extinction of basic ideas of common values and principles and a new arrival of nationalist and fascist movements. Many of these processes are directly and intrinsically connected and further strengthened by the principle of ruthless extraction and violence towards nature, people and other inhabitants of our planet, and in our case towards the resources that were once built in Yugoslavia by and through collective means and were meant to serve common good. These changes are manifested through various forms of neo-colonialism that are pushing society and along with its natural and other types of resources into a state of modern-day enslavement, dependence, and colonial subjugation, forming a complex system of relations, even more so when confronted with questions of gender issues. In the times of neo-colonial hegemony, we are witnessing phenomena such as privatization of water supplies and soil, crumbling of domestic economies, ecological catastrophes brought upon by mining, taking away of food sovereignties, domestic labor legislations becoming ineffective within foreign companies, and ultimately compromising our collective futures by subjugating to the interests of the capital and foreign investors, drawing whole countries, communities and individuals into debt slavery that is justified in the purposes of “economic growth”.

How do we keep on making art and dancing?

By affirming the legacy of the Non-Aligned Movement, as well as the collaborations realized through two important networks, both for Station as well as our independent dance scene – the regional network Nomad Dance Academy and the European network apap – Feminist Futures, this year’s Kondenz presents works of artists who have shared our concerns and questions about today’s purpose of art and bring new perspectives on the phenomena of neo-colonialism to the table, along with ideas on how the art of dance and choreography can highlight and reaffirm the body as a source of togetherness. The body taking center stage has not only proven to be effective when practicing and collectivizing resistance towards repressive policies, it is also a necessary implication in a time when neo-colonialism is relativizing questions of bodily autonomy, freedom of movement and basic rights to air, water, and other commodified goods. The question is, therefore, which perspectives and alternatives are opened through a body in motion, through a body that encounters other bodies and speaks with other embodied experiences and contexts.

The programme that follows is a result of a two-year long collaborative work between the curators of two sister-festivals, the Reykjavik Dance Festival (Iceland) and the Meteor Festival in Bergen (Norway), partners of the apap – Feminist Futures project. Through exchange, travels, talks and shared concerns for our world crumbling underneath the weight of capitalist brutality, we mapped out how artistic works respond to the given crisis, connected by the liminal line of Europe. Our trip to Rio de Janeiro and visit to the Maré favela was a defining and inspirational experience for us, and what we were able to take from it will stay with us throughout the festivals in Belgrade and Reykjavik.

As always, while organizing the festival we were faced with the lack of spaces dedicated to dance in Belgrade, a topic Station has been dealing with ever since it was founded in 2005. Kondenz is usually the time of year when we speak about it louder and clearer. Given the cultural policies of the city of Belgrade and Serbia that do not engage in a dialogue with or support the independent culture, the topic has been relevant for the last 18 years. That is why we especially value the solidarity shown by the Center for Cultural Decontamination, whose entire space was offered to accommodate this year’s Kondenz – a solidarity gesture in support of the independent dance scene which the Ministry of Culture continuously chooses to ignore. .

This, along with other forms of support that Stanica, Kondenz and the independent dance scene receive, are the reasons why we choose to believe that feminist futures are possible and attainable.

Marijana Cvetković and Nevena Delić

PROGRAM

Terra Nullius

performance in public space

27.10. @17:30 ! POSTPONED FOR 28.10 @17:30!

Departure point: Sava river bank

Wheelchair Accessible

Paula Diogo

Project direction, creation and performance: Paula Diogo
Text and voice: Paula Diogo
Sound creation: João Bento
Guides: Jovana Mijatović, Vladimir Bjeličić

Collaborators in the creation: Alfredo Martins, Daniel Worm, Elsa Mencagli, Estelle Franco, Masako Hattori, Frame Colectivo i Renato Linhares
Dramaturgical support: Alex Cassal
Stage photography: João Tuna
Thank-yous: Kondenz team

Executive production: Vanda Cerejo
Communication support: Carlos Alves
Co-production: Má-Criação and TNDMII
Co-production residencies: Arquipélago-Centro de Artes Contemporâneas, Citemor i O Espaço do Tempo
Umetnička saradnja: Alkantara, Galeria Zé dos Bois
Artistic residency support Companhia Olga Roriz
Support: CML – Pólo Cultural Gaivotas | Boavista

Paula Diogo is a performer and stage director with an artistic background based on collaborative processes. She works both as a production manager and artistic creator and has co-founded several collectives, having worked with artists and companies both in Portugal and abroad. Recently, she founded Má-Criação, a platform that brings together creators from different backgrounds and geographies and is a member of the collective Celestial Bodies, a project dedicated to opening up spaces that integrate practices of solidarity, care, empathy and wonder. Paula Diogo is one of the artists supported by apap – Feminist Futures. She lives in Lisbon.

Work developed with a grant from the Calouste Gulbenkian Foundation and the GDA Foundation’s Cultural Fund in 2018/19
Paula Diogo’s work is supported by apap – Feminist Futures, a project co-funded by the Creative Europe Program of the European Union. Project financed by the Portuguese Republic – Culture / Directorate-General for the Arts Má-Criação is a structure supported by the Lisbon City Council and housed in Alkantara

27.10. @17:30 ! POSTPONED FOR 28.10 @17:30!

