14. — 22. rujna 2013. STUDENTSKI CENTAR U ZAGREBU mEđunarodni FESTIVAL RAZVOJNOG KAZALIŠTA

ULAZ besplatan ganznovi.sczg.hr 14. — 22. rujna 2013. STUDENTSKI CENTAR U ZAGREBU mEđunarodni FESTIVAL RAZVOJNOG KAZALIŠTA ULAZ besplatan

SEPTEMBER 14 — 22, 2013. STUDENT CENTRE IN INTERNATIONAL FESTIVAL OF DEVELOPMENTAL THEATRE FREE ENTRANCE

ganznovi.sczg.hr Ganz ukratko / Ganz In Short

Ganz novi ganz ganz novi festival, odnosno festival- Ganz New Ganz Ganz New Festival or sko treće izdanje, nastavlja sve ono što smo nesi- its third edition continues with what we have insecurely started on the first gurno započeli već prve godine, a to je gradnja pro- year of the festival and that is a struc- dukcijske, radioničke i prezentacijske platforme za tioning of a production, workshop and mlade kazališne autore iz Hrvatske i Europe (uklju- presentation platform for young theatre authors from and Europe čujući plesne, glazbene, likovne i novomedijske), i to (including dance, music, art and new u nešto većem obimu nego do sada. Iako je glavni media authors), this time in a bigger program još uvijek koncentiran na uže razdoblje od 9 capacity. Although the main program is focused on a period of 9 festival days, dana, od 14. do 22. rujna 2013., festivalske aktivnosti from 14th to 22nd of September 2013, započinju rezidencijalnim programima već 20. 8., a festival activities start with residential završavaju 22. 10. koncertom švicarskog zen-funk programs on August 20th and end with concert of Swiss zen-funk quartet Nik kvarteta Nik Bärtsch’s Ronin. Bärtsch’s Ronin on October 22nd.

Ukratko, Ganz donosi 7 umjetničkih rezidencija, 7 In short, Ganz brings 7 artistic residen- cies, 7 new theatre faces and 7 new novih kazališnih lica i 7 novih predstava, 4 radionice, theatre performances, 4 workshops, 2 2 instalacije, filmski program 2 mlada video autora, installations, film program of 2 young istraživački umjetnički laboratorij, koncerte i noć video artists, research artistic lab, concerts and night full of perfor- punu performansa. Kao i prošlih godina prikazat mances. True to Ganz tradition, we will ćemo i nekoliko repriza koje se nastavljaju na present few re-runs to continue the ideju da je staro dobro uvijek ganz novo i upravo idea that old good is always ganz new and therefore is part of the festival je zato dio festivalskog programa! program!

Ganz će otvoriti talijanska skupina Dewey Dell koja Italian group Dewey Dell with their project ‘Tuono’ focused on research se u svom radu ‘Tuono’ bavi istraživanjem glazbe, of music, choreography and light will koreografskog pokreta i svjetla. Muzički salon SC-a open Ganz. SC’s Music Showroom will predstavit će ganz novo glazbeno-scensko djelo present ganz new musical-theatrical piece by Mirela Ivičević, a suite for Mirele Ivičević, suitu za (samo)refleksiju i ansambl, ensemble and (self-) reflection, titled nazvanu ‘Planet 8’. Predstavit će se francuski umjet- ‘Planet 8’. French artists Boris Gibe nici Boris Gibé i Florent Hamon koji u svom ori- and Florent Hamon will present their original artistic language that combines ginalnom umjetničkom jeziku spajaju akrobatski acrobatic dance, air circus, physical ples, zračni cirkus, fizičko kazalište, glazbu, film i thatre, music, film and technology. tehnologiju. Glazbenik, izvođač i dramaturg Gérald Musician, performer and dramaturg Gérald Kurdian is trying to redefine Kurdian pokušava redefinirati glazbeni spektakl, music spectacle by combining keen stapajući oštroumnu liriku s lo-fi glazbenim i film- lyrics with lo-fi music and film effects skim efektima i participacijom publike, dok švicarski and audience participation; Swiss director Boris Nikitin is focused on redatelj Boris Nikitin promišlja o fikciji i realnosti u fiction and reality in a documentaristic dokumentarističkoj predstavi o prevari, manipulaciji play about fraud, manipulation and the

3 power of affirmation. O.N.E. will present i snazi afirmacije. Autorski tim O.N.E. predstavit će video-dance installation ‘Sizifov Pink’, and video-plesnu instalaciju ‘Sizifov Pink’, a skupina Ana- Anagoor, the leaders of the ‘reneassance goor, voditelji ‘renesanse venecijanskog suvreme- Ganz prije ganza of Venetian contemporary theatre’ will take us on theatre adventure which will nog kazališta’, povest će nas na kazališno putovanje predprogram / pre-programme enliven – through some kind of singing koje oživljava – kroz svojevrsno pjevanje (čaroliju) (magic) – the memory of people’s hateful old habits according to which some men – sjećanje na one stravične stare navike ljudi zbog have become predators of other men kojih su se neki od njih pretvorili u grabežljivce dru- datum sat autor i naziv programa mjesto and, even in the twentieth century, have gih ljudi i, čak i u dvadesetom stoljeću, natapali tlo date time author & program venue soaked the soil of Europe with the blood of millions of people. Europe krvlju milijuna žrtava. 23. 8. – 2. 9. non stop A. DUBLJEVIĆ, D. BROĆIĆ, I. KORUGA, Velika &TD J. RAKIĆ KISELČIĆ, LJ. TASIĆ I M. In October you can expect Martin Schick’s U postfestumu očekuje vas predstava ‘Halfbread- MILIĆ (RS): TEMPORARIES ‘Halfbreadtechnique, postcapitalism for umjetnička rezidencija / artistic beginners’ and Nik Bärtsch’s Ronin that technique, postkapitalizam za početnike’ Martina residency was chosen by The Wall Street Journal Schicka te Nik Bärtsch’s Ronin čiju je izvedbu The as one of the six best live shows in 2011 Wall Street Journal odabrao kao jednu od šest najbo- 27. 8. – 15. 9. non stop MIRELA IVIČEVIĆ (HR): PLANET 8 Polukružna &TD (together with Björk, Radiohead, Patti umjetnička rezidencija / artistic Smith, Feist and Anna Calvi). ljih živih izvedbi 2011. godine (uz Björk, Radiohead, residency Patti Smith, Feist i Annu Calvi). The main partners of the festival are 2. – 6. 9. 14:00 – 20:00 PLEŠUĆI BOLERO SA SHANGAI Kino SC Swiss festival Culturescapes and Swiss BOLEROM/DANCING THE BOLERO Arts Council, Pro-Helvetia, APAP Network Glavni partneri festivala su švicarski festival Cultu- WITH SHANGAI BOLERO (within European project of SC’s Culture rescapes i švicarsko vijeće za umjetnost, Pro-Hel- radionicu vodi / workshop led by of Change APAP Performing Europe sup- vetia, mreža APAP (u sklopu europskog projekta DIDIER THÉRON (FR) ported by European Commission – Culture Programme 2007 – 2013), French Institute Kulture SC-a APAP Izvedbena Europa i uz potporu 4. – 21. 9. non stop NOĆNE VIZIJE (HR) Klub SC and Perforations Festival. Festival is sup- Europske komisije – Programa Kultura 2007. – 2013.), radionica / workshop ported by Croatian Ministry of Culture and Francuski institut te festival Perforacije. Festival se City’s Department for Culture, Education 5. 9. – 19. 9. non stop BORIS GIBÉ & FLORENT HAMON (FR): Velika &TD and Sport. Festival is held in the organiza- odvija uz potporu Ministarstva kulture RH i Grad- MOUVINSITU — umjetnička tion of Culture of Change at Student skog ureda za kulturu, obrazovanje i šport. Festival rezidencija / artistic residency Centre in Zagreb. se održava u organizaciji Kulture promjene u Stu- 6. 9. 20:00 PLEŠUĆI BOLERO SA SHANGAI Kino SC Entrance to all festival programs is FREE! dentskom centru u Zagrebu. BOLEROM / DANCING THE BOLERO WITH SHANGAI BOLERO The Culture of Change Ulaz na sva festivalska događanja je BESPLATAN! prezentacija radionice / workshop presentation

Kultura promjene 6. 9. – 14. 9. non stop DEWEY DELL (IT): MARZO Kino SC umjetnička rezidencija / artistic residency

10. – 18. 9. non stop MALA KLINE (SLO): DREAMLAB MM centar COMMUNITAS (WT), PROJECT EXPLORING THE POTENTIAL OF COMMUNITY THROUGH DREAMING istraživački laboratorij / research laboratory

15. 9. – 22. 9. non stop GÉRALD KURDIAN (FR): THE &TD — SEK STRENGTH OF THINGS

4 5 21. 9. 21:00 RAZGOVORI UGODNI: CIKLUS MM centar Ganz novi ganz ganz novi subota MLADIH VIDEO AUTORA / PLEASANT saturday CONVERSATIONS: YOUNG VIDEO AUTHORS’ CYCLE program / programme projekcije / film screenings

22:00 PERFORACIJE & GANZ: SC sve po svuda datum sat autor i naziv programa mjesto NOĆ PERFORMANSA date time author & program venue 23:00 NOĆNE VIZIJE (HR) Dvorište SC 14. 9. 21:00 DEWEY DELL (IT): TUONO MM centar AV performans / AV performance subota saturday 22. 9. 20:00 ANAGOOR (IT): L.I., LINGUA IMPERII Velika &TD nedjelja 16. 9. 20:00 MIRELA IVIČEVIĆ (HR): PLANET 8 Polukružna &TD sunday 22:00 A. STOJKOVIĆ (RS), A. SINKAUZ I MM centar ponedjeljak premijera / premiere N. SINKAUZ (HR): MALO JE DOVOLJNO monday 21:30 BORIS GIBÉ & FLORENT HAMON Velika &TD (FR): MOUVINSITU 17. – 21. 9. 11:30 @ Kafić &TD — Kava s umjetnicima u suradnji s festivalom Perforacije * Coffee time with artists in collaboration with Perforacije Festival 16. 9. – 19. 9. 18:00-23:00 BORIS GIBÉ & FLORENT HAMON Foaje &TD (FR): MOUVINSITU EXHIBITION

17. 9. 20:00 MIRELA IVIČEVIĆ (HR): PLANET 8 Polukružna &TD utorak tuesday Ganz poslije ganza 18. 9. 18:00 MALA KLINE (SLO): DREAMLAB MM centar srijeda COMMUNITAS (WT), PROJECT postfestum wednesday EXPLORING THE POTENTIAL OF COMMUNITY THROUGH DREAMING prezentacija / presentation datum sat autor i naziv programa mjesto 20:00 BORIS NIKITIN (CH): Velika &TD date time author & program venue IMITATION OF LIFE 23. 9. – 2. 10. non stop ANAGOOR (IT): VIRGILIO BRUCIA Polukružna &TD 21:00 VEJA (HR) Atrij &TD umjetnička rezidencija / artistic koncert / concert residency

