closeness of touch | blizina dodira
choreography, performance, video, text: igor koruga
dramaturgy: ana dubljević
costume design: maja mirković
production: Station Service for contemporary dance Belgrade
co-production: kulturni centar beograda & kc magacin
financial support: Goethe Institute Belgrade;
The work is part of artistic research supported by DAS THIRD Research program at DAS Graduate school, Academy of theatre and dance at University of Arts Amsterdam
photography: vladimir opsenica, luka knežević strika, aleksandra marković, thomas lenden
video documentation: miloš janjić
* the work uses a parts of a dramatic text "Scenes of constructed relationships" by: dimitrije kokanov
In recent years, during the global pandemic or any other crisis around the world, various physical mobility and collective vulnerabilities based on asymmetric positions, obligations, interests, and reflections of their actors, have become more visible in public space. They direct us to continuously explore the space for our political practices and coexistence. In the context of constant (digital) surveillance of almost all our mobility and vulnerabilities, this work explores how to touch the body that touches the screen. It points to the closeness of touch, which consists of the capability to provide response-ability: not from keeping a distance and staying out of the world, but rather from dealing directly with the world. This work stemmed from several years of artistic research into theoretical discourses of care, immunity and negative feelings, applying the specific kinetic and choreographic language extracted from different principles of socio-political co-existence as a form of resistance to today's pervasive capitalist realism. These principles come from the domains of: physical gathering from rave clubbing dance and political protest; digital gathering and interaction; and gathering under somatically-affective movement of slowness (standing, resting, breathing, spiraling, bodily fluids), set within the feminist dramaturgical structures.
dramaturgy: ana dubljević
costume design: maja mirković
production: Station Service for contemporary dance Belgrade
co-production: kulturni centar beograda & kc magacin
financial support: Goethe Institute Belgrade;
The work is part of artistic research supported by DAS THIRD Research program at DAS Graduate school, Academy of theatre and dance at University of Arts Amsterdam
photography: vladimir opsenica, luka knežević strika, aleksandra marković, thomas lenden
video documentation: miloš janjić
* the work uses a parts of a dramatic text "Scenes of constructed relationships" by: dimitrije kokanov
In recent years, during the global pandemic or any other crisis around the world, various physical mobility and collective vulnerabilities based on asymmetric positions, obligations, interests, and reflections of their actors, have become more visible in public space. They direct us to continuously explore the space for our political practices and coexistence. In the context of constant (digital) surveillance of almost all our mobility and vulnerabilities, this work explores how to touch the body that touches the screen. It points to the closeness of touch, which consists of the capability to provide response-ability: not from keeping a distance and staying out of the world, but rather from dealing directly with the world. This work stemmed from several years of artistic research into theoretical discourses of care, immunity and negative feelings, applying the specific kinetic and choreographic language extracted from different principles of socio-political co-existence as a form of resistance to today's pervasive capitalist realism. These principles come from the domains of: physical gathering from rave clubbing dance and political protest; digital gathering and interaction; and gathering under somatically-affective movement of slowness (standing, resting, breathing, spiraling, bodily fluids), set within the feminist dramaturgical structures.
koreografija, izvođenje, video, tekst: igor koruga
dramaturgija: ana dubljević
kostimografija: maja mirković
produkcija: stanica servis za suvremeni ples
ko-produkcija: kulturni centar beograda & kc magacin
finansijska podrška: goethe institute
autor fotografija: vladimir opsenica, luka knežević strika, aleksandra marković, thomas lenden
video snimak rada: miloš janjić
*u radu se u obliku citata koristi deo dramskog teksta “Prizori konstruisanih odnosa” dimitrije kokanov
Poslednjih godina tokom svetske pandemijske ili bilo koje druge krize širom sveta, različite fizičke mobilnosti i kolektivne ranjivosti, bazirane na asimetričnim pozicijama, obavezama, interesima, refleksijama njihovih aktera postale su vidljivije u javnom prostoru. One nas upućuju na kontinuirano istraživanje prostora za naše političke prakse i suživot. U kontekstu stalnog (digitalnog) nadzora gotovo svih naših mobilnosti i ranjivosti, ovaj rad istražuje kako da dodirnemo telo koje dodiruje ekran. Upućuje na blizinu dodira koji se sastoji iz sposobnosti na pružanje odgovor-nosti, ne iz držanja na distanci i boravku van sveta, već iz direktnog bavljenja sa svetom.Rad je proistekao iz višegodišnjeg umetničkog istraživanja teorijskih diskursa brige, imuniteta i negativnih osećanja kroz koreografiju. Namera rada je primeniti specifičan kinetički i koreografski jezik različitih principa društveno-političkih (ko)egzistencija kao oblika otpora današnjem sveprožimajućem kapitalističkom realizmu. Ovi principi potiču iz domena: fizičkog okupljanja – rejv klabing plesa i političkog protesta; digitalnog okupljanja i interakcije; i somatsko-afektivnog kretanja – usporenosti (stajanja, disanja) itd.
dramaturgija: ana dubljević
kostimografija: maja mirković
produkcija: stanica servis za suvremeni ples
ko-produkcija: kulturni centar beograda & kc magacin
finansijska podrška: goethe institute
autor fotografija: vladimir opsenica, luka knežević strika, aleksandra marković, thomas lenden
video snimak rada: miloš janjić
*u radu se u obliku citata koristi deo dramskog teksta “Prizori konstruisanih odnosa” dimitrije kokanov
Poslednjih godina tokom svetske pandemijske ili bilo koje druge krize širom sveta, različite fizičke mobilnosti i kolektivne ranjivosti, bazirane na asimetričnim pozicijama, obavezama, interesima, refleksijama njihovih aktera postale su vidljivije u javnom prostoru. One nas upućuju na kontinuirano istraživanje prostora za naše političke prakse i suživot. U kontekstu stalnog (digitalnog) nadzora gotovo svih naših mobilnosti i ranjivosti, ovaj rad istražuje kako da dodirnemo telo koje dodiruje ekran. Upućuje na blizinu dodira koji se sastoji iz sposobnosti na pružanje odgovor-nosti, ne iz držanja na distanci i boravku van sveta, već iz direktnog bavljenja sa svetom.Rad je proistekao iz višegodišnjeg umetničkog istraživanja teorijskih diskursa brige, imuniteta i negativnih osećanja kroz koreografiju. Namera rada je primeniti specifičan kinetički i koreografski jezik različitih principa društveno-političkih (ko)egzistencija kao oblika otpora današnjem sveprožimajućem kapitalističkom realizmu. Ovi principi potiču iz domena: fizičkog okupljanja – rejv klabing plesa i političkog protesta; digitalnog okupljanja i interakcije; i somatsko-afektivnog kretanja – usporenosti (stajanja, disanja) itd.
VIDEO TEASER CLOSENESS OF TOUCH / BLIZINA DODIRA
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