Departure point: Sava river bank

Wheelchair Accessible

“Terra Nullius” is a term coined by international law to define unclaimed territories, no man’s land, the zero point. The project examines the poetic potential of this term, the idea of the unexplored territory that opens itself to accommodate new ways of living outside the market and production laws. Paula Diogo, performer and stage director, creates performative audio walks that allude to a distant place. The project was developed during her year-long stay in Reykjavik, where she interconnected personal and collective memories using two simple acts: walking and writing. Terra Nullius is conceived as a performance based on a sound tapestry that traverses geographies and steps in a dialogue with each new locality where it unfolds. It takes the audience on a collective experience following a predetermined route and concluding with a gathering and the solitary reading of the book Terra Nullius. The performance expands beyond the space of the theater, occupying both the urban tissue of the city and the virtual space of discussion, thought and aftermath.

Feminist School: Towards feminist dramaturgy

Ana Dubljević

working group

28.10, 12:00-15:00

Magacin

Wheelchair Accessible

Ana Dubljević works with dance, choreography and performance. She holds an MA in Choreography and Performance at The Institute of Applied Theater Studies in Giessen, Germany. Since 2007 she has conceived numerous works, worked with production and performed internationally. Her work is currently supported by the APAP – Feminist Futures network. Along with her choreographic work and dance dramaturgy, since 2006 she is an active collaborator of Station Service for contemporary dance, she co-curated Kondenz Festival of contemporary dance and performance and enriched non-formal dance education on the scene. In 2021 Station Service for contemporary dance published her book “The feminist pornscapes, on feminist dramaturgical thinking in dance and performance practice”. In the same year, the theater performance “Cement Belgrade” that she co-authored, won the Grand Prix Award of the 54/55th Bitef Festival in Belgrade. Her work “Dancefloor 2022”, created around and for hotel Haludovo Palace on the island of Krk, is currently on tour. Ana is passionate about erotic poetry and hopes for a planetary general strike.

In this reading group, Ana Dubljević invites us to view (feminist) dramaturgy – not only as production of meaning on stage, but also as the common practice of thinking-feeling within the process of creation, organization, production and dissemination of a performance. If in our relationship with the audience, we leave the authority of one central viewing point, can the feminist dramaturgical thinking help us to also leave it in the working process, both intentionally and simultaneously?

How can we lead processes based on the practices of pleasure and care? How can we lead processes not with efficiency, but through co-existing in disagreement and with those that provide space for uncertainties despite the fear, because they see space as freedom? Can those different processes produce different shows, and if so how?

Participants are invited to reflect and share examples of their own artistic and cultural practices and map the problems and possibilities of this type of approach. This session will be based on texts from the book by Ana Dubljević – “The Feminist Pornscapes. On Feminist Dramaturgical Thinking in Dance and Performance Practice” published by Station Service for contemporary dance and apap Feminist Futures project.

I need a new body

performance

28.10. @20:00

Center for Cultural Decontamination

Wheelchair Accessible

Viktorija Ilioska 

Concept and choreography: Viktorija Ilioska in conversation with Nastya Dzyuban and Laura Stellacci
Performance: Viktorija Ilioska and Nastya Dzyuban
Voices: Amélie Haller i Maren Küpper
Sound design: Laura Stellacci Photos by Sonja Stavrova

Coproduction between Lokomotiva – Center for New Initiative in Arts and Culture / Choreographed bodies program, Life Long Burning / Performance Situation Room program), NDA Slovenia and Viktorija Ilioska

Special thanks to: Dushica Nofitoska, Biljana Tanurovska Kjulavkovski, Kristina Lelovac, Emilija Cockova, Max Smirzitz, Rok Vevar, Elizabeth Kolevska, Dushica Lazova

(Non)Aligned Movements – (Non)Aligned Program

Viktorija Ilioska is a Macedonian choreographer and performer who lives and works in Macedonia and Germany. For more than a decade, she has been working actively on programs for the support and development of contemporary dance, cooperating with institutions and strengthening the independent scene. Since 2010, she has been a member of the network Nomad Dance Academy, through which she has worked on bringing connections and collaborations within the local and national contexts of the Balkan region. Viktorija holds a Master’s degree in Choreography and Performance from the Institute of Applied Theatre Studies at Justus Liebig University, Giessen. Playing with different forms of provocation, her work often addresses the notions of labour, identity, and female representation in the public sphere.

Nastya Dzyuban works with dance and choreography. She was born in Kyiv and is currently based in Frankfurt. Since 2015 Nastya has been developing her artistic practice and creating performative works, mostly in collaboration with her close friends and colleagues. Her artistic interest embraces the intersection of theatre and choreography dispositives as well as topics such as potentiality, displacement and the notion of the common. Nastya has recently finished a Master program in Choreography and Performance in Gießen and works as a freelance choreographer and dancer. She received danceWEB 2021 scholarship and has co-curated festivals Diskurs35 and Hungry Eyes 2022..

​​Laura Stellacci’s work examines everyday gestures and technologies of the body through movement and dance, textiles and sound. Often working collaboratively, Laura choreographs the practice of stitching, sewing and cutting to negotiate the bind between performance and community. She is currently enrolled in the international Master’s program in Choreography and Performance in Gießen, Germany.

Supported by: Ministry of Culture of North Macedonia, Creative Europe (in the frame of Life Long Burning) a

28.10. @20:00

Center for Cultural Decontamination

Wheelchair Accessible

I need a new body is centered around the notions of pumping, sucking, extraction, and exhaustion, both in terms of the human body and natural resources. “In a world where we enjoy a fake image of endless resources, where we sucked the earth to draw out the last bits, how do we continue to pump?” The choreographic piece invites to simultaneously look into the processes of nurturing, enabling, and growth. The process of pumping, relocating matters, seems to be at the very core of most vital processes of both production and reproduction. We draw, suck, elicit, and drain the earth’s body to enrich our lives on it, emptying and drying out our future(s). At the same time we suck, boost, inject and inflate our bodies, challenging their boundaries and their capacities. Pumping can paradoxically refer at the same time to a capitalist practice of extraction as well as the feminist practice of enrichment and enhancement. Once pumped on one side, the other one is being sucked. I need a new body takes place in-between: between a body as an exhibition and a body as a resource, while drawing and defining the space where these two intersect.