18. 9. – 22. 9. 18:00 – 23:00 MARTINA NEVISTIĆ (HR): SIZIFOV Kafić &TD 30. 9. – 13. 10. non stop FELIX OTT (DE) & MARKO Kino SC PINK — instalacija / instalation JASTREVSKI (HR): THE ILIAD, 3 MEN AND A HOLE — umjetnička 19. 9. 20:00 BORIS NIKITIN (CH): Velika &TD rezidencija / artistic residency četvrtak IMITATION OF LIFE thursday 15. 10. 20:00 MARTIN SCHICK (CH): Polukružna &TD 21:30 MALA KLINE (SLO): EDEN Polukružna &TD utorak HALFBREADTECHNIQUE tuesday (POSTCAPITALISM FOR BEGINNERS) 20. 9. 20:00 ROBERTA MILEVOJ (HR): Velika &TD petak OPET ROBERTA 16. 10. 17:30 MARTIN SCHICK (CH): THE Polukružna &TD friday srijeda SPECTACULAR SPECTATOR 21:00 GÉRALD KURDIAN (FR): 1999 Polukružna &TD wednesday radionica / workshop

23:00 SAŠA BOŽIĆ I PETRA HRAŠČANEC Velika &TD 22. 10. 20:00 NIK BÄRTSCH’S RONIN (CH), Velika &TD (HR): LOVE WILL TEAR US APART utorak koncert / concert tuesday

6 7 Temporaries ANA DUBLJEVIĆ, DUŠAN BROĆIĆ, IGOR KORUGA, JOVANA RAKIĆ KISELČIĆ, LJILJANA TASIĆ, MARKO MILIĆ (RS)

23.8. – 2.9. non stop — Velika &TD — Umjetnička rezidencija — APAP Izvedbena Europa temporaries.weebly.com

KREACIJA I IZVEDBA: Ana Dubljević, Dušan Broćić, Igor Koruga, Jovana Rakić Kiselčić, Ljiljana Tasić and Marko Milić IGOR KORUGAL(RS) holds master DRAMATURGIJA: Ana Vujanović — PRODUKCIJA: Stanica – Servis za suvremeni ples, Beograd, Gradsko vijeće degrees in Anthropology Beograda, APAP Izvedbena Europa 2011. – 16. (mreža APAP), SC – Kultura promjene, Tanzfabrik i Uferstudios Berlin (Faculty of Philosophy, ) and in Performing Arts (University of Arts and HZT, Berlin). Since 1998, he has been Temporaries is the artistic project which Temporaries je umjetnički projekt koji se u širem IGOR KORUGAL(RS) magistrirao je antropologiju working as a dancer, choreographer and anthropologist within performing arts. broadly deals with the temporality as smislu bavi privremenošću kao radnim uvjetima u (Filozofski fakultet u Beogradu) working conditions in the context of the independent performing arts scene in kontekstu nezavisne scene izvedbenih umjetnosti u i izvedbene umjetnosti (University of Arts i HZT MARKO MILIĆL(RS) studied Andragogy Belgrade (RS) and international context Beogradu, i u međunarodnom kontekstu suvreme- u Berlinu). Od 1998. radi kao plesač, koreograf i at Faculty of Philosophy in Belgrade. In 2006 he was a DanceWeb of the contemporary dance and perfor- nog plesa i performansa. Projekt predlaže analizu, antropolog u okviru izvedbenih umjetnosti. mance. The project proposes an analysis, scholarship recipient. He has worked with a change, a questioning, a try-out of promjenu, propitivanje i isprobavanje ‘zajedništva’ different authors such as D. Aćin, I. Dim- ‘common’ on a micro-level, in certain na mikrorazini, u određenom kontekstu u kojem se MARKO MILIĆL(RS) je studirao andragogiju na chev, Ž. Sančanin, A. Široki, S. Abramović Milković, J. Beyer, A. Effroy and P. Rosolen context within which it is performed and izvodi te na individualnoj razini gostujućih sudionika. Filozofskom fakultetu u Begradu. within the individual level of the guest and collaborates on art project sweet and that participates. Such proposal mirrors Ovakav prijedlog manje se odražava kroz društveni i 2006. osvojio je stipendiju DanceWeb te je do danas tender collaborations. less through the social and political activ- politički aktivizam u umjetnosti, a više se oslanja na surađivao s različitim autorima, poput D. Aćin, I. JOVANA RAKIĆ-KISELČIĆL(RS) holds ism in art and relies more on the political- političnost kao aspekt umjetničkog rada ili umjetničke Dimcheva, Ž. Sančanin, A. Široki, S. Abramović Mil- ity as an aspect of an artwork or art prac- a graduate tice, which ‘addresses the ways it acts prakse, koja ‘se odnosi na načine na koji ona djeluje i ković, J. Beyer, A. Effroy i P. Rosolen te na projektu degree in Anthropology from Belgrade and intervenes in public space, in regard intervenira u javnoj sferi, u vezi s raspravama i suko- sweet and tender collaborations. Faculty of Philosophy. She is currently studying an MA program Dance Dissemi- to discussions and conflicts around the bima oko subjekata i objekata koji u njoj sudjeluju, subjects and objects that perform on it, nation, HfMT Cologne. Since 2003, she has the arrangement of positions and powers raspodjele mjesta i moći među njima, ideoloških JOVANA RAKIĆ-KISELČIĆL(RS) diplomirala je an- been engaged in theatre, contemporary among them, the distribution of the ‘sen- diskursa koji oblikuju zajednički, simbolički i čulni tropologiju na Filozof- dance and performing arts. sible’, and the ideological discourses that poredak društva’ (Vujanović, 2011). skom fakultetu u Beogradu. Trenutno je na magiste- shape a common, symbolic and sensorial LJILJANA TASIĆL(RS) is a performer order of society’ (Vujanović, 2011). riju na HfMT u Kölnu, program Dance Dissemination. and choreographer of ANA DUBLJEVIĆL(RS) je završila Akademiju likov- Od 2003. bavi se kazalištem, suvremenim plesom contemporary dance from Belgrade. She holds a BA in Architecture from the Faculty ANA DUBLJEVIĆL(RS) holds a Bachelor nih umjetnosti. Od 1999. radi kao i izvedbenim umjetnostima. in Fine Arts. Since of Architecture in Belgrade. She studied 1999, she has been working as a per- izvođačica, plesačica, koreografkinja i kulturna dje- contemporary dance and performance former, dancer, choreographer and cul- latnica u izvedbenim umjetnostima. LJILJANA TASIĆL(RS, 1978.) izvođačica je i kore- through various workshops and educa- tional programs at home and abroad. tural worker in performing arts. ografkinja suvremenog plesa iz DUŠAN BROĆIĆL(RS) graduated Paint- DUŠAN BROĆIĆL(RS) diplomirao je slikarstvo na Beograda. Završila je arhitekturu na Arhitekton- ing at Faculty of Fakultetu primijenjenih umjetno- skom fakultetu u Beogradu. O suvremenom plesu Applied Ars in Belgrade. He composes sti u Beogradu. Aktivno se bavi skladanjem elektron- i performansu učila je kroz različite radionice i obra- and works as an author and performer in the contemporary per- ske glazbe te radi kao autor i izvođač u suvremenim zovne programe u zemlji i inozemstvu. forming arts. izvedbenim umjetnostima.

8 9 DIDIER THÉRONL(FR) Rođen u Béziersu u Francu- DIDIER THÉRONL(FR) Born in Béziers, skoj. Studirao je ples kod Domi- France. He studied dance with Dominique Bagouet Plešući bolero sa niquea Bagoueta i Mercea Cunninghama. Domi- and Merce Cunningham. Dominique nique Bagouet mu je uručio nagradu za najbolju Bagouet presented him with the Award koreografiju na festivalu Hivernales d’Avignon 1987. for Best Choreography at Hivernales d’Avignon Festival in 1987. He studied Shangai Bolerom Proučavao je zen s Harradom Tangenom u hramu Zen with Harrad Tangen in Bukkokuji DIDIER THeRON (FR) Bukkokuji u Obami u Japanu. Primio je stipendiju Temple in Obama, Japan. He won the Ville Medici za studiranje u Villi Kujoyama u Kyotu u Villa Medici scholarship for studying in Villa Kujoyama in Kyoto, Japan. In Japanu. Od 1998. do 2012. Didier Théron Company the period 1998 – 2012 Didier Théron 2. – 6.9. 14:00 – 20:00 — Kino SC — Radionica plesa i kompozicije — Ciklus fran- gostovala je u Boliviji, Češkoj, Engleskoj, Hrvatskoj, Company performed in Bolivia, Czech cuskih autora & Edukultura SC — U suradnji s Francuskim institutom u Zagrebu Italiji, Indiji, Japanu, Mozambiqueu, Njemačkoj, Paki- Republic, England, Croatia, , India, Japan, Mozambique, Germany, www.didiertheron.com stanu, Škotskoj, Španjolskoj i Ukrajini. Projekt STU- Pakistan, Scotland, Spain and Ukraine. DIO – LABORATOIRE / CIE DIDIER THERON sada je STUDIO – LABORATOIRE / CIE DIDIER trajno smješten u Espace Bernard Glandier u Mon- THERON Project is now permanently located in Espace Bernard Glandier in tpellieru. Od prvih izvedbi The Partisans, u Théronu Montpellier. Since the first perfor- Intensive, five-day, creative workshop led Intenzivna, petodnevna, stvaralačka radionica pod se budi koreografija koja transformira ideju otpora mances of The Partisans, a choreog- by a French choreographer and dancer, vodstvom francuskog koreografa i plesača, Didi- u pokret na pozornici. Slijedi neminovno istraživa- raphy which transforms the idea of Didier Théron, focuses on the Shanghai resistance into movement on stage, Bolero composition. It includes a techni- era Thérona, usredotočuje se na skladbu Shanghai nje umjetničkih formi i dizajna pozornice, što se u has awakened in Théron. This is fol- cal dance class (1h 30), rehearsals (3h Bolero. Uključuje tehnički sat plesa (1h30), probe konačnici prevodi u koreografiju koja je fizički i men- lowed by the unavoidable exploration 30) and discussions about Bolero. On (3h30) te diskusije o Boleru. U petak 6.9. u 20 sati talno prisutna rigoroznim zapisom tijela u prostoru, of art forms and stage design which Friday, September 6th at 8 pm there will is finally translated into choreography be a public presentation of the workshop održat će se javna prezentacija u Kinu SC. grafičkim kretanjima, njihovom geometrijom, fizič- that is both physically and mentally at SC Cinema. kom putanjom tijela, energijom pokreta i kontrolom present, rigorous record of the body Ples: Bavit ćemo se osnovnim idejama suvreme- te energije. Théron podržava ekonomiju sredstava, in space, graphic movements, their Dance: we will deal with the basic ideas geometry, physical trajectory of the of contemporary dance: the use of the nog plesa: korištenjem poda, kontaktom, idejom koja daje njegovim radovima jasne i sažete forme, body, the energy of the movement and floor, contact, the idea of weight and the težine, te korištenjem prostora. Proučavat ćemo gdje preciznost rada s tijelom kao fizičkim materija- control of that energy. Théron supports use of space. Then, we will study the pravila specifične koreografske kompozicije Didi- lom služi kao forma grafičke vizualizacije. Kroz ples the economy of means, which provides rules of a specific choreographic compo- his works with clear and concise forms, sition by DidierThéron, Shanghai Bolero. era Thérona Shanghai Bolero. Théron nalazi svoj model otpora, on crta i svijetu where the precision of working with prezentira političko ostvarenje. body as a physical material serves Music: We will study Bolero’s music and Glazba: Proučavat ćemo glazbu i skladbu Bolera. as a form of graphical visualisation. composition. We will discuss the role of Through dance, Théron finds his model this composition in the history of music Raspravljat ćemo o ulozi ove skladbe u povijesti of resistance; he draws and presents and how, through dance, Shanghai glazbe te kako Shanghai Bolero kroz ples daje to the world a political achievement. Bolero gives an answer to Ravel’s odgovor na Ravela. Koristit ćemo Ravelovu glazbu composition. We will use Ravel’s music as a starting point for improvisation and kao polazište za improvizaciju i dramaturšku dramaturgical composition. kompoziciju.

