Contemporary – adopting an ever-shifting set of values so as to elude any sort of qualitative criteria. Contemporary – adopting a differing set of values so as to problematize the normative set of qualitative criteria
Tanznacht Berlin 2014 – a simple financial analysis
at 1.43 minute per € „KELLERKINDER“ byTanzzeit Jugendcompany Evoke & Kadir Amigo Memis was the most expensive performance of Tanznacht Berlin.
at 10 minutes per € KRUMP „N“BREAK RELEASE“ by Shifts-Art in Movement was the best deal of Tanznacht Berlin.
(note: this does not take into account the reduced rate for tickets. Maybe I should go back to school or get the Tanzcard)
| Artist &Performance | Cost in € | Length in minutes | minutes per € |
| JUAN GABRIEL HARCHA – „ANGELA LOIJ“ + „TULLE LABYRINTH“ | 14 | 45 | 3.214285714 |
| DRAGANA BULUT -“WHERE IS THE ZOMBIE?” EPISODE 2 | 14 | 70 | 5 |
| SIEGMAR ZACHARIAS & ALICE CHAUCHAT “INVASIVE HOSPITALITY #4 | 9 | 60 | 6.666666667 |
| TANZZEIT JUGENDCOMPANY EVOKE & KADIR AMIGO MEMIS „KELLERKINDER“ | 14 | 20 | 1.428571429 |
| SHIFTS – ART IN MOVEMENT / DAVID BRANDSTÄTTER/MALGVEN GERBES „KRUMP „N“BREAK RELEASE“ | 5 | 50 | 10 |
| NIELS `STORM’ ROBITZKY, RAPHAEL HILLEBRAND, LOUISE WAGNER ”DIALOGIC MOVEMENT – FORUM FÜR ZEITGENÖSSISCHEN URBANEN TANZ” | 14 | 90 | 6.428571429 |
| EVA MEYER-KELLER & SYBILLE MÜLLER “KATASTROPHENKOMPOSITIONEN” | 9 | 30 | 3.333333333 |
| KENJI OUELLET „LE SACRE DU PRINTEMPS – A HAPTIC RITE“ | 9 | 15 | 1.666666667 |
| RICARDO DE PAULA „SHOOT FIRST“ | 9 | 25 | 2.777777778 |
| DEWEY DELL “CINQUANTA URLANTI QUARANTA RUGGENTI SESSANTA STRIDENTI” | 5 | 10 | 2 |
| MARTIN HANSEN “MONUMENTAL” | 9 | 40 | 4.444444444 |
| KAT VALASTUR “GLAND” – THE MARGINAL SCULPTURES OF NEWTOPIA (DIMENSION A & B | 14 | 60 | 4.285714286 |
| SHIFTS – ART IN MOVEMENT/DAVID BRANDSTÄTTER & MALGVEN GERBES „FESTINA LENTE – MAKE HASTE SLOWLY“ | 14 | 60 | 4.285714286 |
| BEGÜM ERCIYAS „HYPNOSIS“ | 14 | 70 | 5 |
| CHRISTOPH WINKLER „DAS WAHRE GESICHT – DANCE IS NOT ENOUGH“ | 14 | 70 | 5 |
| TIAN ROTTEVEEL „HARDCORE“ | 9 | 30 | 3.333333333 |
| FRÉDÉRIC GIES „SEVEN THIRTY IN TIGHTS“ | 14 | 70 | 5 |
| SERGIU MATIS „FAKE – THE REAL DEAL“ | 14 | 120 | 8.571428571 |
| ANGELA SCHUBOT & JARED GRADINGER “SOON YOU ARE THEIRS” | 9 | 25 | 2.777777778 |
| ALEXANDRE ACHOUR „THIS ISN´T GONNA END WELL“ | 14 | 70 | 5 |
| JOCHEN ROLLER & MONICA ANTEZANA „DER CARPENTER-EFFEKT“ | 14 | 65 | 4.642857143 |
| Averages | 11.47619048 | 52.14285714 | 4.517006803 |
| Mode or most common value | 14 | 70 | 5 |
Contemporary Technique
Sculptures in Weißensee
The Penumbra of Spatial Apprehension
The Penumbra of Spatial Apprehension, the downstage semi-circle shown here in red, is the area of the performance space that the performers, unless required to do so by a predetermined spatial choreography, tend to avoid.