Feminist School: Movement in a Time of Status Quo

public lecture

Nebojša Milikić

29.10 @17:00

Magacin

Wheelchair Accessible

Cultural worker and producer, Nebojša Milikić lives and works in Belgrade, Serbia. Since 1990 engaged in political activism, organizational, artistic and curatorial practice in visual and relational arts, independent research, public debate and critical writing about cultural and political problems of transitional societies. Publishes in various activist and art portals (Masina, Novi Plamen, Blog B92), participates in collaborative projects, activist research and campaigns in country and abroad. From 1999 onward works in Cultural Center Rex in Belgrade, as the initiator and coordinator of various programs and projects. Member of the initiative No To Rehabilitation dedicated to struggle against unscientific historical revisions and negations. Initiator of the Red Support platform for translation and retelling selected excerpts from global theoretical and political debate. Recently edited a few publications in Serbia, Romania and Bosnia and Herzegovina about the political and cultural positioning of middle classes at the capitalist periphery.

It seems that the majority of current world-system crises are consequences of the struggle for supremacy within the status quo regime of global capitalism. The radical alternatives are abandoned, the related ambitions abolished. Maybe it is just a rational choice? An Indian scientist says that there are no concepts, not even in Marxism, to explain the extent and nature of colonial looting of India; EU officials at the recent EU-CELAC summit did not agree to even mention the topic of reparations for colonialism and enslavement; The author of the book about the resistance to Nazism at Socialist History session poses as the central question a sort of “loud silence” about the connection between imperialism and fascism.

Maybe it is inevitable that the resistances to the regimes of domination and exploitation of man and nature that cyclically arise do not rely on profoundly alternative ideas about the organization of material production (that is to say on the alteration of global and local, social and technical division of labor). The cultural hegemony of the status quo regime makes the ideas of a different world look weird at best, easy to get systematically suppressed or ignored, or devastating, prone to routinely getting persecuted and demonized. The ideas of a different, or at least universally just and human world are cut out of the repertoire of dramatic global theatre. They are indeed an obstacle to more and more intense universal cold and hot warring, which are more and more motivated or compensated by equally hot and cold cultural wars. It is as if there is no one to imagine, to search for, let alone to reach for or at least to outline what could be called an alternative horizon of global / local social imagination.

What is the role and power of the movement of a performing body in the mission of moving a spirit of an observer? I don’t know exactly, but a friend once told me that contemporary dance is like the Open-Source program: It negates established/codified and establishes innovative/emancipated procedures of movement through the digital world just as dance negates and then establishes those procedures in the bipedal world.

Es un no parar

performance

29.10. @21:00

Little Theatre “Duško Radović”

Wheelchair Accessible

Dario Barreto Damas and Zrinka Užbinec

Dance assembled by Darío Barreto Damas
Dance danced by Zrinka Užbinec and Darío Barreto Damas
Dance musically accompanied by Darío Barreto Damas and Tsvetan Momchilov
Dance lighten by Carina Premer

Dance illustrated by Gjorgji Despodov
Dance cared for by Aleksandar Georgiev
Produced by: Darío Barreto Damas

(Non)Aligned Movements – (Non)Aligned Program

Darío Barreto Damas is a Canarian dancer based simultaneously in Tenerife, Skopje, Sofia and Stockholm. His artistic work revolves around dance as an autonomous form of knowledge and practices of disidentification as mediation mechanisms. Darío has worked as a dancer, co-creator and collaborator with Deborah Hay, Cristina Caprioli, Ofelia Jarl Ortega, Aleksandar Georgiev and Philip Berlin, among others. He is a member of ICC (Imaginative Choreographic Center), STEAM ROOM, Lokomotiva, Nomad Dance Academy, Interimkultur, TenerifeLAV Laboratorio de Artes vivas y Ciudadanía and Asociación de Artistas del Movimiento PiedeBase.

Coproduced and supported by: ICC (Imaginative Choreographic Center), Garage Kolektiv, Nacionalni fond za kulturu Bugarske, Ministarstvo kulture Bugarske, Instituto Canario de Desarrollo Cultural (ICDC), Cabildo de Tenerife, Hessische Theater Akademie i Künstler*innenhaus Mousonturm.

29.10. @21:00

Little Theatre “Duško Radović”

Wheelchair Accessible

It is a nonstop curiosity, like a puppy incessant discovering. It is a nonstop effervescent attention that keeps on receiving and emitting information. It is a nonstop scrupulous awareness of the present moment. It is a nonstop generous disposition to change. It is a nonstop cheerful celebration of complexity and multitasking. It is a nonstop tenacious attempt to make visible what dance can do. In this work, Louise Dahl, Zrinka Užbinec and Darío Barreto Damas use repetition and rhythm as generators to dance a dance that claims its own survival by actualizing its potential to be experienced as an ever-changing phenomenon, which can coexist with other forms without submitting to them.