Workshop is realized in collaboration with French Institute in Zagreb and Radionica se realizira u suradnji s Francuskim insti- with the support of Croatian Ministry tutom u Zagrebu te uz potporu Ministarstva kulture of Culture and Zagreb City Office for RH i Gradskog ureda za obrazovanje, kulturu i šport Education, Culture and Sport. Grada Zagreba.

10 11 DEWEY DELLL(IT) je 2007. godine osnovalo četvero DEWEY DELLL(IT) was formed in 2007 mladih ljudi: Teodora, Demetrio, by four young people: Teodora, Demetrio, Agata Castellucci Tuono Agata Castellucci i Eugenio Resta. Svi oni posje- and Eugenio Resta. They have strong BLACK FANFARE & DEWEY DELL (IT) duju jake vještine u različitim područjima, što je skills in different areas. This took each zahtijevalo da se svatko od njih posveti različi- of them to give priority to a specific aspect of the work, without giving tim aspektima rada, ali bez odricanja dimenzije up a collective modeling of materi- 14.9. 21:00 — MM centar — Koncert uživo — 45 min — Ulaz besplatan — Ciklus kolektivnog stvaralaštva. Tako je Teodora autorica als. Teodora is therefore author of mladih talijanskih autora — APAP Izvedbena Europa koreografija, Demetrio sklada glazbu, Eugenio je choreographies, Demetrio composes the music, Eugenio designs the dizajner svjetla te se brine o tehničkim aspektima lights and takes care of the technical produkcije, dok Agata pomaže u izradi koreogra- aspects of production, while Agata DEWEY DELL SU: Agata, Demetrio, Teodora Castellucci, Eugenio Resta — ORIGINALNA GLAZBA: Demetrio fije i brine se o različitim aspektima organizacije. assists in choreographic creation and looks after aspects of organization. Castellucci / Black Fanfare — PRODUKCIJA: Dewey Dell, 2012. — Dewey Dell dio je projekta Fies Factory Od 2007. radovi Dewey Della uključuju: à elle vide www.deweydell.com — www.blackfanfare.com Since 2007 Dewey Dell has created (2007), KIN KEEN KING (2008), Baldassarre (2009), different works: à elle vide (2007), Cinquanta Urlanti Quaranta Ruggenti Sessanta Stri- KIN KEEN KING (2008), Baldassarre (2009), Cinquanta Urlanti Quaranta denti (2010), Grave (2011/12) te različite oblike Ruggenti Sessanta Stridenti (2010), Dewey Dell in 2011 created a kind 2011. godine Dewey Dell izveo je neku vrstu kon- koncerata uživo u suradnji s glazbenom skupinom Grave (2011/12) and various forms of concert where the live music of certa u kojem se živa glazba Black Fanfarea, pro- Demetria Castelluccia, Black Fanfare, Black Fan- of live concert, in collaboration with Black Fanfare, the electronic music Black Fanfare, the musical group of project by Demetrio Castellucci, met the jekta elektronske glazbe Demetria Castelluccia, fare//Dewey Dell (2011) i Tuono (2012). Ime Dewey Demetrio Castellucci, Black Fanfare// choreographic action of the musicians, susrela s koreografskim pokretima glazbenika, u Dell odabrano je u počast Faulkneru i mladoj pro- Dewey Dell (2011) and Tuono (2012). in dialogue with the appearance of dijalogu s pojavom njihovih kostima. S Tuonom, tagonistici djela Kad ležah na samrti, pod čijim se The name Dewey Dell is a tribute to their costumes.With Tuono the group Faulkner and to the young girl of ‘As I continues to create a concert in which skupina nastavlja raditi na stvaranju koncerta u okom kolektiv priprema za lutanje prema ponoru. lay dying’, under whose look the com- movement springs like a voice, and the kojem pokret izvire poput glasa, a likovi se u nega- pany prepares itself to wander towards characters seen in negative, as musical tivu, kao i glazbeni instrumenti, prirodno pojavljuju DEMETRIO CASTELLUCCIL(IT) Od 2004. do 2008. the abyss. instruments, appear and then disap- pear with naturalness. Brief images i zatim nestaju. Kratke slike brzo se izmjenjuju da godine skladao je DEMETRIO CASTELLUCCIL(IT) From are generated by the urgency to make bi uzrokovale vizije kao rezultat opipljivog zvuka. glazbu za plesne izvedbe škole Stoa, škole pokreta 2004 to the visions that stem from the tangible Grmljavina. i filozofske misli smještene u njegovom rodnom 2008 he composed the music for the sound. Thunder. dances created by Stoa, a school of gradu Ceseni. To iskustvo dovelo je do njegova movement and philosophical thought podrobnog istraživanja dijaloga između koreograf- based in Cesena, his hometown. The ske geste i zvuka te do objavljivanja njegovog prvog experience led to Castellucci’s in-depth research on the dialogue between cho- albuma, Stoa. 2007. Castellucci je započeo solo reographic gesture and sound, and to elektronski eksperimentalni projekt pod nazivom the release of his first album, Stoa. In Black Fanfare. S projektom Black Fanfare nastupao 2007, Castellucci began a solo experi- mental electronic project named Black je na festivalu Dissonanze Roma 2010., u Wom- Fanfare. With project Black Fanfare he bClubu u Tokiju, sudjelovao je u performansima u has played at the Festival Dissonanze Galeriji Careof u Milanu i Galleria Civica di Trento Roma 2010 and at the WombClub in Tokyo, and was invited to collaborate te u kratkim animiranim filmovima. in performances at Careof Gallery in Milan and Galleria Civica di Trento, and in short animation films.

12 13 Ne znamo mnogo o budućnosti, obično ne volimo We don’t know so much about the future, Marzo predviđati na duge staze, ali volimo jednostavnost we usually don’t like to project long horizons, but we like to remain in the sim- napredovanja iz projekta u projekt. Možemo osje- DEWEY DELL (IT) plicity of going forward project by project. titi potrebu za proširenjem svog rada na drugim We can feel the need to expand our work 6. – 14.9. non stop — Kino SC — Umjetnička rezidencija poljima, ali ne u smislu da želimo mijenjati medij, in other fields but not in the meaning that nego ga samo ispuniti drugim elementima, stvoriti we want to change our media, but just to fill it with other elements, to create new novi vrtlog doprinosa i želja, novih načina suradnje, i Dewey Dell will be coming to Zagreb Dewey Dell dolaze na umjetničku rezidenciju u vortex of input and desires, new ways to from September 6 – 14 for an artistic Zagreb od 6. do 14. rujna kako bi se pripremili za residency in preparation for the premiere suradnje s drugim ljudima. Pa ipak, naš će cilj ostati work together, also with other people. Our premijeru svog novog projekta Marzo na steirischer of their new project Marzo at steirischer isti: biti u stanju iznenaditi publiku, ali bez zamjene aim will remain the same though: being herbst festival in Graz. Since 2007 the herbst festivalu u Grazu. Od 2007. godine talijan- able to surprise the audience, but not by Italian artists’ collective Dewey Dell have ski umjetnici, u okviru kolektiva Dewey Dell, rade pojma ‘ljepote’ pojmom ‘šoka’ (što se, da budemo been developing their works of dance na svojim plesnim radovima koji stvaraju impre- replacing the concept of ‘beauty’ with the which create impressive, captivating iskreni, općenito događa u svijetu umjetnosti), već moods and spaces thanks to the perfect sivne, zadivljujuće atmosfere i prostore zahvaljujući concept of ‘shock’ (as, to be honest, it is interplay of choreography, costumes, savršenoj međuigri koreografije, kostima, svjetla i smatrajući publiku ulovom i okružujući je snažnim happening right now in the world of art in light and music. For Marzo they also glazbe. Za Marzo su također surađivali s dramskim work together with the theatre maker and osjećajima povezanim s jasnim značenjima, bez da general), but by considering the audience playwright Kuro Tanino and the Japanese piscem Kurom Taninom i japanskim ilustratorom as a catch and surrounding it with strong drawing artist Yuichi Yokoyama. Yuichijem Yokoyamom. se radi samo o brzim iznenađenjima. emotions linked to clear meanings, far from being just fast surprises.

14 15 Djela su joj izvođena po Europi, Sjevernoj i Južnoj and political context, in which she often Americi. Dobitnica je Rektorove nagrade (Phantom uses acoustic side effects of modern society. Her works have been performed Planet 8 no.3, 2004.), nagrade Theodor Körner (Ace of dia- all over Europe, North and South MIRELA IVIČEVIĆ (HR) monds, 2010.), nagrade Rudolf Matz (2010.), kao i America. She won University of Zagreb’s nagrade ISCM-a za glazbeni teatar (Gender)Ben- Rector’s Prize (Phantom no.3, 2004), Theodor Korner Prize (Ace of diamonds, der 9,99 (2011.). Od 2010. s Gordanom Tudorom 2010), Rudolf Matz Prize (2010), as well 16.9. 20:00 premijera — 17.9. 20:00 — Polukružna dvorana &TD — Muzički salon SC-a organizira međunarodni festival suvremene glazbe as ISCM Prize for her Vocaltheater Com- Dani nove glazbe Split. position (Gender)Bender 9,99 (2011). In collaboration with Gordan Tudor, she has been organizing the international KONCEPT, GLAZBA I TEKST: Mirela Ivičević — SAVJETNICA ZA SCENSKI POKRET: Petra Hrašćanec — OBLI- festival of contemporary music Dani KOVANJE SVJETLA: Bojan Gagić — INSPICIJENT I DRAMATURŠKI SAVJETNIK: Vedran Hleb — PRODUCENTICA: Zanima me reflektivni i subverzivni potencijal zvuka, nove glazbe Split since 2010. Davorka Begović — IZVOĐAČI: Kaja Farszky (udaraljke), Goran Jurković (saksofon), Dunja Kobas (violina, glas), Marija Lešaja (sopran) — PRODUKCIJA: Studentski centar Sveučilišta u Zagrebu – Kultura promjene – Muzički bilo da se radi o zvuku kao osnovnom ili kao poprat- I am interested in the reflective and sub- salon — Uz potporu Ministarstva kulture RH i Gradskog ureda za kulturu, obrazovanje i šport Grada Zagreba nom dijelu koncepta. … Moj put isprepleten je najra- versive potential of sound, be it a basic or accompanying part of the concept. … zličitijim utjecajima. S bilo kojeg umjetničkog studija Planet 8 alias Operation Neptune: Planet 8 alias Operacija Neptun: scenska suita za Various influences are interwoven in my theatre suite for ensemble and (self-) ansambl i (samo)refleksiju. Dijete miješanog braka čini mi se najkorisnijim ponijeti dvije stvari: onaj dio path. I think that the most useful things reflection. A child of mixed marriage of critical and sound experience of the kritickog i zvucnog doživljaja svijeta. Bliski srod- tehničke spreme koji će ti omogućiti da lakše izra- one can learn from any art studies are: world. Close relative of Maurizio Kagel’s nik instrumentalnog teatra Maurizia Kagela i arhe- the part of technical knowledge that instrumental theatre and archetypal tipskog Neptuna za kojeg se zvuk kao izražajno ziš ono što želiš, te, još bitnije – neposluh naspram Neptune, sound as a means of expres- will enable you to express more easily sion is most commonly associated with. sredstvo najčešće vezuje. Reciklirajuci svat, služi autoriteta te bilo kakvih drugih samorazumljivosti. Recycling fellow, it uses everything it se svime što vidi i cuje, tolerantan, ne cenzurira. what you want, and even more impor- sees and hears, it is tolerant and does Ne štedi, preispituje sve što mu dođe pod ruku, pa Imala sam sreću kroz studij učiti od ljudi koji su i tant – disobedience towards authority not censor. It does not save, it questions everything that it gets hold of, even i onog tj. onu u cijoj je misaonoj galaksiji nastao. sami takvog stava, pa su me mimoišle zamke aka- and any other self-evidences. During my the one in whose mental galaxy it was Prirodno je stanište glazbenika koji se zbilje ne boje, demizma i moj je arhiv zvučnih utjecaja lišen stilskih studies I was lucky enough to learn from born. It is a natural habitat of musicians već u potrazi za subverzivnom snagom glazbe, od who are not afraid of reality, but who, in people who share the same attitude, so krhotina zbilje i postojećih glazbenih elemenata i sličnih podjela. Puno znanja i inspiracije prikupila search of subversive power of music, I escaped the traps of academism and use the fragments of reality and existing grade novi zvucno-vizualni svijet. Taj svijet zbu- sam u intenzivnom radu s drugim umjetnicima, ali my archive of audio influences is devoid musical instruments to build a new njuje, uznemiruje, nasmijava i hrabri: istovremeno audio-visual world. That world is confus- i u najobičnijim životnim situacijama te u kontaktu of stylistic and similar divisions. I have ing, upsetting, encouraging and it makes je zrcalo ne uvijek idealne stvarnosti, ali i neiscr- gained a lot of knowledge and inspira- us laugh: at the same time it is a mirror pnog izvora mogućnosti njezinog preoblikovanja. s ljudima koji s glazbom nemaju nikakve veze. No, of a not-always-ideal reality, but also of tion through intensive collaboration with the inexhaustible source of possibilities puno važnije od toga kojim putem ideš i koga na tom of its transformation. MIRELA IVIČEVIĆL(1980.) završila je studij kom- other artists, but also from the most pozicije na Muzičkoj akademiji putu susrećeš po meni je pritom pronaći optimalan common everyday situations and contact MIRELA IVIČEVIĆL(1980) graduated u Zagrebu te poslijediplomski studij medijske Composition from balans između otvorenosti i kritičkog duha. Takav with people who have nothing to do with the Academy of Music in Zagreb and kompozicije i primijenjene glazbe na Universität für music. But I think that more important she finished her postgraduate studies Musik und darstellende Kunst u Beču. Autorica je je put najuzbudljiviji i najkonstruktivniji. at Universität für Musik und darstel- akustičkih, elektroakustičkih i intermedijalnih djela, than the path one is taking and people lende Kunst in Wien. She is the author of one meets on the way is to find the opti- acoustic, electroacoustic and intermedia zvučnih instalacija, glazbe za film i kazalište, te dvije works, sound installations, music for opere. Većina njezinih djela su konceptualna i inter- mal balance between open mindedness film and theatre, and two operas. The disciplinarna, baveći se prije svega ulogom zvuka u and critical spirit. Such path is the most majority of her works are conceptual and interdisciplinary works, dealing socijalnom i političkom kontekstu pri čemu se često exciting and the most constructive. primarily with the role of sound in social služi zvučnim nuspojavama suvremenog društva.

