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'Biography' presents a wide selection of works from Elmgreen & Dragset's complex universe, including sculpture, performance and interactive installations. Works from the late 1990s onwards will be shown together with recent projects, ...
Tanz im August is one of the most important showcases of contemporary dance in Europe and the largest annual public festival of its kind in Germany. Over a period of two and a half weeks, new work from the international dance world is presented at various venues in Berlin. In recognition of its 25th anniversary, the festival will be organizationally linked to HAU from 2013 onward and managed their by an independent artistic leadership.
Emanuel Gat (FR | IL)
The Goldlandbergs
The story of a family in fugal form: in The Goldlandbergs the Israeli choreographer Emanuel Gat conveys an intimate view of the complexity of human relationships. His piece is based on Glenn Gould’s recording of Bach’s Goldberg Variations, made several months before the pianist’s death in 1981, as well as on Gould’s 1977 radio documentary The Quiet in the Land. In the manner of a fugue Gould contrapuntally combined with music and sound effects the voices and noises collected in a Mennonite community in Manitoba, Canada.
photo english.tanzimaugust.de
His portrait of a strictly religious family whose way of life comes under increasing pressure in the 20th century is also a multi-layered reflection on society and social co-existence, on art and politics. Gat works with movement in the same way Gould did with sound. Clear structures leaving space for spontaneity open multifaceted perspectives on social contexts and their influence on the individual. “The Goldlandbergs” investigates the contrapuntal essence of choreography and grants dancers and viewers alike the freedom to make their own artistic and interpretational decisions.
photo english.tanzimaugust.de
Cecilia Bengolea / François Chaignaud (AR | FR)
altered natives’ Say Yes to Another Excess – TWERK
Cecilia Bengolea and François Chaignaud have been going to discos since they were teenagers. In locations as varied as London and New York City, they have become familiar with and learnt popular dances like Jamaican dancehall, krump, house, or split & jump. In altered Natives’ Say Yes To Another Excess – TWERK they transpose this found material to the stage.
photo english.tanzimaugust.de
photo english.tanzimaugust.de
“Outspoken, bold in many ways, humorous, and excessive when it comes to physical commitment, the gang of five tries to intertwine in the most unusual positions. They claim they ‘devour and multi-colonise one another’; and here the choreography does not result from one overbearing author, but is dissolved in the community.” (Libération, Marie-Christine Vernay) This work and its playful writing process were created in harmony with a musical investigation of Grime music. It is the first time that the DJs Elijah and Skilliam, from the London label Butterz, will play in a theatre and collaborate with contemporary dancers.
Trajal Harrell (US)
Judson Church is Ringing in Harlem (Made-to-Measure) / Twenty Looks or Paris is Burning at The Judson Church (M2M)
“What would have happened if someone from Judson Dance Theater had gone uptown to perform in the voguing ballroom scene?” This question triggers Trajal Harrell’s performance Made-to-Measure. Combining two contrasting styles, Harrell engages the formalism and minimalism of postmodernism with the flamboyancy of voguing.
photo english.tanzimaugust.de
“Dressed in filmy black, togalike shifts designed by Complexgeometries, Mr. Harrell, Thibault Lac and Ondrej Vidlar occupy three seats in the church sanctuary. They sit upright at first, barely moving, repeating snippets of song lyrics — “Don’t stop the dancing” — and other phrases over a recorded soundscore like high priests (or priestesses) involved in a deadly serious ritual. There is something both severe and innocent about it all; you can almost imagine a trio of Judsonite performers as artsy wallflowers, holding the line for their avant-garde principles … as ravishingly costumed voguers swirl around them. But, of course, the Judson folks liked to party, too. And one of Mr. Harrell’s propositions is that Judson and voguing shared many of the same values, as fellow politically minded experimentalists pushing identity and the performance of identity into new territory. And both groups delighted in the possibilities of movement — the many everyday, marvelous things that the body can do.” (The New York Times, Claudia La Rocco)
photo english.tanzimaugust.de
Here is a short clip for Twenty Looks or Paris in Burning at The Judson Church
David Michalek (US)
Slow Dancing
Video installation
Larger than life, impossibly slow: that is how artist David Michalek chooses to present brief motional sequences executed by four dozen outstanding dancers and choreographers. Shot with a high-resolution slow-motion camera originally designed for military ballistic research, the film series “Slow Dancing” lends the dancing bodies a fascinating sculptural quality; in their combination of virtuosity and vulnerability they might be 3-D projectiles. Capturing on film the grace, beauty and strength of the moving body, Michalek conveys a bandwidth encompassing ballet to belly dance, butoh to breakdance. “Slow Dancing” was already shown to the public on London’s Trafalgar Square and outside the Lincoln Center in New York. The monumental portraits will screen at Gendarmenmarkt, one of Berlin’s most imposing squares, during the entire festival period.
via english.tanzimaugust.de and berlin-diagonale.de
Jonah Bokaer: The Combination of Visual Arts and Dance Is the Focus of My Entire Creative Output
Q
You were the youngest dancer hired at Merce Cunningham Company. Which are the first memories of this experience? How was it like to work there?
