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The Arts Stations Foundation is presenting a performance by the second resident visiting Poznań as part of theFor Each Gesture Another Characterexhibition, which opens the tenth year of the Art Stations Foundation by Grażyna Kulczyk, bringing together for the first time its exhibition and performative programmes. Borys’ residency will conclude with a public performance.

In the course of the exhibition, the Art Stations Gallery’s space turns into stage for three young choreographers: Magdalena Ptasznik, Aleksandra Borys and Anna Steller, who are Art Stations’s residents in succession. Their temporary interventions at the gallery are a reference to the works on display and their common motifs. Each of the three residencies ends with a public performance whose departure point is understanding drawing as a physical, if ephemeral, trace of body movement in space.


During her residency,Aleksandra Boryssought to further investigate her two fascinations, namely the art of Richard Long and Edward Lorenz’s Chaos Theory. She finds Long’s work interesting for his treatment of movement as a measure of time and space, his use of natural materials only, and the fact that travelling is creative material for him. Lorenz’s theory is appealing for Borys as it proclaims that even the most subtle change brought about by external factors in a given time or place may have far-fetching consequences. That is why the artist wants the gallery’s visitors to exert influence on her work.

Aleksandra Borys will present the outcomes of her residency on Saturday, 15 March (5 pm) at the Art Stations Gallery.

On the same day (7 pm) at Studio Słodownia +3, American choreographer Jeremy Wadewill give a lecture performance titled The Suggestion of A Line and The Solid Damn Object, exploring his choreographic practice. He will also talk about his collaboration with visual artist Monika Grzymała, a dialogue which resulted in the performance dark material (2013) that combined physical material produced by dancers and Grzymała’s improvised “drawing in space”.

From the artist:

Jeremy Wade describes his choreographies as having an aesthetic, sociological, neurological and geometrical dimension, or simply unfolding on the brink of a nervous breakdown. Lately he has introduced solid objects into his pieces. This was an end, a death, as he calls it; his attitude to the reproduction of impulses in the body has changed completely. He feels that using solid objects this way brings about many questions. How can the performative body enter into a creative and magical interaction with an object on stage? What is the relation between a perceived line, or the suggestion of a line, and a real object? How does drawing and performance strive to annihilate the solid object?

“In an improvised lecture performance I will work to articulate my process of negotiating internal and external impulses plus objects. Sharing my perception of the body and its relations as it unfolds in space-time. Working to render the place where the body ends and the object begins is the foreground one’s attention to the infinite. The surface of the skin perceives temperature and touch as currents of air travel through the room. Thus hypersensitivity and mindfulness (knowing that you know) has the capacity to generate a phenomenological playground. The basis for the body moving through this space is the reciprocation of sensing and feeling. On stage, a performer mediates the realms of preconceived invisible maps in space or a written choreographic plan, in concert with a moment-to-moment unfolding of this score via the senses. Sensing, action, memory and response are all at work in a complex system of feedback as the performer calibrates space, time and impulse. What occurs with these feedback loops when objects are integrated into the experience? Is it possible to make the solid object multiple and eventually destroy it?”Jeremy Wade

Jeremy Wade is an American dancer/choreographer based in Berlin. He graduated from the School For New Dance Development, Amsterdam in the year 2000. Wade premiered his first evening-length work titled Glory at Dance Theater Workshop, New York City in February of 2006, for which he received a New York Bessie Award. Since then Wade has been living in Berlin, working closely with the Hebbel Theater and dramaturge Eike Wittrock. His most recent performance works include …and pulled out their hair (2007), Throwing Rainbows Up (2008), I Offer My Self To Thee (2009), There Is No End To More (2010). In 2011 Wade embarked on a six month research phase titled “identity and transgression” from which he created Fountain, a new solo, and a new trio titled To The Mountain.In 2013 Wade served as guest professor at the Akademie der Bildenden Kunste, Munich, as well as focusing on two creations, a duet based on eros with French sound artist Jassem Hindi titled Messmer and a new piece

titled Dark Material with Berlin-based sculptor Monika Grzymala and the California-based experimental musician Jamie Stewart aka Xiu Xiu. In 2014 Wade will premiere Common Prayer a project made exclusively for the members of an audience at the Hebbel am Ufer, Berlin.

Besides the creation of performances and a rigorous teaching practice Wade has always been drawn to the curation, production and subsequent hosting of ecstatic events. This interest in curation evolved from his experience as a vibrant host of parties and Night Clubs in New York City during the mid 1990’s to becoming a founding member in 2003 of Chez Bushwick a Live / Work loft for the performing arts in industrial Bushwick, Brooklyn. He curated the “Politics of Ecstasy” Festival in January of 2009 at the Hebbel am Ufer together with Meg Stuart, Eike Wittrock, and Brendan Dougherty. From 2009 to 2011 Wade curated a queer performance series in 13 editions at Basso, Berlin titled “Creature Feature”. In April 2014 Wade will curate a focus on participatory group experiences at the Donau Festival, Austria called “The Great Big Togetherness”, and embark on a new series titled Maximum Service. The project will experiment with ways to create a community that maintains the individual’s maximum agency with the collective. The goal is service: practicing being of service to one another while collectively working to serve an external cause. What does it mean to perform service? How can we be of more service to community in need. How can a non-identitarian community be shaped through performance means and theatrical exploration?


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