16 17 Mouvinsitu BORIS GIBe & FLORENT HAMON (FR)

16.9. 21:30 — Velika &TD — Plesna predstava i instalacija, javna prezentacija rada u nastanku — 60 min — Ulaz besplatan — Ciklus francuskih autora & APAP Izvedbena Europa — U suradnji s Francuskim institutom — www.leschosesderien.com

KREACIJA I IZVEDBA: Boris Gibé i Florent Hamon — HVALA: Mohamed Benaji, Elsa Dourdet, Gaspard Guilbert, Nicolas Gastard, Hélène Poignon, Marinette Julien, Thomas Cottereau, Céline Zordia. — PRODUKCIJA: Les Cho- ses de Rien — KOPRODUKCIJA: Maison de la Culture d’Amiens – Centre de création et de production; Châtea- uvallon – Centre National de création et de diffusion culturelles – Ollioules; Studentski centar u Zagrebu – Kultura promjene; TRIDANSE – parcours régional d’accueils en résidence de projet chorégraphiques transdisciplina- ires – région Provence Alpes Côtes d’Azur : La Passerelle – Scène nationale des Alpes du sud – Gap; Le Citron – Jaune – CNAR – Port-st-Louis du Rhône; Le 3 bis F lieu d’arts contemporains (Aix-en-Provence) – Le Vélo Théâtre; Pôle régional de développement culturel – Apt.

Mouvinsitu is the 6th project of the Mouvinsitu je šesti projekt kolektiva Les Choses Les Choses de Rien Company and de Rien a rezultat je suradnje Borisa Gibéa i ple- was born from the collaboration between Boris Gibé and a dancer and sača i filmaša Florenta Hamona. To je proces kojem filmaker Florent Hamon. It is a process se pristupalo kroz prizmu koreografije i vizualnih approached through the prisms of umjetnosti. Ovaj rad na granici umjetničkih dis- choreographic and visual arts. This work on the border of artistic disci- ciplina razvijao se tijekom tri godine. Prve dvije plines has unrolled itself during three bile su posvećene istraživanju pokreta i filmskog years. The first two were dedicated rječnika te su rezultirale serijom kratkih filmova to the research of movement and cinematographic vocabulary and have (What comes down must go up, bio je prvi u nizu resulted in a series of short films (What tih eksperimenata). Treća godina bit će posvećena comes down must go up was the first stvaranju koreografskog rada povezanog s izlož- of such experimentations). The third year will be dedicated to the creation bom. Mouvinsitu želi stvoriti fikciju o gubitku dodira of a choreographic work linked to an sa stvarnošću korištenjem metoda filmske montaže. exhibition. Mouvinsitu aims to create Ideja je fizički eksperimentirati s prazninom i njenim fiction about loss of reality marker using the methods of film editing. It odnosom s tragedijom koju su razumjele velike intends to physically experiment the figure poput Bustera Keatona. Performans istražuje emptiness and its relationship with the pisanje scenarija na pozornici da bi istražio proces tragedy that has been grasped by the great figures such as Buster Keaton. sna i kolektivne ‘izmišljotine’ u koju ulažemo. The performance explors screenwriting on the theater stage in order to inves- tigate the process of the dream and of the collective ‘artifice’ we invest in.

18 19 vodstvom Mathilde Monnier i Xaviera LeRoya, u at CCN de Montpellier and started CCN de Montpellier te je počeo raditi kao plesač working as a dancer in productions by Yann Lheureux, Laure Bonicel and Mouvinsitu izložba u predstavama Yanna Lheureuxa, Laure Bonicel i Anne Lopez. He created concert- BORIS GIBe & FLORENT HAMON (FR) Anne Lopez. Osmislio je koncertni performans Mon- performance MontÂgne in 2006 and tÂgne, 2006. i plesnu točku Ball, 2008. Trenutno dance piece Ball in 2008. Currently, he is working with the choreographer surađuje s koreografima Mathieuem Hocquemi- Mathieu Hocquemiller, Tania Carvalho 16. – 19.9. 18:00 – 23:00 — Foaje &TD llerom, Taniaom Carvalho i kazalištem Dromesko, and the Theatre Dromesko, meanwhile dok istovremeno radi na vlastitim djelima u svom developing his personal work with his company Nomad’act and with the kolektivu Nomad’act te s kolektivom Les Choses de company Les Choses de Rien where he The exhibition of the project Mouvinsitu Izložba projekta Mouvinsitu svjedoči o kontinuira- Rien s kojim umjetnički surađuje od 2004. is the artistic collaborator since 2004. testifies an ongoing creative process, nom kreativnom procesu započetom 2011. godine which began in 2011 by making short films. Film What comes down must go snimanjem kratkih filmova. Film What comes down Jako smo inspirirani fotografskim radom Gregorya We are greatly inspired by the photo- up is a first attempt. Concerning the loss must go up bio je prvi pokušaj. Gubitkom referen- Crewdsona, Gilberta Garcina i Teuna Hocksa. Usto, graphic works of Gregory Crewdson, of reference points, each short film is tnih točaka svaki kratki film je integriran u različite integrated in different installations which Gilbert Garcin and Teun Hocks. In instalacije koje sudjeluju u scenografiji temeljenoj atmosfera i dubina filmova Andreja Tarkovskog i participate in a scenography based on addition, the atmosphere and the depth the idea of a maze, that the audience na ideji labirinta a publika je pozvana da ga otkrije. Roya Andersona elementi su koje neprestano želimo is invited to discover. These proposals Ovi izazovi namjeravaju izazvati trenja i naglasiti of films by Andrei Tarkovski and Roy intend to provoke frictions and empha- postići na pozornici. Stripovi Marca Antoinea Mat- Anderson are elements which we are size the notion of trace. pojam traga. hieua jedan su od velikih izvora inspiracije zbog continuously aiming to reach on stage. BORIS GIBÉL (FR) Immersed from a BORIS GIBÉL(FR) Od mlade dobi uronjen u svijet The comic books of Marc Antoine young age into the circus načina na koji se igra konvencijama medija...... U world and homelessness, Boris gets his cirkusa i beskućništva, Boris svoje Mathieu are one of the great sources first professional experience at the age prvo profesionalno iskustvo stječe u dobi od dva- ovom smo djelu željeli raditi na procesu snova i of inspiration in the way he plays with of twelve. In 1996, as co-founder of the naest godina. Kao suosnivač kolektiva Zampanos company Zampanos, he participated in fantazija mašte. Ovo koreografsko i plastično istra- the conventions of the medium…… four creations that toured the villages 1996. sudjeluje u četiri predstave koje su se izvo- In this piece we wanted to work on the in France but also 14 African countries dile u selima po Francuskoj te 2003. u 14 afrič- živanje snova usmjereno na stvaranje fikcije oko in 2003. Then came the exchange and kih zemalja. Zatim slijede razmjene i suradnje s process of dreams and fantasies of the collaborations with other companies ideja traga, gubljenja uporišta, značenja identiteta. imagination. This choreographic and such as Cirque Médrano, Caha Cahin, drugim kolektivima, poput Cirque Médrano, Caha Compagnie DCA (Decouflé), Ogres Cahin, Compagnie DCA (Decouflé), Ogres de Bar- U mise en abyme su burleska, paradoks, zbunje- plastic exploration of dreams aimed de Barback, Cirque Electrique, Cirque back, Cirque Electrique, Cirque Pocheros, La Cie at creating a fiction around the notion Pocheros, La Cie Christophe Haleb – La nost, nepovezanost, neobičnost i apsurd alati za Zouze, Les Cambrioleurs (Julie Bérès), Christophe Haleb – La Zouze, Les Cambrioleurs of trace, loss of points of reference, Kitsou Dubois... In 2004, Boris founded (Julie Bérès), Kitsou Dubois... 2004. Boris je osno- upravljanje promjenama identiteta, zamagljivanja the meanings of identity. In this mise the company Les Choses de Rien and vao kolektiv Les Choses de Rien te je za rad Le created Le Phare that received the grant stvarnosti s fantazijom i snom i pokušaj otvaranja en abyme, the burlesque, paradox, of Beaumarchais-SACD and won the Phare dobio subvenciju Beaumarchais-SACD i prize of Jeunes Talents Cirque 2004. His osvojio nagradu Jeunes Talents Cirque 2004. Slje- novih poetskih prostora. Potajno se brinemo kako confusion, incoherence, strangeness next works were Installation Tripode, Bull deći radovi uključuju Installation Tripode, Bull i Les and absurd are tools to operate shifts and Les Fuyantes. se boriti protiv diktature slike te kako joj pristupiti Fuyantes. of identities, to blur reality with fantasy više putem iskustva čula i u autentičnijoj stvarnosti? FLORENT HAMONL(FR) Florent has and dream and to try to open new an acrobatic back- FLORENT HAMONL(FR) U prošlosti se bavio ground and he studied film making. He poetic spaces. Our secret concern is akrobacijom, a studirao je juggled between trades of light techni- how to fight the dictatorship of the cian and cameraman while working with filmsku režiju. Dok je radio s cirkusom Zampanos circus Zampanos and Cirque Electrique. i Cirque Electrique žonglirao je između tehničara image and to approach it at a more Then he joined the contemporary chore- sensual experience and in a more ography program ex.e.r.ce 07, co-directed za rasvjetu i snimatelja, a zatim se pridružio suvre- by Mathilde Monnier and Xavier LeRoy, menom koreografskom programu ex.e.r.ce 07, pod authentic reality?

