The 16th edition of the International Body/Mind Festival will address the notion of time. Artists and curators will collectively consider time in social and biological contexts, as well as at the level of body memory. Edyta Kozak, the artistic director of the festival, stresses that during this year?s edition of the festival various aspects of time will be discussed in artistic and socially engaged artistic projects pondering over such topics as ageing societies (including the notion of passing entailed in the career of a professional dancers), as well as the responsibility for the heritage and history of dance. Ruth Childs, the niece of the co-creator of the legendary Judson Dance Theater, will reconstruct three solo works of her aunt, on which the tow had worked together, in order to record them on film, as none of the three pieces have been video-documented. Togeter with Ruth Childs, one will be able to reflect on whether meticulous reconstruction of dance pieces, based on direct transfer of knowledge, is sufficient to bring time to a standstill? We will find out on 29 September.
The DANCE ON ENSEMBLE, created by eminent dancers over 40 years of age, who danced for many years in the companies of William Forsythe, Pina Bausch, or the aforementioned Lucinda Childs, and who stand up to the terror of youth in dance. On the other hand, they currently wok with young choreographers, which results in an intriguing intergenerational exchange, and points towards another approach to time, which is manifested in their piece Water Between Three Hands, choreographed by Rabiha Mroué (6 October).
Another original proposal comes with the premiere of Ramona Nagabczyńska?s More (Morus/Więcej) (30 September/1 October), in which time is posed in the context of continuous transformations of the body, thanks to which the very piece itself also undergoes ceaseless change and is recreated anew. The choreographer is interested in posthumanism, in particular in how it influences our thinking about the future, while also discovering the potential in future humans. The artist was inspire by the artist, musician and rock star Genesis P?Orridge, and his partner Lady Jaye Breyer, who originated a type of personal and artistic practice, in which they attempted to fuse into one person. More thus takes up the issue of multiplication, multiplicity in oneness, inspecting the disintegration and transformation of the individual. The title also invokes the figure of Thomas More, the philosopher whose utopian vision which evolved in Nagabczyńska?s concept into corporeal practice as a utopian activity that puts forward alternative modes of existence. The stability of interpersonal relations is also depicted as utopian.
Another unique projects will be contributed by the authors of Time and Dance, implemented as part of a multi-annual exchange cycle Exchange/Change, conducted by the Body/Mind Foundation. A Polish-Hungarian artistic project, Exchange/Change has yielded more than what was originally projected as etudes, and what evolved into full-fledged pieces by young choreographers from both countries. Granting them with a good deal of artistic freedom and space for experimentation with regard to the problems of time, the project resulted in several pieces by Anna Biczók Nanastrova, Ula Zerek and Ola Bożek-Muszyńska, who will present their performances on 3 October, and by Luca Dömötör, Aniela Kokosza and Lior Lazarof, who will take to the stage two days later, on 5 October.
Alexandra Laudo?s performance lecture An Intellectual History of the Clock (6 October), which will inaugurate the 24-hour conference Today Tomorrow, playfully engages our perception of time and manifests various types of its cultural conditioning that verge beyond the familiar circle of Western culture.
The conference Today Tomorrow, co-organised with Goethe-Institut based on the concept by Joanna Warsza, will expand the context of time, which pervades this year?s edition of the Body/Mind Festival. The conference will be attended, above all, by artists, and the talks will be moderated by Bogna Świątkowska of the Bęc Zmiana Foundation. The main part of the conference will take place on Saturday, 7 October.
Concluding the festival will be the screenings of film essays on time at the Warsaw branch of Goethe-Institut, accompanied by talks by Thomas Thorausch, deputy director of the German Dance Archive in Cologne.
The festival will also be accompanied by the social and artistic project NELKEN ? line (30 September), which invites everyone to join the performance of the famous choreographic passage from Pina Bausch?s Carnations [Nelken] evoking each of the four seasons. The performance will take place at Plac Defilad.
On 30 September and 1 October, visitors will be able to participate in an interdisciplinary educational installation, learning about the history of dance (films and publications) and attending meetings with artists and engaging in moderated choreographic games. The starting point for the installation was the open question of ?What does performance mean today??.
Why the presence of time at the Body/Mind Festival? It is simple?we would like to show something that cannot be seen. Something that must be experienced.