Feminist School: Systering – Practicing Feminist Governance

workshop

Critical Practice (Made in Yugoslavia): Elena Novakovits, Maeve Johnson

30.10, 17:00 – 19:30

Magacin

Wheelchair Accessible

Maeve Johson and Elena Novakovits are one third of the systering collective focused on self-education and decentralisation of the discourse. They work as cultural workers in the performing arts field, combining theory with artistic practice – they are writers, dramaturgs performers, and researchers sharing an interest in feminism, institutional critique, labour and precarity. Recently they have published the collective book systering as fellows of the fourth cycle of Critical Practice (Made in Yu) program.

The workshop will be dedicated to the presentation of the book “Systering”, created as a collaborative work of the participants of the 4th cycle of the Critical Practice_Made in Yu, a program developed by the Nomad Dance Academy and the apap – Feminist Future networks, that empowers discursive reflections on contemporary performing arts focused on, but not restricted to, the post-Yugoslav region.

Through group tasks and reflections, we will unpack some of the core angles which this book is addressing- collective writing, feminist curation, institutional critique, cultural work and labour – by empowering reconsidering the tools of critical thinking within the realm of dance and choreography.

Omni Tóxica

performance

30.10. @21:00

Center for Cultural Decontamination

Wheelchair Accessible

Paula Chavez Bonilla

Concept & Artistic Direction: Pau(la) Chaves Bonilla
Choreography: Thais Di Marco i Pau(la) Chaves Bonilla
Performance: Nadia Bekkers, Karina Villafan i Pau(la) Chaves Bonilla
Visual Artist / Scenographer: Natalia Sorzano i Jovan Jović
Sound Artist: Nadia Bekkers
Dramaturgy / Artistic Advice: Rodrigo Batista

Research: Natalia Chaves Lopez i Paula Chaves Bonilla
Light Design & Technical Support: Dana Claasen
Produced by: Veem House for Performance i Productiehuis Theater Rotterdam
Photo by: Bas Czerwinski

Also known as La ChicaScratch, Paula is a choreographer, performance artist and grassroots organizer from Colombia, based in Amsterdam. She has a background in contemporary dance, theater, circus, feminist politics, choreography, grassroots organizing and now works across these disciplines. Chaves Bonilla studied Choreography at the School for New Dance Development (SNDO) in the Amsterdam University of the Arts and finished a master’s in Fine Arts and Design called Ecologies of Transformation at the Sandberg Institute.

Her artistic practice researches social phenomena through a journalist lens – censorship and resistance, gender issues, art in neoliberal-capitalist contexts and transforms her findings into theatrical performances, videos, writings and installations. The aesthetics of her work are a manifesto like landscapes mixing elements of speculative imagination, social critique and magic realism.

Her works have been presented in Amsterdam, Stockholm, Zürich, Vienna, Leiden, Rotterdam, Berlin, Cori, Istanbul and Zaandam. In 2019 she received a grant for her socially committed artistic work granted by the Amsterdam Funds for the Arts. And since 2020 her work is being produced by Veem House for Performance and the Lifelong Burning European Dance Network..

30.10. @21:00

Center for Cultural Decontamination

Wheelchair Accessible

Also known as La ChicaScratch, a choreographer, performance artist and grassroots organizer based in Amsterdam, Paula Chavez Bonilla creates a dystopian laboratory to accommodate the journalistic and forensic performative ritual on the history of Coca. Omni Tóxica examines the politics of death that is behind what we call the Coca-Cocaine complex, revealing the process of commodification and the passage of a sacred, medicinal plant into a whitewashed, capitalist, toxic product that is cocaine, a continuation of the neo-colonial order in place. The coca plant thus illustrates the incoherent gap between justice and legality that is the very base of the multibillion-dollar industry.

“… And when the oppressor wants to do the same and use those leaves to extract its elixir, the opposite will happen. That juice that for you will be strength and life, for the whites will only be disgusting and degenerative vice, while for you it will be spiritual food, for them it will cause idiocy and madness. My children, do not forget when I tell you to cultivate that plant, it is the precious inheritance that I leave you, take care that they don’t extinguish and keep them and protect them among our siblings with veneration and love”.

Decolonial myth of the Coca plant (excerpt))

Feminist School: Cuteness and violence

workshop

Zrinka Užbinec

31.10, 12:00 – 14:00

Magacin

Wheelchair Accessible

Zrinka Užbinec (she/they) dances and works with choreography, crafting it with various mediums and diverse materials. They often choose to work in collaborations, taking a feminist approach and looking into the emancipatory potentials of the dancing body. She completed her MA programme Choreography and Performance at the Institute for applied theater studies in Giessen, and in 2020 she spent 6 months as a fellow of the Akademie Schloss Solitude in Stuttgart. After long-term (freelance) work within BADco. collective, Zrinka is currently in the third year of a PhD practice research at C-DaRE (Centre for Dance Research), Coventry University, exploring choreographic implications of the conjunction between cuteness and violence. Zrinka’s recent collaborative works are Dolls and Goats (Gallery Močvara, Zagreb), Exploded Goo (Frankfurt/Giessen), Kitchen-ing Questions (Frankfurt), Such a Cute Crash (Stuttgart), and Impossible Dances (Chicago).

In this exchange, Zrinka will present segments of their choreographic and feminist practice and theoretical research on the conjunction between cuteness and violence, which is a part of their practice PhD at Coventry University (UK). The ground for the study is choreography and its ability to expose ambiguous, unstable and nonbinary connections.

They see choreography as a mechanism to explore, produce and unsettle complicated relations, as a metastable state that can offer experience instead of solutions – rapid changes, shifts of power relations, the impossibility of detaching when proximity becomes too much, crossing boundaries, and the affective ambiguity. For Kondenz 2023, Zrinka will present research and open a conversation about choreography that observes, produces and poetically modulates states such as cuteness–violence.