20 21 različit način i vježbamo različite načine kolektivnog a performative vehicle that allows us to stvaranja. To je istraživanje potencijalnosti tijela i experience and think our relationality differently and practice different modes Dreamlab Communitas (wt) mašte za stvaranje alternativnih vizija suživota. of collective creation. It is an explora- project exploring the potential tion of the potentiality of the body MALA KLINEL(SLO/BE/NL) je performerica, kore- and imagination to create alternative visions of co-existence. of community through dreaming ografkinja, istraživačica i spisateljica. MALA KLINE (SLO) Diplomirala je filozofiju i komparativnu književnost MALA KLINEL (SLO/BE/NL) is a per- (UL, Ljubljana) i magistrirala kazalište (DasArts, former, choreographer, researcher and writer. She holds BA in Amsterdam). Njen autorski rad temelji se na teh- philosophy and comparative literature 18.9. 18:00 — MM centar — Prezentacija umjetničkog istraživačkog laboratorija nologiji sanjanja – kreativnoj i performativnoj praksi (UL, Ljubljana) and MA in theater 120 min — Ulaz besplatan — www.malakline.com temeljenoj na afektivnom i transformativnom izvo- (DasArts, Amsterdam). Her own author- based work is embedded in technology đenju slika (prikaza). Intenzivno se bavi različitim of dreaming – creative and performative Community isn’t a property, nor is it a Zajednica nije vlasništvo, niti je teritorij kojeg treba istraživačkim, obrazovnim, izdavačkim i osnivačkim practice based on the affective and transformative performance of image. territory to be separated and defended aktivnostima. Trenutno studira na School of Images odvojiti i braniti od onih koji mu ne pripadaju. To je She is extensively engaged in differ- against those who do not belong to it. (NYC) i piše doktorat o etici u izvedbenim umjet- ent research, educational, publishing više praznina, dug, dar drugome koji nas podsjeća nostima na Odsjeku za filozofiju (UL, Ljubljana) i and founding activities. Currently Rather, it is a void, a debt, a gift to the u okviru a-passa (poslijediplomskog programa za studies with the School of Images other that also reminds us of our constitu- i na našu konstitutivnu drugost u odnosu na nas (NYC) and is writing PhD on ethics in izvedbene umjetnosti u Bruxellesu). Dobitnica je performing arts at the Department of tive alterity with respect to ourselves. same. R. Eposito, Communitas niza značajnih nagrada na području suvremenog Philosophy (UL, Ljubljana) and within R. Eposito, Communitas plesa u Sloveniji: Zlatna ptica, Povodni Moz te the framework of a-pass (postmaster program for performing arts in Brus- nedavno i Nagrade Ksenija Hribar za koreografiju. sels). She has received major awards Dreamlab is a mobile laboratory for Dreamlab je mobilni laboratorij za istraživanje i on the field of contemporary dance research and development of dream and razvoj rada sa snovima i prikazima u kontekstu in : Golden Bird Award (Zlata imagery work in the context of performing ptica), Triton Award (Povodni Moz) and arts. It serves as a platform where differ- izvedbenih umjetnosti. To je platforma gdje se pri- recently Award of Ksenja Hribar for ent approaches, practices and methods mjenjuju i razvijaju različiti pristupi, prakse i metode choreography. of work with imagination and body are rada s maštom i tijelom kao izvedbenim sredstvima being applied and developed as perfor- mative vehicles for a different production za različitu produkciju odnosa, kreativnosti i zna- Špiljski lavovi, Chauvet-Pont-d’Arc / of relationality, creativity and knowledge. nja. Kolektivni formati djela i razmjene omogućuju Cave lions, Chauvet-Pont-d’Arc The collective formats of work and rastvaranje prostora među nama koji time postaje exchange enable the spaces in-between to unfold and become accessible as a prostor potencijala, prostor nepredviđene inteligen- space of potential, a space of unforeseen cije i kreativnosti. Dreamlab je osnovan 2011., a u intelligence and creativity. Dreamlab was postojećem ciklusu (2013./14.) cilj je raditi s i razvi- founded in 2011. In the current cycle (2013 – 14) the aim is to work with and jati praksu kolektivnog sanjanja te je testirati u razli- develop the practice of collective dream- čitim izvedbenim situacijama. Praksa kolektivnog ing and test it in diverse performative set- sanjanja temeljena je na specifičnim protokolima ups. The practice of collective dreaming is based on specific protocols of opening, otvaranja, utjelovljenja i uprizorenja snova. Izvorni embodiment and staging of dreams. materijal snova služi kao privremeni izvor i okvir The original dream material serves as a kolektivnog kreativnog procesa. Praksa kolektivnog temporary source and framework of the collective creative process. The practice sanjanja otvara višedimenzionalni prostor s razli- of collective dreaming opens up a multidi- čitom ekologijom povezanosti. Otvara prostor koji mensional space with a different ecology dopušta iskustvo communitasa i njegova potenci- of connectedness. It opens up a space that allows for an experience of com- jala. Praksa je izvedbeno sredstvo koje nam omogu- munitas and its potential. The practice is ćava da iskusimo i mislimo našu relacionalnost na

22 23 Sizifov Pink O.N.E. (HR)

of a fragment in the service of the 18. – 22.9. 18:00 – 23:00 — Kafić &TD — Instalacija video-plesnog triptiha — O.N.E. I whole, and the whole in the service of a fragment. Sisyphus’ Pink Project will Festival Perforacije u suradnji s Ganzom also question the viewer’s perception: fractured, simultaneous perception of the offered materials, which, only with the viewer’s effort, merge into a whole AUTORICA & KOREOGRAFIJA: Martina Nevistić — IZVOĐAČI: (Sizif) Sara Barbieri, Petra Chelfi, Pavle Heidler, with a new meaning. (MsPink) Martina Nevistić — DIZAJNERICA: Dora Đurkesac — DRAMATURGINJA: Rona Žulj — SNIMATELJ I DIZAJN SVJETLA: Luka Matić — MONTAŽA: Miro Manojlović — FOTOGRAFIJA: Dora Đurkesac, Luka Matić MARTINA NEVISTIĆL(HR) In 2000 GLAZBA I DIZAJN ZVUKA: Luka Grubišić-Čabo — ORGANIZACIJA: Martina Nevistić, Amela Pašalić — KOSTI- graduated from MOGRAFIJA: Martina Nevistić, Sara Barbieri — PRODUKCIJA: O.N.E. — KO-PRODUKCIJA: Festival Perforacije the School of Contemporary Dance MARTINA NEVISTIĆL(HR) 2000. je završila Školu Ana Maletić, after which she was a suvremenog plesa Ane member of The Studio Contemporary Dance Company. In 2006 finished Maletić, nakon čega je bila članicom Studija za her studies at Faculty of Economics suvremeni ples. 2006. diplomirala je na Ekonom- and in 2008 her studies at the SEAD A new multimedia project of the team Novi multimedijalni projekt autorskog tima O.N.E. skom fakultetu u Zagrebu, te 2008. na SEAD-u u in Austria. During her schooling, she collaborated with well-known of authors, O.N.E., takes the myth kao polazišnu točku uzima mit o Sizifu. Sizifu, Austriji. Tijekom školovanja surađivala je s mnogim of Sisyphus as its starting point. choreographers: Anna Macrae, Salva Sisyphus, the absurd hero, Sisyphus apsurdnom heroju, simbolu upornosti i besmisla, poznatim koreografima: Anna MacRae, Salva San- Sanchis, Jule Flierl, Libby Farr, Susan as the symbol of perseverance and Sizifu kojeg ipak na kraju treba zamisliti sretnim. Lik chis, Jule Flierl, Libby Farr, Susan Redhorst, Ted Redhorst, Ted Stoffer and Sanja Tropp Fruehwald. Since autumn 2009, lives in absurdity, Sisyphus who should be MsPink simbolizira sustav i kod potrošačkog društva, Stoffer i Sanja Tropp Fruehwald. Od jeseni 2009. seen as happy in the end. The charac- Zagreb where she works as a dancer, ter of MsPink symbolizes the system konzumerizma, ono što nam se kontinuirano nameće živi u Zagrebu gdje radi kao plesačica, izvođačica, performer, author and pedagogue. and code of the consumer society, of kao bitno, dok je u suštini nebitno i apsurdno. Ti autorica i pedagoginja. consumerism, of what is imposed on apsurdi neprekidnog i kružnog kretanja uzimaju I finished dance education and move- us as important, while, in principle, it is essentially unimportant and absurd. princip loop-a koji postaje osnovni gradbeni blok Završila sam plesnu edukaciju i pokretanje mi je ment is the basis of my work. I think Those absurdities of continuous and videa. U videu se pojavljuju tri glavna izvođača, čije baza rada. Razmišljam kako pokretanje izvođača about how the movement of performers circular movement take on the princi- je kretanje obilježeno ponavljajućim sekvencama i ple of loop and thus the loop becomes can influence viewers. Interactivity is međusobnim nalaženjem i razmimoilaženjem. Video može utjecati na gledatelje. Bitna mi je interak- the basic building block of the video. important to me. How to play with the Three main performers appear in projekcija razlomljena u više dijelova, povezanih ali tivnost. Kako se igrati sa percepcijom gledatelja, the video, whose movement is again prostorno rascijepljenih. viewers’ perception, but in a subtle way. characterized by repetitive sequences ali na suptilan način. Kroz rad ulazim u kolabo- Through my work I enter into collabora- and the act of finding and missing each other. The video projection is divided Sizif će tako propitivati apsurdnost kretanja koje ne racije s vizualnim umjetnicima. U odnosu videa tions with visual artists. In the relation- into several parts, connected, but pokreće (ne pokreće ‘dalje’ i ne pokreće ‘naprijed’, nego ship between video and dance happens spatially split. i plesa dešava se nešto što je koreografiranje u se uvijek vraća na početak) kao i upornost ustrajanja something like choreographing in real Sisyphus will thus question the koje uvijek iznova vodi na početnu točku, te volju da pravom vremenom i post-koreografiranje, razme- time and post-choreographing, the absurdity of the movement that does se ipak ponovno pokrene. Isto tako, na vizualnoj razini, not move (does not move on and does đina između toga daje prostor za nove spoznaje, dividing line between that provides not move forward, but always returns propitivat će zakonitosti fragmenta u službi cjeline, kao space for new insights, new creativity to the beginning) as well as the per- i cjeline u službi fragmenta. Sizifov Pink propitivati će novu kreativnost i prostor pristupa gledatelju. Još sistence of perseverance that always i gledateljsku percepciju – razlomljeno, istovremeno and space for approaching the viewer. leads to the starting point, and the je Nietzsche pričao o poziciji trećega – onoga koji Even Nietzsche talked about the posi- willingness to start again. Also, on the percipiranje ponuđenih materijala koji će se tek gle- visual level, it will question the patterns dateljevim trudom spojiti u cjelinu s novim značenjem. gleda. tion of the third – the one that watches.