A
I would like to share an unusual perspective on this. Normally, I do not answer or consider questions about Merce Cunningham, as this has very little to do at all with the work I create: but upon deep reflection, I'd like to share that he and I had in something in common. We shared a quite total, uncompromising devotion to choreography.
Walter van Beirendonck: Couture should push forward the boundaries of fashion.
Q
When we look at your art, we realize that there is a constant through your work and that is energy. Where does that come from?
A
I hope and I think that the energy comes directly from me. With every collection extremely excited to do new experiments, tell a new story, make a new statement and to present interesting collections I can be proud of.
And good energy is part of that creation, showing and presentation to my clients.
Li Hongbo: There is a Chinese saying, life is as fragile as paper, which has left a deep impact on me
Q
You have managed to question the realism of sculptures through the flexibility of the paper. What do you see as the strengths of your chosen material, visually and conceptually?
A
At the beginning, I discovered the flexible nature of paper through Chinese paper toys and lanterns. I used this principle to make a gun. A gun is solid, used for killing, but I turned it into a tool for play, or decoration. In this way, it lost both the form of a gun and the culture inherent to the gun. It became a game.
rAndom international: We are interested in the reversal of the traditional roles of viewer and viewed
Q
What is interesting about your practice is the fact that this cold medium, which is media, becomes so warm and familiar. How do you get to do that?
A
For us, a material quality is inherent to a lot of the processes and ‘media’ that we use. It’s about focussing on that quality in everything we do; because it’s that quality which allows one to develop an emotional relationship with a space or an object.The concept is the crucial part and with our work that concept is often completed by the people and their physical participation.
AES+F: "Fear and anxiety about the future – a characteristic of our time."
Q
We know that 2007 was an important year for you, since your work became known on an international level. Let’s talk a little bit about two projects before that moment and I mention here Islamic Project, which was controversial. Through Islamic Project you stressed the fears western cultures have towards Islamists. Why are you interested in these issues?
A
Islamic Project (1996) is dedicated not only to Western fears of Islam, but rather to a visualization of mutual paranoia – both of the West and of Islamic fundamentalists. In 1996, we were interested in “globalization in reverse,” when not only the Internet and McDonald’s are moving to the east and south, but also when, for example, Islamic culture has an impact on the modern West.
10+1 Questions to be Handled with Care - Interview with Alexandra Pirici
Q
On a formal level, we may say that the public is deciding the dramaturgy of the performance by choosing a title/theme that they would like to see. I say formal, but maybe I should better use “conceptual”- implying that the public’s choice is a validation of the reenactment, re-creating the political situation that allows “iconic moments” to exist. How would you define the public’s role in the whole event- on a conceptual and physical level? (To what degree is the public’s participation a physical influence on the act of performing?)
A
The work was created for the context of Imagetanz festival in brut, Vienna and the curatorial frame had to do with “care” so I was also thinking of how to respond to the frame. The fact that the audience “orders” or chooses what they like to see has layered potentialities, for me. I do want them to feel “cared for” and entertained (I don’t shy away from the word, I find the concept of “counterculture” slightly dated) and I do want us, as performers, to make ourselves available for their requests.
Gagan Design Studio: "Mundane and Monotone Doesn’t Inspire Anyone."
Q
What does winning A’ Design award mean for Gagan Design Studio?
A
A’Design Award is very prestigious and we‘re very excited to have won it. It is epitome for top design and innovation. Like any award of similar stature, A’Design is a platform that furthers great design by bringing the best at one lace and inspiring many others.
Kate MccGwire: “Natural Materials Have Their Own Language”
Q
Your work is unsettling, almost surreal and the audience is instantly immersed into this universe. We find that your works are powerful and question the notion of beauty, since feathers are both plain beautiful as well as enchanting. Feathers are now your “trademark”. How was your art looked at in the beginning and how was it received on the art scene?
A
Before I started working with feathers I was also interested in bone, hair and other natural materials. My installation, Brood, which was made from 20,000 chicken wishbones, was bought by Charles Saatchi during my degree show. It was the work that really launched my career and confirmed my interest in beauty and brutality, the binary forces that exist within nature.