The Thousand-and-Second Night

performance

31.10. @20:00

ArtGet Gallery, Belgrade Cultural Center

NEUT Collective

Authors/Performers: Jovana Stojić, Jana Milenković, Đorđe Živadinović Grgur, Simonida Žarković, Isidora Popović
Musicians: Vojin Aleksić, Vladimir Stanišić, Pavle Rakočević, Rastko Pavlović
Research and artistic collaborators: Dunja Savić, Filip Otović Višnjić, Vera Klupić

The creative process of this work was supported through the education platform Puzzle #7 by Station Service for contemporary dance and Dance On Pass On Dream On project.

Dance collective NEUT (Jana Milenković, Isidora Popović, Jovana Stojić, Simonida Žarković and Đorđe Živadinović Grgur) was created as an informal group of young artists gathered around the Puzzle7 education program organized by Station Service for contemporary dance in Belgrade. Through the education program, theoretical, practical and discursive workshops, as artists with an interest in the field of contemporary dance, performance and multimedia practices, we had the opportunity to work with various regional and international mentors and established choreographers (Igor Koruga, Marko Milić, Ana Dubljević, Dalija Aćin Thelander, Jelena Alempijević, Isidora Stanišić, Wim Wandekeybus, Dragana Alfirević, Dejan Srhoj, Dušan Murić, Willy Prager, Marijana Cvetković, Bojana Mladenović, Aleksandra Janeva Imfeld, Ana Vujanović, Thiago Granato, Dragana Bulut and others). Through mutual connection, cooperation and fellowship, we stood out as a group of artists with similar interests and aspirations who started independent work and various research nurturing the principle of co-authorship. The main focus is practicing and examining collective practices in creation. Since 2020, we have been active on the independent cultural scene with our author’s work, but also in collaborative projects with other institutions and artists.

Works: Finale (2020), Lako (2021), Kolo (2021), Strawberries with whipped cream (2021)

31.10. @20:00

ArtGet Gallery, Belgrade Cultural Center

“Among the great monuments of oral tradition, the Tale of Scheherazade is the most monumental of all monuments. What is highlighted with unusual perfection within those tales is the yearning of the working people to give into the “sweet delights of fiction”, of free word-play; what is highlighted is the overwhelming power of imagination of the eastern world. (…) The weaving of pictorial words goes way back into distant times; its colorful, silky threads have spread across the whole empire and covered it with a carpet of creations of marveolus beauty”.

Maxim Gorky, preface of A Thousand and One Nights

On the first “journey” to the thousand and second night, the dance collective NEUT invites visitors to surrender to providence, create space for imagination or take an active part in the event and enjoy the content offered by the performers. Forms and means related to the themes of the work itself will be explored with different focuses: on text, dance, music, video and artificial intelligence.

The MONK Chamber Ensemble takes part to the event by performing a transcription of “Scheherazade” by Rimsky-Korsakov, originally written for a symphonic orchestra, building up on the storytelling principle used as the main principle of the performance.

The relations of spatial and temporal contexts, be they in harmony or conflict, during the work stood out in the foreground of the artists’ interest and led to the search for alternative ways of being – within society, a small artistic group or the individual.

Necropolis

performance

01.11. @20:00 / POSTPONED FOR 02.11 @17:00!

Center for Cultural Decontamination

Wheelchair Accessible

Arkadi Zaides

Concept & direction: Arkadi Zaides
Dramaturgy, text and voice: Igor Dobričić
Research and choreography assistant, performer: Emma Gioia
Technical manager: Etienne Exbrayat
Representative Rui Silveira
Sculpture: Moran Senderovich
3D modeling: Mark Florquin
Avatar animation: Jean Hubert
Animation assistant: Thibaut Rostagnat
Sound design: Aslı Kobaner
Administration & production: Simge Gücük / Institut des Croisements
Co-produced by: Theatre de la Ville (FR), Montpellier Danse 40 Bis (FR), Charleroi Danse (BE), CCN2 Centre chorégraphique national de Grenoble (FR), les ballets C de la B (BE), Tanz im August / HAU Hebbel am Ufer (DE), La Filature – Scène nationale de Mulhouse (FR) Residency support STUK (BE), CCN – Ballet de Lorraine (FR), Workspacebrussels (BE), PACT Zollverein (DE), WP Zimmer (BE), Cie Thor (BE)
Support for experimentation: RAMDAM, un centre d’art (FR)
Local practitioners who are engaged by collecting information about the migrants died on the Balkan route: Marijana Hameršak, Uršula Čebron Lipovec, Nevena Delić, KlikAktiv

Grave location search: Aktina Stathaki, Amalie Lynge Lyngesen, Amber Maes, Amirsalar Kavoosi, Ans Van Gasse, Arkadi Zaides, Benjamin Pohlig, Bianca Frasso, Carolina-Maria Van Thillo, Prof. dr. Christel Stalpaert, Doreen Kutzke, Dorsa Kavoosi, Elisa Franceschini, Elvura Quesada, Emma Gioia, Eva Maes, Filippo Furri, Frédéric Pouillaude, Friederike Kötter, Gabriel Smeets, Giorgia Mirto, Gosia Juszczak, Igor Dobricic, Ilka Van Bijlen, Jordy Minne, Joris Van Imschoot, Julia Asperska, Juliane Beck, Katia Gandolfi, Katja Seitajoki, Lilas Forissier, Lina Gilani Tsitouri, Lovis Heuss, Luca Lotano, Lucille Haddad, Maite Zabalza, Maria Sierra Carretero, Mercedes Roldan, Myriam Van Imschoot, Myrto Katsiki, Osnat Kelner, Özge Atmış, Pepa Torres Perez, Sarah Leo, Selby Jenkins, Simge Gücük, Solveig Gade, Sunniva Vikør Egenes, Tamara Vajdíková, Tilemachos Tsolis, Yannick Bosc, Yari Stilo

Arkadi Zaides works as a choreographer, performer and researcher. He obtained a master’s degree at the AHK Academy of Theater and Dance in Amsterdam. Since 2021 he is a doctoral researcher in the arts at the Antwerp University, Royal Conservatoire Antwerp, Ghent University and KASK/School of Arts (HoGent). He is a member of CORPoREAL research group at the Royal Conservatoire Antwerp and a member of S:PAM (Studies in Performing Arts), a research unit at the Ghent University.