24 25 Grundgesetz o ustavnom pravu. Također redovito brain research, and Das Grundgesetz surađuje sa Schauspielhaus Graz i Theater Freiburg. about constitutional law. He’s also Imitation of Life regularly collaborating with Schaus- pielhaus Graz and Theater Freiburg. BORIS NIKITIN (CH) Većina se mojih projekata bavi pitanjem: što je Most of my projects deal with the stvarnost? Na kojim se kodovima, sporazumima questions: what is reality? What are 18. i 19.9. 20:00 — Velika &TD — Kazališna predstava — 80 min — Ulaz besplatan our codes, agreements and rules our Culturescapes u Studentskom centru, u suradnji s festivalom Culturescapes Balkan 2013. i pravilima temelji naša ideja stvarnosti? Kako ja idea of reality is based on? How do I Uz podršku Švicarskog vijeća za umjetnost Pro Helvetia — www.borisnikitin.ch doživljavam stvarnost? U mojim se projektima uglav- perceive reality? In my projects it’s very nom radi o konstrukciji stvarnosti i identiteta. To je much about the construction of reality KONCEPT I REŽIJA: Boris Nikitin — OD I SA: Beatrice Fleischlin, Malte Scholz — SCENOGRAFIJA: PanteraPan- vjerojatno povezano s mojom hibridnom pozadinom, and identity. It’s probably connected tera / Thomas Wüthrich, Jens Müller — DRAMATURGIJA: Cecilie Ullerup Schmidt — SVJETLO I ZVUK: Matthias to my hybrid background, being a Meppelink — MENADŽER: Boris Brüderlin / Paraform Produktionen — KOPRODUKCIJA: Treibstoff Theatertage s time što sam gay rusko-slovačko-francusko-švi- Basel, Kaserne Basel i Hebbel am Ufer Berlin — Uz podršku švicarskog vijeća za umjetnost Pro Helvetia gay Russian-Slovakian-French-Swiss- carsko-židovsko-kršćanski umjetnik. Ako u svom Jewish-Christian artist. If you haven’t umu i duši ne posjedujete jasnoću, jasnoća koju se clarity in your mind or soul the clarity the world around you pretends to have svijet oko vas pretvara da posjeduje postaje lažna. Fake diaries, fake images, fake secret Lažni dnevnici, lažne slike, lažna izvješća tajnih becomes phony. That’s probably the To je vjerojatno i osnova svakog emancipacijskog service reports, fake scientific proto- službi, lažni znanstveni protokoli, lažne biogra- base of every emancipatory movement: cols, fake biographies, fake documents – at some point they were all believed fije, lažni dokumenti – u jednom se trenutku vje- pokreta: da shvaćate da je svijet oko vas prevara. that you realise that the world around to be real. Only when they were rovalo da su svi oni istiniti. Tek u trenutku kada you is fake. That allows you to act and revealed to be fakes did it become To vam omogućuje djelovanje i donošenje vlastitih je otkriveno da su lažni postalo je jasno da stvar- to make own decisions. clear that reality can deceive. Boris odluka. Nikitin thinks about fiction and reality nost može zavarati. U dokumentarnoj predstavi o in a documentary show about fraud, prevari, manipulaciji i moći afirmacije Boris Nikitin manipulation and the power of affirma- razmišlja o fikciji i stvarnosti. Glavni su akteri ove tion. Two actors and a counterfeiter are the central figures in this play. They are drame dva glumca i krivotvoritelj. Oni su imitatori imitators who are able to impersonate koji se mogu predstavljati kao netko drugi. Imitacija somebody else. Imitation of Life is a života je kazališno balansiranje između točnosti i theatrical balancing act between cer- tainty and uncertainty about informa- netočnosti informacija. Duboko djelo koje ukazuje tion. A profound piece which points to na podrijetlo naše sumnje da stvari možda i nisu the origin of our suspicion that things onakve kakvima se čine. might not be what they appear to be.

BORIS NIKITINL(CH) Born in Basel, BORIS NIKITINL(CH) Rođen u Baselu, završio je studied at the Institut Institut für Angewandte Thea- für Angewandte Theaterwissenschaft in Giessen, Germany. He creates perfor- terwissenschaft u Giessenu, u Njemačkoj. Radi na mance projects and works as a curator performansima te kao kustos za festivale i kazališta. for festivals and theatres. Imitation Imitacija života njegov je treći rad u suradnji s Mal- of Life is his third piece in collabora- tion with Malte Scholz. Both Woyzeck, teom Scholzom. I Woyzeck, koji je osvojio nagradu which won the Jury Prize at the Festival žirija na festivalu 100° Berlin i F wie Fälschung 100° Berlin, and F wie Fälschung (nach (nach Orson Welles) pozvani su na festival Impulse Orson Welles) were invited to the Fes- tival Impulse in 2009. In 2011, Nikitin 2009. godine. 2011. godine Nikitin je realizirao created Universal Export, a piece about Universal Export, djelo o istraživanju mozga i Das

26 27 Veja

18.9. u 21:00—Atrij &TD — Koncert — 90 min — Ulaz besplatan — Muzički salon SC uz potporu HDS Zampa — www.facebook.com/vejamusic

Ovaj projekt sufinancirao je HDS ZAMP VEJA SU: Goran Farkaš (vokal, mih, violina, gajde, kaval), Saša Farkaš (gitara, udaraljke), Marko Pernić (vokal, iz fonda sredstava koje služba ZAMP harmonika), Sebastijan Demark (bas gitara), Ljuban Rajić (cajon) i Marijan Jelenić (dizajner zvuka). prikupi na ime prava na naknadu za prazne medije, a koja se sukladno odredbi Zakona o autorskom pravu i srodnim pravima dodjeljuju temeljem Natječaja HDS-a za potporu projekata s područja popularne glazbe.

Veja comes from Pazin. It’s focused Veja dolazi iz Pazina i bavi se istraživanjm istar- on researching Istrian traditional ske narodne tradicijske glazbe te izvođenjem folk music and performing it in more modern arrangements by using various iste u modernijim aranžmanima koristeći razne traditional instruments from all over tradicijske instrumente iz cijeloga svijeta. Veja je the world. Up to now, Veja has had do sada održala 50-tak nastupa u Hrvatskoj ali i around 50 performances in Croatia and neighbouring countries. Their most u susjednim zemljama. Članovi benda izdvajaju memorable concerts were those at the nastupe na festivalu Ethnoambient u Solinu, Tra- Ethnoambient festival in Solin, TradI- dInEtno festivalu u Pazinu te FolkHistria festivalu nEtno in Pazin and FolkHistria festival in Koper. Recently, they’ve returned from u Kopru. Nedavno su održali i prvu inozemnu tur- their first tour abroad, in France, where neju u Francuskoj a posebice se izdvojio nastup u their performance at the most famous poznatom jazz klubu u Parizu ‘New Morningu’ gdje Parisian jazz club ‘New Morning’ stood out as an immense success among the su bili odlično prihvaćeni od publike i pohvaljeni od audience, media and music profession- strane medija i struke. Tradicijska glazba istarskog als. Traditional music of the Istrian penin- poluotoka njihov je glavni motiv i nadahnuće koje sula is their main motive and inspiration. In the midst of their many academic and im daje energije kako bi se u mnoštvu studentskih i professional obligations, it gives them radnih obveza uspjeli posvetiti i glazbenom stvara- the energy they need to create music laštvu i publici prenijeti vlastiti doživljaj glazbe koja with the dedication required to convey successfully their own experience of the je pokretala, vedrila i osnaživala njihove roditelje, music which moved, cheered and invigo- bake i djedove. Možda bi se preci članova grupe rated their parents and grandparents. Veja isprva začudili načinu na koji njihovi potomci Perhaps the ancestors of Veja’s mem- bers would at first be astounded with the danas koriste mih, gajde, kaval, violinu, harmoniku way in which their descendants are using i gitaru uz bas gitaru, djembe i cajon, ali bi s vreme- mih (Istrian bagpipes), gajde (Slavonian nom prihvatili činjenicu da se sve mijenja, a time i bagpipes), kaval, fiddle, accordion and guitar together with bass guitar, djembe raste, a sve što raste – živi, nadahnjuje i pruža nove and cajon, but in time they would accept prilike za nova stvaralaštva. the fact that everything changes – thus grows, and all that grows – lives, inspires and opens new opportunities for creativity.

28 29 Eden MALA KLINE (SLO)

19.9. 21:30 — Polukružna &TD — Plesna i kazališna predstava — 60 min — Ulaz besplatan — U suradnji s Pekinpah / Kink Kong te uz potporu Ministrstvo za kulturo Republike Slovenije — Staro dobro je uvijek ganz novo! — www.malakline.com

KONCEPT, KREACIJA I IZVEDBA: Mala Kline — SCENA, KOSTIMI I SVJETLO: Petra Veber — GLAZBA: Alen i Nenad Sinkauz (East Rodeo) — GLAZBU UŽIVO IZVODE: Sašo Kalan & Luka Ropret — POMOĆ I TRENIRANJE: Lucija Barišić i Adriana Josipović — SAVJETNICA: Andrea Božić, Guy Cools — ASISTENTICA KOSTIMOGRAFKI- NJE: Amanda Kapić — TEHNIČKI DIREKTOR: Luka Curk — TEHNIČAR: Hipi Jaja — PRODUCENT: Žiga Predan PRODUKCIJA: Pekinpah – Kink kong i E.P.I. center — KOPRODUKCIJA: Studentski centar u Zagrebu – Kultura promjene – Teatar &TD, DasArts Amsterdam, Kino Šiška, EN-KNAP / Španski borci — PARTNERI: Narodni dom Maribor, SON:DA — PODRŠKA: modul-dance, Ministarstvo kulture RS, Ministarstvo obrazovanja, znanosti, kultu- re i sporta RS, Grad Ljubljana — Uz potporu Programa Kulture Europske Unije u sklopu modul-dance projekta www.modul-dance.eu

Eden juxtaposes two worlds that are Eden suprotstavlja dva svijeta koja su istovremeno simultaneously present in the meeting prisutna u susretu izvođača i publike. Ovdje i sada between a performer and an audience. The here and now of the theatrical kazališnog susreta suprotstavlja se carstvu slika meeting collides with the realm of koje lebde u prostorima unutar, izvan i između tijela. images that hover in the spaces within, Radeći s ovim slikama kroz lik klauna, Eden sudara outside and in-between the bodies. Working with these images through a suprotnosti te razigrano i sa smislom za humor upri- figure of a clown, Eden collides oppo- zoruje paradokse. Eden nije blaženo stanje odmora. sites and stages paradoxes playfully Eden je mjesto ozdravljenja sa žiletom. Predstava and with a sense of humor. Eden is not a blissful state of rest. Eden is a place Eden pretpremijerno je prikazana na Novom ganz Zanima me kazalište kao mjesto prisjećanja na I’m interested in theater as a place of healing with a razorblade. Eden novom festivalu 2012. godine. Mala Kline s pred- pitanja tko smo bili, tko smo sada i tko možemo of remembrance of who we are, who was pre-premiered at New Ganz New stavom Eden iste je godine na festivalu Gibanica Festival in 2012. In the same year, Mala we were and who we could be. I work osvojila nagradu Gibanica za najbolju predstavu po biti. Radim u kazalištu jer mi ono pruža priliku za Kline has with the performance Eden in theater because it gives me an won a Moving Cake Award for Best izboru publike te nagradu Ksenija Hribar za najbolju maštanje, razmišljanje, stvaranje novih svjetova Performance selected by the audience koreografkinju. opportunity to imagine, think, and cre- and Ksenija Hribar Award for female – paralelnih našem. Uživam u tome što se sve može ate different possible worlds, parallel choreographer at Moving Cake Festival. stvoriti iz ničeg i iznebuha. Radim tijelom i maštom. to the one we live in. i love the fact that everything can be created from scratch Istražujem kako slike pokreću ljude, kako nas pove- and out of the blue. I work with imagi- zuju i razmještaju. nation and body. I explore how images move people, how they displace us and connect us.

