On Saturday and Sunday, 1-2 June at 7 pm KOMUNA// WARSZAWA is presenting a RE// MIX dance performance, which came to life as a result of a competition held in association with the Institute of Music and Dance. Authored by young dancer and choreographer, Marta Ziółek, Ciało Oko [Eye Body] focuses on the work of performance art pioneer, Carolee Schneemann.
What fascinated me in Schneemann’s work was the way revolution and utopia are embodied in dance. In my RE//MIX I will focus on her three works: Eye Body: 36 Transformative Actions, Meat Joy and Interior Scroll. All of them broaden the meaning of choreography, offer a perspective close to visual arts, or painting, and shift the attention from the dancing body to the matter of the object in motion. They also open up a space for a situation to arise, a community to emerge and the potential lying in concrete bodies to be released, says Marta Ziółek.
Ciało Oko[Eye Body] is a dance fiction, a feminist utopia, where the experience of identity and performance is explored through the painting form (choreography). Four dancers transfer an image from canvass to a 3D space, where the painting comes to action. The body is a figure, an extension of the painting. The painting becomes a moving beast.
Conception and choreography:Marta Ziółek
Dance and performance:Marina Colomina, Maria Peralta, Eva Susova, Marta Ziółek
Dramaturgy assistance:Renée Copraij, Ola Maciejewska, Maria F. Scaroni
Visual assistance and photograpy:Katarzyna Szugajew
Light design:Katinka Marac
Carolee Schneemann(born in 1939) is considered a pioneer of performance art, body art and avant-garde cinema. She was also an influential figure in American dance. In the 1960s she was a member of the legendary Judson Dance Theatre, which initiated post-modern dance.
Her interest in dance originated in kinetic drawings, which Schneemann decided to transfer on to living bodies. Dance has allowed her to look at space and object in a different way. She has cooperated with professional dancers, yet what she focused on were not their skills but limitations – things which proved difficult to them, which called into question the typical, practiced modes of action. Her works study the dynamics of transformation, physical flow, communal commitment of bodies, crossing one’s personal barriers. She treats the body as a matter, an object, a form in movement. For her, it is a medium of transformation, change and ritual.
Marta Ziółekwas born in 1986. Before she started her choreography studies at the School for New Dance Development in Amsterdam, she completed a multidisciplinary programme of humanities studies at the University of Warsaw. Marta also completed Vorausbildung, an intensive programme of dance at the Tanz Fabrik in Berlin. She has taken part in workshops, projects and joint initiatives with such choreographers and theoreticians as Bojana Cvejic, DD Dorvillier, Deborah Hay, Maria La Ribot, Benoit Lachambre, Xavier Le Roy, and Meg Stuart. In 2011 she received the prestigious scholarship Dance Web at the ImpulsTanzFestival in Vienna. In 2012 she took part in Europe in Motion, a platform addressed to young emerging choreographers. She presented her works at international festivals such as Something Raw Festival in Amsterdam, Spring Dance in Utrecht, or at the Volksbühne Theatre in Berlin and Joyce Soho in New York.
Next up in the RE// MIX 2013 series:
Aleksandra Borys RE// MIX Anna Halprin – 22-23 June
FC/Błaszczyk&Olkiewicz RE// MIX Robert Wilson – 6-7 July
The project is co-funded by the Warsaw city hall and the Ministry of Culture and National Heritage, and is implemented in association with the Institute of Music and Dance.
How to get there from the city centre: by tram – routes 7, 8 or 22, or bus – route 517
(get off at Zieleniecka)
or by SKM (get off at Warszawa Wschodnia).
TICKETS:PLN 10/15 (email@example.com)
RE// MIX 2013
curator: Magda Grudzińska, conception of the cycle:Tomasz Plata
Initiated in 2010, the RE// MIX series is a display of premiere productions referencing back to classic artworks, mostly in the area of theatre and dance, but also literature and film. The original pieces, some slightly forgotten, once changed the awareness of the people who deal with “strange” theatre today, a theatre that is multidisciplinary, searching, verging on visual theatre, performance art, plastic arts and social actions. They form a specific cultural canon, define tastes and styles, constitute a self-definition for their own sources and inspirations – act as points of reference.