Zaides’ work examines the ways in which political and social contexts affect the physical body and constitute choreography. His practice aims to challenge and inspire viewers. It offers an inclusive realm that brings together diverse communities and sectors of society. His works were presented in the following countries: France (Theater National De Chaillot, CDC Toulouse, KLAP), Germany (Fabrik Potsdam, Pact Zollverein, Weimar Nationaltheater), The Netherlands (Korzo, Bellevue, Stadsschouwburg Rotterdam), Switzerland (Tanzhaus Zürich), Canada (Firehall Arts Center, MAI), USA (LaMaMa, NYLA), Chile (FIT), Japan (Aoyama Round Theater, Dance Box, Session House), The Czech Republic (4+4 Days in Motion), Poland (Arts Station Foundation, Impart Art Center), Italy (Santarcangelo Theater Festival), Greece (Onassis Foundation), Spain (Mes De Danza, BAD Bilbao), and China (Shanghai Dance Festival).

01.11. @20:00 / POSTPONED FOR 02.11 @17:00!

Center for Cultural Decontamination

Wheelchair Accessible

Arkadi Zaides, choreographer and performer, together with his team, has centered their research around the presumed yet incomplete data referring to the migrants and refugees who lost their lives trying to enter European territory. Necropolis looks into and questions the forensic procedures and the absence of information around the decomposed bodies of victims that remain unidentified and unacknowledged. The European jurisdiction clearly differentiates between criminal, natural, and accidental deaths, which determines the way the bodies are subsequently handled. The thousands of deaths that occur at the gates of Europe challenge this taxonomy, as well as issues such as freedom of movement and necropolitics, while encompassing the story of a collective whose ghost hovers over the continent.

The body of work is conceived as an expanding virtual depository, an archive, a map and an invisible landscape interconnecting the mythologies, histories, geographies and anatomies of those who have entered Necropolis. It is a body of bodies and a no-body at the same time.

Desire to make a solid history will end up in failure

performance

02.11. @20:00

Bitef Theatre

Igor Koruga

Authorship and choreography: Igor Koruga
Performers: Nela Antonović, Jelena Jović, Sanja Krsmanović Tasić, Tanja Pajović, Anđelija Todorović, Boris Čakširan
Dramaturgy: Milica Ivić
Coordination/Project Management: Marko Pejović, Filip Perić
Composition: Luka Mejdžor
Light design: Boris Butorac

Production: Marijana Cvetković
PR: KomunikArt
Produced by Stanica Servis za savremeni ples with the support of Dance On, Pass On, Dream On, Creative Europe project, and the Serbian Ministry of Culture
Partners: Kulturni centar Magacin, Bitef Teatar

Igor Koruga works as an independent artist in the field of performing arts (contemporary dance and choreography). He received his education in the field of anthropology at the Faculty of Philosophy in Belgrade, and in dance authorship at the Universities of Arts in Berlin and Amsterdam. He is the author of several dance and multimedia works: Landscape of Desire (2023), Why Not? (2022) Closeness of Touch (2022); How to Explain Pictures to a Man (2021); One, Two, Three, Comrade Come, Dance With Me (2021), Lounli Planet (2020); Hopelessness (2017), Only Mine Alone (2016), etc. He works as an assistant for stage movement in theatre performances and on film, and as a dramaturg in the field of dance. He has collaborated with numerous authors and directors: Tanja Mandić Rigonat, Jovana Tomić, Đurđa Tešić, Bojan Đorđev, Maja Pelević, Dimitrije Kokanov, Olga Dimitrijević, Isidora Stanišić… As a performer, he has appeared on the stages of various theatres in Europe (Dansens Hus Stockholm; Tanzquartier Vienna; Leopold Museum Vienna, HAU Berlin, Uferstudios Berlin, Kammerspiele Munich, Bitef Theatre, Atelje 212, etc.). As a pedagogue, he has worked in various educational platforms: Station Service for contemporary dance; Goethe Institute; Yugoslav Drama Theatre; Belgrade Dance Institute. He is a member of the team for archiving performing arts practices in the region. As a researcher in the field of theory of performing arts, he has contributed to prominent regional magazines (Maska Ljubljana, Walking Theory Belgrade, Kretanja / Movements Zagreb, etc.). He has received stipends by various programmes: Akademie Schloss Solitude; Tanzstipendium by the mayor of Berlin; DanceWEB; Nomad Dance Academy. He won the first prize and the Critic’s Prize at the Festival of Choreographic Miniatures, the 43 rd Infant Festival and the Annual prize of the National Organization for Rare Diseases of Serbia (NORBS).