30 31 kao i percepcija samog stvaranja. Zanimala me along with the perception of the creation Opet Roberta usporedba tih dvaju iskustva: kako promatrati itself. I was interested in comparing the two experiences: how to observe one’s osobni doživljaj prirode u koreografskom smislu, ROBERTA MILEVOJ (HR) personal perception of nature through kako obraditi ono prirodno u performativnom smi- choreography, how to deal with the natu- 20.9. 20:00 — Velika &TD — Plesna predstava — 60 min — Ulaz besplatan — Staro slu. R. Milevoj ral when performing. R. Milevoj dobro je uvijek ganz novo!

Odlučio sam snimiti ‘live sessione’ promatrajući I decided to record live sessions while observing Roberta’s movements. I tried KOREOGRAFIJA I IZVEDBA: Roberta Milevoj — GLAZBA: Nenad Sinkauz — DIZAJN SVJETLA: Bojan Gagić Robertine kretnje. Nastojao sam ih snimiti kao da SAVJETNIK: Matija Ferlin — GRAFIČKI DIZAJN: Mauricio Ferlin — FOTOGRAFIJE: Goran Škofić — ODNOSI to do so as if doing some typical field S JAVNOŠĆU: Morena Milevoj — PRIJEVOD: Ana Uglešić — PARTNERI PROJEKTA: Studentski centar Sveu- se radi o tipičnom ‘field recordingu’. Te snimke tako recording. The recordings thus became čilišta u Zagrebu – Kultura promjene, Mediteranski plesni centar – Svetvinčenat i Hrvatski institut za pokret i ples FINANCIJSKA PODRŠKA: Grad i Ministarstvo kulture RH su postale moja glazbena partitura. N. Sinkauz my musical score. N. Sinkauz

Roberta Again is Roberta Milevoj’s Opet Roberta je nova plesna predstava Roberte ROBERTA MILEVOJL(HR) Prvo plesno iskustvo ROBERTA MILEVOJL(HR) Started danc- new dance piece which explores the Milevoj koja istražuje mogućnosti preoblikovanja stječe u sedmoj godini u ing at the age of possibilities of reshaping the emotional 7 in the Studio for Creation Activities experience of a natural space in an emotivnog doživljaja prirodnog prostora u umjet- Studiju za stvaralačke aktivnosti ZARO u Puli. ZARO in Pula. She continued to attend artificial setting such as a performance nom prostoru izvedbe. Crpeći materijal iz bivanja u Profesionalno obrazovanje nastavlja u Hrvatskoj professional workshops in Croatia and space. As the transit from the former prvom prostoru, prelaskom u drugi prostor dolazi i inozemstvu sudjelujući na mnogim međunarod- abroad participating in many interna- into the latter is made, the material tional programs and workshops. From obtained by being in the natural place do njegove transformacije. Tako promijenjen plesni nim programima i radionicama. Od 2005. razvija 2005, she has been developing her own transforms. Backed by a specific musi- materijal, podržan specifičnom glazbenom podlo- svoj autorski rukopis te potpisuje više samostalnih, authorial handwriting and has authored cal background, such altered dance gom, stvara novu perspektivu vremena i prostora kraćih i cjelovečernjih predstava. 2010. dobitnica few independent, short and full lenght material creates a new perspective of performances. In 2010 she won the the time and space of the performance. izvedbe. je Nagrade hrvatskog glumišta za najbolju žensku Croatian Actors’ Guild Award for the best ulogu u predstavi Nastup. 2011. dobitnica je pro- female role in the performance Nastup. Je li prvi, prirodni, prostor samo mjesto iz kojeg dukcijske nagrade Tjedna suvremenog plesa za In 2011 she won the best production Is the first, natural space just a place award at the Contemporary Dance Week from which we draw inspiration for the crpimo inspiraciju za drugi, umjetni, prostor? Je predstavu Roberta, Roberta. for the show Roberta, Roberta. other, artificial space? Is it possible to li moguće prevesti jedan prostor u drugi? Je li translate one space into the other? Is it possible for a space to change moguće da se prostor promijeni samo zato što se solely on the basis of a change of our naša percepcija promijenila? Je li moguće stvoriti perception? Is it possible to create a treći, imaginarni, prostor kroz oživljavanje tjelesnog third, imaginary space by reviving a physical memory? Is what we see really sjećanja? Je li ono što vidimo zaista to što vidimo? the way we see it?

I believe that the body, just like nature, Vjerujem da je tijelo, kada se nalazi u neuobičaje- is faced with a lack of the usual creat- nom prostoru za stvaranje materijala, kao što je to ing tools on disposal if it finds itself in a priroda, suočeno s nedostatkom alata kojima inače space rarely used for creating material. In such a situation, the conditions under raspolaže u stvaranju. U takvoj situaciji mijenjaju se which the show is being made change i uvjeti u kojima predstava nastaje,

32 33 GÉRALD KURDIANL(FR), performer, tekstopisac i GÉRALD KURDIANL(FR), performer, radijski umjetnik, prije sudje- songwriter and radio-artist, studied visual arts in 1999 lovanja u suvremeno plesnom programu studija Ecole Nationale Supérieure d’Arts de GeRALD KURDIAN (FR) EX.E.R.CE 07 pod vodstvom Mathilde Monnier i Paris-Cergy before taking part in the Xaviera Le Roya, studirao je vizualne umjetnosti u EX.E.R.CE 07 contemporary dance program directed by Mathilde Monnier Ecole Nationale Supérieure d’Arts de Paris-Cergy. and Xavier Le Roy. His musical perfor- 20.9. 21:00 — Polukružna &TD — 55 min — Ulaz besplatan — Ciklus francuskih Njegovi glazbeni performansi predstavljeni su mances have been shown in various autora — U koprodukciji s festivalom Perforacije te u partnerstvu s Francuskim institutom diljem Europe, Kanade i SAD-a. Režirao je nekoliko places in Europe, Canada and the U.S. He has created several radio-docu- www.geraldkurdian.com radijskih dokumentaraca i radijskih projekata koji mentaries and radio projects exploring istražuju performativnost zvuka i kritiku suvremene sound performativity and contemporary umjetnosti. Paralelno, fokusiran je na This is the arts critique. In parallel, he focused on, This is the hello monster!, his avant-pop KONCEPT I IZVEDBA: Gérald Kurdian — ZVUK I TEHNIKA: Adrien Gentizon — KOPRODUKCIJA: Centre Clark hello monster!, svoj avant-pop solo bend. Njegov solo band. Winner of the Paris Jeunes / Montréal, W2 productions — HVALA: Les Laboratoires d’Aubervilliers, Philippe Quesne / Vivarium Studio, CCN prvi LP, izdan u travnju 2010., u francuskim je novi- Talents contest and supported by de Montpellier, la Ménagerie de Verre. nama Libération izabran za album godine. the FAIR 2010, he performs regularly in France and abroad. His first LP, released in April 2010, was selected by the French newspaper Libération as record of the year 2010.

The 1999 project holds on to the 48 Projekt 1999 poziva se na 48 epizoda televizijske episodes of the Space 1999 TV series serije Space 1999 (i njihov scenarij) te pokušava (and its scenario) and tries to extract from it both imaginary dynamics to use iz njih izvući imaginarnu dinamiku da bi je iskori- them as a set of performative scores. stio kao skup izvedbenih partitura. Na konkretnoj On a concrete level, it consists in a razini, sastoji se od isječaka jednostavnih radnji cut-up of simple actions (walk, talk, run), little dances (mambo, tango) (hod, govor, trčanje), malih plesova (mambo, tango) and chansons d’amour. The different i ljubavnih šansona. Različiti uređaji korišteni u dispositifs used in 1999 tend to set 1999 nastoje uspostaviti sinergijske odnose između up synergetic relationships between anticipation movies (utopia of future) filmova očekivanja (utopija budućnosti) i glazbe- and musical self-education (utopia of nog samoobrazovanja (utopija sadašnjosti). Svaki present). Each one of them is defined od njih definiran je u odnosu na svaku od uloga in relation to each musical industry roles: performer, composer, graphic u glazbenoj industriji: izvođač, skladatelj, grafički designer, video-clip director, artistic dizajner, redatelj video spotova, umjetnički direktor, director, manager, etc. It’s a model menadžer, itd. To je maketa velikoga svijeta, koja scale of a broad world, challenging the potentialities of an amateur musical postavlja izazov pred potencijale amaterskog glaz- project called This is the hello monster! benog projekta pod nazivom This is the hello mon- Voluntarily lo-fi (as opposed to hi-fi), ster! Namjerno u manjoj kvaliteti, lo-fi (u suprotnosti 1999 therefore tries to re-think one’s understanding of spectacle and wishes s višom kvalitetom, hi-fi), 1999 pokušava promišljati to offer the audience members the razumijevanje spektakla te želi publici ponuditi choice of their investment. izbor vlastitog ulaganja.

34 35 The Strength of Things GeRALD KURDIAN (FR)

15.–22.9. non stop — dvorana SEK Teatra &TD — Umjetnička rezidencija — U kopro- dukciji s festivalom Perforacije te u partnerstvu s Francuskim institutom