When performers enter this penumbra, they tend to face upstage if vertical; or keep their pelvises close to the ground if facing downstage; or move through the penumbra with a trajectory parallel with the front of the stage.
Experience and the likelihood of entering the penumbra do not have a direct relationship.
The Self Indulgence Index
in Black and White
research
Replace the word research with art and scientist and researcher with artist.
“Art creates knowledge and builds on its own achievements. Any active artist must have access to other researchers’ results, no matter how dated these results may be.”
This makes me think of some conversations I have had with other choreographers.
Some don’t go see work anymore because they don’t like anything they see. Some don’t see certain kinds of work because they think it is dated. I would say that ways of looking at work, engaging with it become dated faster than the works themselves. Not seeing work removes one from the wider discourse.
Conforming to the Avant Garde
“…in 1983 Craig Owens detected a similar posture among neo-expressionists, who were also confronted with the contradictory demands to be avant-gardist (“as innovative and original as possible”) and to be conformist (“to conform to established norms and conventions”.)” – Hal Foster, The Return of the Real
30 years later seems like dance/performance art/ live art (whatever you want to call it) is dealing with the same issue
Temporaries
Temporaries
by Ana Dubljevic, Dusan Brocic, Igor Koruga, Jovana Rakic Kiselcic, Ljiljana Tasic, and Marko Milic
14.9.2013
A few thoughts and words about a performance I saw and participated in this past Saturday in Studio 5 at the Uferstudios –
From the program – the performance’s aim is create “a space and ‘community’ to discuss and question problems of the current and potential local dance scene in Belgrade…” Another aim was “to form a temporary communicational community with the spectators”.
After the audience sat down on six little islands of blankets, one of the performers said that one side(or three of the islands) of the audience would play charades and the other side would receive snacks. When someone guessed the word or phrase, he or she was able to select a food item from a nearby cart. The food was also for sale (capitalism, anyone?!?) All fine and good, but she or he was not supposed to share the food with anyone else. The non charade playing side would then select which number from a list of nine cultural-artistic programs most fit the charade word. This process was repeated until each number of the list had been selected. Some of the words/phrases were – United We Stand, Readiness is All, Hospitality, Mediation.
The rules about how to get food from the cart changed slightly after some round. After I guessed the phrase, United We Stand, for example, I had to form a chain with my group to reach the cart which had been wheeled away from our seating area. I took a cake, two plates of sandwiches, and some plastic cups. Before I reached the cart, one of the performers wheeled the cart away even further. A quick and inadequate description of the piece, I know. But I do not want to recall the events for you. You should go see the piece if you can.
This piece, as it is about the conditions in Belgrade, made me, an English speaking American, think about growing up in a non-English speaking communist environment. The gesture used in charades to indicate that the word was English was the thumbs-down gesture. Thumbs down can be read as indicating bad or of little value. The gesture to indicate another language was to point behind one’s self with the thumb. If we are to read the thumbs down as “English is bad”, do we then read the other gesture as “All other languages are backwards or in the past”?
The random allocation of resources, i.e. who gets the food, at the beginning – a simulacrum of the granting process run by cities and governments, maybe?
The rule, which was pretty quickly broken, of not being able to share food with people in your group or between groups was supposed to create some discord and feelings of inequality, I am guessing.
The changing rules of how people are supposed to get food – a vestigial remnant of the shifting governments in the Balkan region, perhaps.
Although in the program it states that the piece “can confront serious and social art issues”, the piece did not really confront me with those topics. I could see how the topics were indicated, but the atmosphere was too comfortable for confronting serious issues. If the seating areas were raised and separated by lights so that audience members would have to traverse through a spatial and light barrier, people might be less likely to break the rules. If we had actually run out of time and not been able to guess the word in one round of charade, I might have felt more of an edge to the piece. If people who did guess the word and got to pick an item from the food cart were moved to a separate area so they would have to cross the stage to share their resource, they might be less likely to share. I wonder how the theater in Belgium will be arranged.
Due to time constraints, I was not able to stay till the end of the performance, so I do not know how it ended.
Three pieces of the Cultural-Artistic Program that I was most drawn to are the choreographed duet that was done once with round loaves of bread and another time with a different song and bananas; the accumulated line of people rocking forward and back. It could have stayed in that line longer, in my opinion; and the simulation of people at the starting line of a foot race.
I wish I could go to Kortrjik to see how the piece develops and how the audience participates.