Nela Antonović graduated from Smiljana Mandukić’s contemporary ballet school that she attended from 1964 to 1972, after that she became a professional member of Smiljana Mandukić’s Belgrade Contemporary Ballet, in which she stayed until 1984. All along, she attended the “Lujo Davičo” Ballet School, workshops of various techniques with pedagogues and choreographers from Europe and America (Milana Broš, Martha Graham, Kazuo Ono, Eugenio Barba, Caroline Carlson…) She is the winner of the City of Belgrade’s “October Flower” award for contemporary solo dance (1972). She acquired the title of scientific researcher as a Master of Technical Sciences and transferred this knowledge to the field of dance and physical theatre, and later completed specialist interdisciplinary studies at the ONCA Faculty of Arts in Oslo, Norway. She founded the non-government theatre “Teatar Mimart” 1984 in Belgrade, where she realized over 70 original dance performances, physical theatre and 500 Art performances. Awards: for the choreography “First Competition of YU Choreographers”, Zagreb (1989); for the dance performance Circle, BRAMS (1994); for nurturing the Choreo-drama Free Fall BRAMS (1996); award for the performance Institute for the Change of Destiny at the “Golden Lion” festival, Lviv (1998); Special award “Kiev Travnevi” in Kiev, in San Marino, Moscow, Naples, St. Petersburg, Gelsenkirchen, Cairo, Prague… “Golden Hands Award” lifetime achievement award by World Mime Organization in 2020. She is the creator of the Mimart method, for which she received the International award “Grozdanin kikot” (2019). Nela Antonović published her long-term research experience in the books: Mimart tree rings (2000), Phenomenology of movement (2004), e-book 25 (2009) and, e-Monography Mimart (2014).

Jelena Jović Stevanović was born in London. She graduated from the “Lujo Davičo” ballet school in 1975 (in the class of Prof. Spomenka Prokić). She danced at Kaća Stojkov’s “Experimental Ballet”, in her first jazz ballet group. In Paris and London, she attended classical and jazz ballet seminars – with Jean Babilée, Peter Goss, John O’Brien in 1981. She met Lindsay Kemp and worked in his troupe in 1980 and 1981, which determined her future path. She worked with Dušan Trninić in the “Belgrade Chamber Ballet”, and then with Nada Kokotović, Damir Zlatar Fraj – Choreodrama on TV. She was a longtime collaborator of Petar Slaj. As a choreographer, she worked in YDT, the National Theatre, BDT (in dramatic performances). Since 1994, she has been a member of the Ister Theater, where she worked as a dancer, actress, choreographer… In 2008, Ister received the “Dimitrije Parlić” award for the play of the year. She created and realized the independent author’s play I’m Still Walking, as a part of the European project “DoPoDo”, which premiered at the Belgrade festival Kondenz. She is currently serving her second term in the status commission of the Association of Ballet Artists of Serbia. She has been working with children for ten years, and as part of this pedagogical work, she has been making costumes and choreographies on her own.

Boris Čakširan graduated from the Faculty of Applied Arts in Belgrade as a painter-costume designer, but also works as a set designer, choreographer, and director. He has always been interested in physical expression, so in his childhood and youth he was engaged in gymnastics, figure skating and folklore. When he was 17, he suffered an injury that stopped him on his way. After that, he entered the university and started working as a costume designer, building a career one of our most important costume designers, primarily on film, doing TV series and theatre plays. He returned to dance in 1984 by going to the Contemporary Dance Festival in Bytom, Poland, where he worked on independent projects for 11 years. After that, he worked as a guest choreographer at the MASPA school at the Kibbutz Dance Company for 6 years. In 1998, he founded the ERGstatus contemporary dance project in Belgrade, as an educational project with international artists – pedagogues, which he has been running since 1999 in the form of an independent dance theatre. As a choreographer, he collaborated with the Mudra Theatre, the Bidadari dance troupe, the “Let’s…” group, but he also works in dramatic performances at the Yugoslav Drama Theatre, the “Boško Buha”; Theatre and many others. As a fighter for inclusive practices, he was also one of the founders and artistic director of the festival of engaged theater Off Frame in Belgrade, as well as a co-founder of IIAN – International Network of Inclusive Theatre.

Sanja Krsmanović Tasić graduated from the Faculty of Philology in Belgrade and from the Faculty of Physical Education in Novi Sad, specializing in modern and jazz dance under the guidance of Ljiljana Mišić. She has evolved as an artist through collaborations with Torger Vetal (Odin Teatret), Yoshi Oida, Ren Mireck, Carolyn Carlson, Katsumi Sakakura, Shirom Daimond, Deborah Hunt, and many others. A member and soloist of Belgrade Contemporary Ballet led by Smiljana Mandukić from 1982 to 1991, she also belonged to the MIMART movement theater and the Belgrade Dance Theatre ensemble. Co-founder, choreographer, and dance educator at the Center for Artistic Dance and the Center for Movement and Dance. From 1993 to 2014, she was a core member, both artistically and organizationally, of DAH Theatre, a theater company, and DAH Theatre Center for Theatre Research, where she actively participated as an actress, choreographer, and program director. Within this context, she contributed as an author, co-author, and team member to the development of numerous artistic and socially engaged projects and Festivals. She founded Hleb Theatre in 2014, where she developed a new stage form called “essay in motion”, fusing her experience in contemporary dance and theater. Alongside Boris Čakširan, she authored the dance performance involving dancers with and without disabilities titled “Blame It on Gauss” (FRAME OF BODY, “Let’s… “ Group). In 2017, she initiated the “Days of Smiljana Mandukić” festival and project, dedicated to preserving and archiving intangible dance heritage in support of the youngest and oldest choreographers and dancers in our country. Some of her most significant authored projects include “Smiljana Mandukić – Essay in Motion”; “The Body Remembers”; documentary dance performance, “Splinter”; featuring dancers aged 18 to 95, “Spinning Wheel”; “Daikon – Essay in Motion about the Dancer’s Body”; (DOPODO project), the musical “Words of Stone”; “Mothers”; “On (Con)science – Essay in Motion about Dada Vujasinović”; “Farewell”; “Borrowed Memories”; (NETMEM project), “Tales of Bread and Blood”; “Sisters in Arms”; the first New Zealand-Serbian coproduction, “Welcome”; and many others. She conducts workshops and performs worldwide. She serves as the President of the International Drama and Theatre Education Association – IDEA and President of CEDEUM.