Jan Manski: "I’m Interested in Creating the Most Narcissistic of Worlds"
Q
We are curious to know, first of all, how you’ve imagined this project that has three parts: Possesia, Onania, Eugenica and why you specifically wanted it to be made of three parts. How are they linked, where does it start from and where are you taking it?
A
The project came gradually in time, it wasn’t pre-designed. The trilogy idea has emerged from years of process. Possesia started first, with initial ideas and sketches dating to 2007. It grew out of my obsessive collecting habits and interest in a specific period of Europe’s history, a period of innocence just before the First World War. For years I visited flea markets to collect curious antique objects and photographs that transported me to the time they had witnessed.
Nick Sheehy: "I Like Marrying Oddness with the Familiar"
Q
You said in an interview that some of your works are semi-autobiographical. Can you explain what about them is so and give us some examples?
A
They’re semi-autobiographical in that certain themes or motifs reflect what is happening to me at the time. For example, I draw more birds and plants in spring. I draw more skull and bones when things are coming to an end or dying. I draw guitars when I’ve been playing music. I draw wooden constructions when I’m building things.
Rein Vollenga: “The Objects I Create Are an Extension of the Body”
Q
Your works have a specific unity. They are easily recognizable. Do you think you’ve found your way of expression or do you think that you’re still searching?
A
That’s an interesting question… the visual language that I express through my works is not something I’ve been searching for. It’s something that came natural for me. Even expressing myself in different media the same visual language comes to the surface every time. The way I create reflects my imagination and how I see the world.
Saddo: "Art Is the Only Thing That Makes Me Feel Like I Have Some Kind of Purpose in Life"
Q
You said that the animals present in your works come from different mythologies and religions. Can you explain where they come from and why you are interested in these issues?
A
I’m fascinated by the animal and plant world, I love myths, fables, fantastic stories with characters that mix human and animal features, I love Walton Ford’s work, old naturalistic illustrations of plants and animals, the illustrations of Ernst Haeckel, etc. So you can see how all these personal tastes influence and shape my illustrations and paintings.
Wunderkammern, or cabinets of curiosities, were first established in the Renaissance and Baroque. These cabinets were collectors’ rooms in which objects from...
The exhibition continues Orozco’s investigation into intersections, mobility, rotation and dispersion. The new works maintain an elegant balance between geometry and the...
In 2009, the European Space Agency launched the Gravity Field and Steady-State Ocean Circulation Explorer (GOCE) with the intention of mapping Earth’s...
Lehmann Maupin presents having been there, Robin Rhode’s debut exhibition in Hong Kong. Continuing the artist’s engagement with complex social and political...
The application period for Spring 2015 Artist in Residence program is now open. 33OC seeks proposals from international professional artists interested in working within the Toffia environment for a one month period. 33OC Artist Residency program was developed to become a space & community where international artists can share places, experiences and sensibilities. The aim […]
Private studio retreats in a collaborative atmosphere for Spring 2015. Grin City Collective welcomes applications from artists of all disciplines at all stages of their career for residencies in rural Iowa, USA. Residents receive individual housing and studio space and may elect to participare in one of the following outreach programs: Social Practice Project: 1st Block […]
maumau writer-in-residence program the program aims to create an atmosphere for writers in which they can work isolated from everyday life while experiencing the inspiring nature of istanbul. please check the information document before you submit your application form to info@maumauworks.com with a topic “writer-in-residence program”. please specify the the residency you apply on the topic which residency […]
Applications are now being accepted for month long residencies at the Bellagio Center. Deadline: December 1, 2014 The Rockefeller Foundation Bellagio Center’s mission is to promote innovation, creativity, and impact-oriented solutions to critical global problems. Residencies and conferences at the Center, located in northern Italy, support work in the Foundation’s key issue areas: Advance Health, […]
Public Recordings: 8 DAYS IV – A Gathering of Choreographers An intensive encounter open to Canadian contemporary choreographers. 8 DAYS is an intensive encounter open to Canadian contemporary choreographers. The gathering values curiosity, questioning and reflection on how we work in order to deepen choreographic practices. The ongoing 8 DAYS project addresses a need for […]
Body Becoming ANIMA CASA RURAL ARTIST RESIDENCY Thematic Residency “Body Becoming.” BODY BECOMING : The body figures as the most important place upon which many of our stories play out. From the Greeks who admired and celebrated the nude, to the Confucian Koreans who covered it eroticizing only small amounts of visible skin, the body […]
Countryside Residency for International Artists in Rome, Italy Best of both worlds in this residency in the countryside just 40-minutes by train from vibrant Rome! Get inspired by this artist residency in the countryside of Rome! The non-profit organization ‘c.r.e.t.a. rome’ offers an international self-funded residency program in the countryside of Rome, Italy. The Italian […]
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