First, the memory and the past. What kind of emotions does dance from the past evoke? Are its ideas outdated or still valid? Can something as ethereal as dance be archived and reproduced? This is what a British-American dancer Ruth Childs is concerned with, among others. Childs will present a reconstruction of three solo works created in the 1960s by her aunt Lucinda Childs, a legendary postmodern dancer and founder of the Judson Dance Theater. Today, in the era of ubiquitous deconstructions, remixes, inspirations and borrowings, Childs?s project will be a unique Chance to revisit the historical originals created by an exquisite artist half a century ago.
Secondly, the present. Since the past is already gone, and the future is not yet here, the present narrows down to a mere point in time, a moment for dwelling in timelessness, improvising in movement, being ?here and now?. When seeking that state, the Festival will invite its audience to join it in jamming and experiencing the integrating power of dance by means of Pina Bausch?s Nelken- Line. This is a project where everyone is welcome to join and dance a part of Pina Bausch?s choreography Spring, Summer, Autumn, Winter from her 1982 performance Nelken, a piece devoted to the theme of passing.
The young generation of Polish and Hungarian artists will try to address the question of timeliness. The artists will approach the concept of time in their practices, presenting pieces commissioned by the Festival.
Thirdly, the future. It brings a lot of questions with no easy answers and forces us to confront certain issues. One of them is the deepening problem of ageing society combined with a quest for longevity explored by DANCE ON ENSEMBLE ? a group of dancers aged over 40. Inspired by the sentence Here and gone!, used by the American legend of postmodern dance, Deborah Hay, their piece Water between three hands by the Lebanese director Rabih Mroué refers to the ?remnants of time? left in dancers? bodies and poses questions about irreversible passage of time, whose consequences are particularly dramatic for dancers, as well as the future and the alternatives it brings.
Further explorations of the ?hereafter? are offered by Ramona Nagabczyńska, whose premiere piece More contemplates various visions of the future, identity, and the body in the ever-changing world dominated by new technologies.
Concluding the series will be the presentation of the Catalan artist Alexandra Laudo, whose performance lecture An intellectual history of the clock explores the social construct of time and the ways in which it is measured and experienced. Laudo?s lecture will precede the 24-hour conference on performance and chronopolitics Today, Tomorrow, in which theorists, artists, curators, and journalists will sum up the festival, trying to determine what has de facto happened with time today?
Dance, theatre, art can all bring time to a halt. These are moments where boundaries blur, as if we dissolved in something, becoming part of something greater. I hope you experience with the Body/Mind Festival will abound in such moments.
See you at an opportune time!
29 September 20.30 / duration 60 minutes / STUDIO teatrgaleria ? main stage / tickets 50/30 PLN
(Reconstruction: 3 x solo by Lucinda Childs)
29 September-6 October / STUDIO teatrgaleria ? foyer / admission free
30 September 2 pm / duration 4h / plac Defilad, in front of the Studio Theatre / admission free
30 September 8:30 pm / duration 60 minutes / STUDIO teatrgaleria ? main stage / tickets PLN 50/30
1 October 8:30 pm / duration 60 minutes / STUDIO teatrgaleria ? main stage / tickets PLN 50/30
3 October 7 pm / duration 120 minutes / Centre for Contemporary Culture – Ujazdowski Castle? Sala Laboratorium / tickets PLN 30
5 October 7 pm / duration 120 minutes / Centre for Contemporary Culture – Ujazdowski Castle? Laboratory Hall / tickets PLN 30
6 October 7 pm / duration 75 minutes / STUDIO teatrgaleria ? main stage / tickets PLN 50/30
DANCE ON ENSEMBLE / Rabih Mroué (Germany / Lebanon)
6 October 8:30 pm / duration 100 minutes / STUDIO teatrgaleria ? small stage / tickets PLN 50/30
Performance lecture ? Alexandra Laudo (Spain)
7 October 10 am ? 5 pm / Goethe-Institut / admission free
9 October 6 pm / Goethe-Institut / admission free
curator: Thomas Thorausch, Deutsches Tanzarchiv Köln
10 October 6 pm / Goethe-Institut / admission free
curator: Thomas Thorausch, Deutsches Tanzarchiv Köln
More information at: http://2017.cialoumysl.pl/