We were delighted to learn about the latest successes of young Polish choreographers abroad. Arnd Wesemann of the German monthly ?Tanz? has recently showcased Karol Tymiński in the Newcomer column devoted to young, promising artists. The article referred to Tymiński?s latest premiere, Church of Non-Divine, presented between 29 June and 2 July 2017 at Ufer Studios in Berlin. One of Tymiński?s earlier performances, This Is a Musical, was presented in April 2017 as part of the Polish Dance Platform 2017 in Bytom.
Ola Maciejewska, Polish choreographer based in France, has been invited to the ImPulsTanz festival in Vienna, where she will perform as part of the [8:tension] cycle (6, 8 August), a review of pieces by young choreographers. Maciejewska will present BOMBYX MORI, inspired by her research on Lo?e Fuller. The artist has already presented the piece in other venues, including the Performatik Festival at Kaai Theater in Brussels.
Wesemann?s text details Karol Tymiński?s past, including 8 years at the ballet school in Warsaw, 2 years of contemporary dance studies at P.A.R.T.S. in Brussels, nearly 4 years with Trisha Brown and Bill T. Jones in New York, and the past 6 years in the queer and techno milieus in Berlin. Throughout these twenty years, Tymiński has transformed himself from a proficiently trained ballet artist into a composer who treats his body parts as toys and clinically inspects each of his muscles.
The article cites Tymiński?s words on his brutalist approach to dance and a rubber-like body. In his previous work, the artist had probed the boundaries of dance, as was the case with The Greatest Show on Earth, where he created a role inspired by the figure of Puck and clownery, much like in Tymiński?s subsequent This Is a Musical. The latter piece, permeated by the ambience of exhaustion and exaggerated dance structure, has been interpreted by Helmut Ploebst as an expression of the loneliness of a European. In his latest performance, Church of Non-Divine, Tymiński instructs the other dancer to ?forget the person you are. Become a toy in your playground.: The objects utilised by performers in the piece include bricks, the dominant music is techno, and the ideology behind the performance ? secular spirituality. Tymiński craves to desire, and the respective locales invoked in the piece, such as the Berlin club Berghain, act as sources of inspiration, even though the artist refused to directly transfer the atmosphere of darkrooms and narcotic trips onto stage. Tymiński underscores the capacity of the body for transgression, provided it is liberated from the familiar cultural constructs.
Ola Maciejewska is among the artists whose works are showcased as part of [8:tension] Young Choreographers? Series, which includes artists nominated consecutively for the Casinos Austria Prix Jardin d?Europe and FM4 Fan Award 2017 prizes. Similarly to Karol Tymiński, Ola Maciejewska began her education as a ballet school student, followed by studies at the University of Utrecht and CODARTS ? Rotterdam Dance Academy. So far, Maciejewska has presented three of her pieces in Warsaw: Lo?e Fuller (Warsaw Dance Stage 2011), Tekton and Lo?e Fuller: Research? (both as part of the Dance Activism. Spaces of choreography cycle by the Warsaw-based Nowy Teatr). In 2016, Ola Maciejewska was appointed the resident artist at Centre Chorégraphique National de Caen en Normandie.
Last year, Stéphanie Di Giusto made an impressive film about her life called La Danseuse. Choreographer Ola Maciejewska from Paris has discovered the silk moth (Bombyx mori) as a metaphor for the critical potential in Fuller?s spectacular dance costume: movement as an interplay between body and object. Maciejewska?s fascinating ?flights? of three black ?serpentine moths? are such hybrids as well, defying classification as either one or the other.
More information at the ImPulsTanz website: www.impulstanz.com/en/performances/2017/programme/