Tatjana Pajović is the founder and artistic director of the Theater Project Objective Drama – POD Theatre, 2000. She is a trained ballerina (“Lujo Davičo” school), actress and theatre/drama pedagogue. She graduated in Political Science for International Affairs at the Faculty of Political Sciences in Belgrade – Department of International Studies. She trained professionally in the field of performing arts and theatre pedagogy at the Specchi e Memorie Theatre in Milan (1995-1998, mentor: director Massimo Gianetti). She is one of the founders and members of the first professional theatre troupe SIGNUM from Belgrade in 1988-1993. With Nenad Čolić, the founder and a member of the Plavo Theatre in 1995. After years of experience working with great pedagogues in the field of dance and drama, having worked in classical and musical theatre, having become acquainted with the work of Grotowski, Artaud, Barba, and Massimo Gianetti, she definitively opted for a research theatre approach through the heritage of anthropological theatre and work in smaller, dedicated groups. This is where POD Theatre originates – a process based on constant research and establishing the relationship between the role of Man and the role of Artist, developing a special methodology for working with children, young people, professional artists and adults of different ages and backgrounds. Since 1995, she has created, co-created, managed and mentored various artistic projects, events, performances, workshops, and seminars in Serbia and abroad. In 2014, she started the Community Theatre project – intergenerational cooperation, which includes POD Theatre in the European network of the community theatre project CARAVAN NEXT.

Anđelija Todorović graduated from the “Lujo Davičo” ballet school in Belgrade. She participated in many workshops in Paris, London, and Belgrade. From 1980 to 1983, she was a member of the troupe “Belgrade New Ballet” under the leadership of Dušan Trninić. Until 1986, she participated in the performances of the National Theatre, the Belgrade Drama Theatre, etc. and collaborated with contemporary choreographers and directors: Damir Zlatar Fraj, Nada Kokotović, Lidija Pilipenko, Miljenko Štambuk, Miljenko Vikić, Janez Pipan, Ivica Kunčević. From 1986 to 1992, she was a member of the Terazije Theatre, where she performed soloist roles in repertoire performances. She is the co-founder of the SIGNUM troupe (1986), which, under the artistic direction of choreographer Dejan Pajović, creates performances that participate in festivals in Yugoslavia and abroad. Together with a group of authors, she founded the Ister theatre in 1994, of which she is also artistic director, which participates with its projects in all significant festivals of contemporary theatre in Serbia and Montenegro, as well as in festivals in Great Britain, Germany, Italy, Romania, Bulgaria, Egypt. With Ister, she achieved awards: “Dimitrije Parlić” Professional Award in 2008 for the dance performance of the year, awards from INFANT Festival, Festival of Small Theater Forms, Sterijino Pozorje theatre festival… She works as an independent choreographer in many drama performances in Belgrade theatres, as well as in theatres in Sombor, Niš, Užice, Vranje, and Vršac, for which she has received awards. She collaborates in the field of contemporary dance and contemporary theatre with renowned domestic and foreign choreographers of contemporary dance expression – Isidora Stanišić, Dalija Aćin, Dušan Murić, Dragana Bulut, Bojana Mladenović, Damir Todorović, Odile Duboc, Saša Božić… From 2013 to 2017 she was a president of the Association of Ballet dancers in Serbia and the director of the Festival of choreographic miniatures in Belgrade.

02.11. @20:00

Bitef Theatre

The initial desire in the creation of this dance performance is the question: in what way can the archiving of dance art be an artistic practice in itself? The author’s exploration of this desire takes place through a trans-generational creative exchange with six choreographers/directors/dancers/performers from the local independent dance scene in Serbia: Nela Antonović, Anđelija Todorović, Jelena Jović, Tanja Pajović, Boris Cakširan, and Sanja Krsmanović Tasić. Together, these six artists perform an “archive in motion” – embodying the insufficiently archived records of movements, experiences, memories, and oral histories from their own artistic works and lives – in the present moment when there is no official institutional framework for archiving the local dance scene in Serbia. The trans-generational (self)questioning of physical, social, emotional, economic, ideological and other (mostly invisible) vulnerabilities behind their cultural and artistic work and practices, at the same time opens the space for re-examination of the tactics, principles, (re)positioning and contradictions behind their self-sustainability as a form of resistance, criticality and community within the turbulent socio-political circumstances of work and life during the last forty years. What do Antonović, Todorović, Jović, Pajović, Čakširan and Krsmanović Tasić have to say about all this from today’s perspective (artistically and personally)? What do their bodies carry and hide? In what ways is the impermanence of archiving one time and history reflected through the impermanence of the dance performance as an artistic medium? How does dance art (of the independent scene) survive as a relevant social, cultural and political tool for reshaping the social body? The desire to make solid history for sure ends up in failure. The only question is, for whom?

Repertorio No.2

performance

03.11. @20:00

Bitef Theatre