Since the release of his first record Od objavljivanja prve ploče pod nazivom This is under the name of This is the hello the hello monster!, Gérald Kurdian razvio je jedin- monster!, Gérald Kurdian devel- influence of our medias and domestic ops a unique approach of musical stven pristup glazbenoj izvedbi propitujući naše new technologies (tablets, comput- performance questioning our different drugačije odnose prema spektaklu i prilagođenu računala, smartphoneova) na naša tijela, naš ima- ers, smartphones) on our bodies, our imaginaries, our perception of reality. relationships to spectacle and the razmjenu njegove proizvodnje. Premda uglavnom ginarij, naš doživljaj stvarnosti. To je u neku ruku attuned sharing of its production. It is in a way a scope on our collective Working mainly on stage, he neverthe- radi na pozornici, on svejedno pokušava razbiti pokušaj obuhvaćanja našeg kolektivnog nesvje- unconscious and an opportunity to less tries to break open its limits, using njene granice, koristeći pop glazbu i njeno okru- snog i prilika da se dobije globalni pogled na čudni take a global view on the strange and sometimes absurd dialog the pop music and its surroundings as ženje kao stimulirajući alat kritičkog oruđa. Danas i ponekad apsurdni dijalog koji suvremeni pojedinci a stimulating kit of critical tools. He contemporary individuals keep up with wishes today to re-experiment the želi ponovno eksperimentirati s izazovom nove vode sami sa sobom. themselves. challenge of a new record and, in the ploče te istom aktivnošću propitivati svoje vlastito same movement, to question his own razumijevanje onoga što koncert može biti, sve to I have the sensation art’s aim should understanding of what a concert can be, this in the frame of a project, The u okviru projekta The Strength of Things. Imam osjećaj da bi svrha umjetnosti trebala ostati remain uncanny, somehow underlying. Strength of Things. začudna, svojevrsno prikrivena. Ipak, mogu odrediti I nevertheless can identify superficial Imaginarno polje projekta The Strength of Things The imaginary field of The Strength of efforts, more obvious directions in okuplja ideje starenja tijela, povijesti tehnološkog površna nastojanja, očitije pravce u mojim izborima Things brings together the idea of an my choices such as emancipating aging body, a history of technological napretka, političkih sukoba ili seksualnih praksi, poput emancipiranja gledateljstva (redefiniranjem progress, of political conflicts or sexual na primjer. On suprostavlja osnove pop skladanja spectatorship (by a redefinition of practices, for example. It confronts the naših odgovornosti, buđenjem naših mogućnosti, our responsibilities, an awakening of basis of pop composition (verse-cho- (stih-refren-stih-refren-most-refren) i sinergijske rus-verse-chorus-bridge-chorus) and upotrebe različitih dokumenata uzorkovanih na cirkuliranjem našim suptilnim dimenzijama), iscr- our possibilities, a circulation through the synergetic use of different docu- internetu, proizvedenih aplikacijama za iPad (3D our subtle dimensions), exhausting ments sampled on internet, produced pljivanja suvremenih vokabulara (iako je to gotovo with iPad applications (3D modeling, modeliranje, proširene stvarnosti, itd.) ili snimljene contemporary vocabularies (although augmented reality, etc) or recorded uz pomoć ezoteričnih praksi (vidovnjaci, energeti- nemoguće i/ili bi bio posao za nekog semiotičara) this is almost impossible and/or would with esoteric practitioners (psychics, čari, astrolozi, itd.), poslovnih ljudi i ljudi pretpla- energeticians, astrologists, etc), recimo, bar poigravanje njima, izazivanje emocija i/ be some semiologist’s job) so let’s say, businessmen and gym subscribers. ćenih na teretanu. Uživo se odvija kao prošireni at least playing with them, triggering Live, it takes place as an augmented koncert s različitim objektima (pjesme, video pro- ili afekata za razoružavanje izvođača i publike, otva- concert which various objects (songs, jekcije, radnje) koji bi se simultano mogli pozvati na emotions and/or affects to disarm both videos, actions) could simultaneously ranje mogućnosti u okviru stvaranja, proizvodnje ili call upon and examine the codes of i ispitivati kodove pop kulture koja se okreće oko the performer and audience, opening a pop culture swiveling between the arhaizma svoje kolektivne tradicije i industrijskih distribucije umjetnosti. possibilities in the frame of creation, archaism of its collective traditions and perspektiva svog marketinga. Stoga u sebi nosi the industrial perspectives of its mar- production or distribution of art. keting. It hence carries in itself number brojna pitanja koja se odnose na napredak i utjecaj of questions relating to progress and naših medija i domaćih novih tehnologija (tableta,

36 37 Erciyas, Sanja Petrovski, Katarina Đurđević, Sanja and finished Salzburg Experimental Tropp Fruehwald, Matija Ferlin, Ksenija Zec i Saša Academy of Dance. She was a part of Studio Contemporary Dance Company Love Will Tear Us Apart Božić, s kojim kontinuirano surađuje na plesnim i ensemble, and she is the co-founder SAŠA BOŽIĆ I PETRA HRAŠĆANEC (HR) kazališnim projektima.Dobitnica je Nagrade hrvat- of artistic organizations dance lab skog glumišta 2012. za najbolju žensku plesnu collective and 21:21. She collaborated with choreographers such as: Matthew izvedbu za solo Love will tear us apart. William Smith, Begum Erciyas, Sanja 20.9. 23:00 — Velika dvorana &TD — Plesna predstava — 30 min — Ulaz besplatan Petrovski, Katarina Đurđević, Sanja Staro dobro je uvijek ganz novo! — www.defactoart.com SAŠA BOŽIĆLkazališni je redatelj, koreograf i Tropp Fruehwald, Matija Ferlin, Ksenija Zec and Saša Božić, with whom she plesni dramaturg. Surađivao je, collaborates in his dance and theatre kao dramaturg, s inozemnim koreografima poput projects. She is the winner of Croatian KONCEPT: Saša Božić — KOREOGRAFIJA: Saša Božić i Petra Hrašćanec — IZVEDBA: Petra Hrašćanec Isabele Schaad, Simone Aughterloney, Francesca Drama Artist Prize 2012. for best female dance performance for her solo IZBOR GLAZBE: Saša Božić i Petra Hrašćanec — PRODUCENTICA: Štefica Bartolin — FOTOGRAFIJE I VIDEO: Scavette, Martine Pisani, Dalije Aćin... Kroz 2008. i Danko Stjepanović — PRODUKCIJA: de facto — Uz potporu Ministarstva Kulture RH in Love will tear us apart. 2009. kordinirao je popratni program Eurokaza, bio je kućni dramaturg Zagrebačkog plesnog ansam- SAŠA BOŽIĆLis a Croatian theater director, choreograph bla, surađivao na projektima Studija za suvremeni and dance dramaturg. He worked as Love will tear us apart, first part of Love will tear us apart, prvi dio trilogije o odnosu ples, a trenutno radi kao asistent na Odsjeku za dramaturg with renowned European a trilogy dedicated to realtionship suvremenog plesa i specifičnog žanra pop-glazbe, scenski pokret pri Akademiji dramske umjetnosti choreographers such as Isabele between contemporary dance and a Schaad, Simone Aughterloney, Fran- specifical genre of pop music, is a solo solo je kreiran za izvođačicu Petru Hrašćanec. Sam u Zagrebu. S Barbarom Matijević vodi nezavisnu cesco Scavetta, Martine Pisani, Dalija created for performer Petra Hrašćanec. rad žanrovski vrluda između rock-koncerta, ispo- kazališnu skupinu de facto, u okviru koje ostvaruje Aćin. During 2008. and 2009. he was The work itself fuses several genres vjedne forme i apstraktnog plesa. Pitanje vlasništva niz međunarodnih suradnji i projekata. the coordinator of Euroakaz programs, and is somewhere between a rock also he was the house dramaturg for concert, confession and abstract nad izvedbom isprva stavljeno u apstraktni plesni Zagreb dance ensemble and collabo- dance. The question of ownership over okvir bavljenja tijelom i politikom pogleda, ekstre- rated with Studio Contemporary Dance the performance at first was positioned mno se proširuje u širi umjetnički i socijalni okvir. Company. Currently he works as an within an abstract dance frame dealing assistant at the Department for Stage only with the body and the politics of Ljubav iz naslova prenešena je u ljubav spram plesa, movement at the Academy of Dramatic observation, extremely expanding into čina plesa samog, dok rad raspravlja razliku između Art in Zagreb. With Barbara Matijević a broader arts and social context. Love plesa i njegove realizacije kao društvenog doga- he runs an independent theater group in the title relates to love for dance, named de facto, in which he develops the act of dance itself, while the work đanja kroz konstituciju pojma izvođačice same. international cooperation and projects. debates the difference between dance Izvođačica Petra Hrašćanec izvodi plesne numere, and its realization as a social event odabrane ljubavne pjesme, dok u pauzama sazna- through the constitution and definition of the performer herself. Performer jemo naoko efemerne detalje o nastanku same Petra Hrašćanec executes dance produkcije, raspličući suptilnu mrežu odnosa moći numbers, chosen love songs, while koja definira čin izvedbe. Gledatelj je pozvan da in the intermission we are to learn about seemingly ephemeral details aktivno preuzme odgovornost u lancu hijerarhije about the origins of this production, izvođačkog čina. weaving a fine net of relationships between powers which define the act of performance. The audience is invited PETRA HRAŠĆANECLzapočela je plesnu eduka- to actively take on the responsibility ciju u Zadru a nastavila je about the sequences in the hierarchy u Školi suvremenog plesa Ane Maletić, potom je of the act of performing. upisala i završila Salzburg Experimental Academy PETRA HRAŠĆANECLstarted her of Dance. Bila je članica ansambla Studija za suvre- dance education meni ples, suosnivačica je umjetničkih organizacija in Zadar and then continued in School for contemporary dance ‘Ana Maletić’ dance lab collective i 21:21. Surađivala je s koreo- in Zagreb, after wich she enrolled grafima, kao što su, Matthew William Smith, Begum

38 39 ...U prostor sam postavio disco kuglu na koju su ...Then I placed a disco ball in the room, digitalnim LCD projektorom projicirane vijesti uživo. with live news projected on it from a digital LCD projector. Then it was definitely clear to Razgovori ugodni Tada mi je definitvno bilo jasno da me zanimaju me that I was interested in the media and CIKLUS MLADIH VIDEO AUTORA: mediji i načini i oblici serviranja različitih vrsta the methods and forms of serving different informacija, zabave, tj. politika informativne-zabave. types of information, entertainment, i.e. the politics of informative entertainment. JOSIP HORVAT (HR) I MARTIN MRZLJAK (HR) Živimo u vrijeme u kojem mediji postaju globalni, We live in a time in which the media has moćniji nego ikada, vrijeme u kojem mediji postaju become global, more powerful than ever, 21.9. 21:00 — MM centar — 90 min — Ulaz besplatan — Program MM centra moćan alat u rukama politike i biznisa, a miksanje time in which the media is becoming a powerful tool in the hands of politics and www.josiphorvat.com — www.martinmrzljak.com politike i zabave poprima ponekad surove i zastra- business, and mixing politics and fun šujuće oblike. Gdje su granice informiranja, a gdje sometimes takes on cruel and monstrous manipuliranja, gdje su granice između informiranja forms. Where are the limits of informing, and where of manipulation, where are the JOSIP HORVAT: Husta (isječci), Kad narastem... (isječci iz serije), Portreti (isječci), Posljednja Huldra na ledu i zabave? Ili sve to postaje jedan nejasan splin koji limits between informing and entertain- MARTIN MRZLJAK: Dance to..., Crveno i zeleno nas okružuje, koji nas istodobno pritišće i vodi? ment? Or does it all become a vague Nadalje sam ‘brainstormao’ različite varijacije i spleen that surrounds us, that oppresses and guides us at the same time? Further- mogućnosti koje su me asocirale na zabavu, na more, I brainstormed various variations Josip Horvat and Martin Mrzljak are Josip Horvat i Martin Mrzljak video su autori naj- spektakl, na akumuliranje viška atencije u informa- and possibilities that associated me with video artists of the youngest genera- mlađe generacije. Ono što ove autore povezuje jed- ciji i orkestracija opće pažnje i tehnologije koje je entertainment, spectacle, accumulation tion. What these artists have in com- of the surplus of attention in information mon is that they reflect on the spec- nim dijelom je i promišljanje spektakla koji svaki kroz svoj razvoj omogućila taj oblik medijacije među and orchestration of general attention and tacle and refer to it in their themes; od njih provlači kroz sebi bliske teme: pitanja roda ljudima, državama, nacijama, kontinentima. Od svih technology that, through its development, the question of gender and identity in i identiteta u Horvata, te propitivanje masovnih silnih izlistanih i nabrojanih elemenata privukao me enabled that form of mediation among Horvat, and questioning of the mass people, states, nations and continents. Of media and privacy in Mrzljak: medija i privatnosti kod Mrzljaka: vatromet, te sam onda počeo istraživati o barutu i all the listed elements I was most attracted o njegovim primjenama kroz povijest i došao do by fireworks and I started researching ...I decided to leave the surface and to ...Odlučio sam napustiti površinu i provesti neko- spoznaje da je linija uporabe i zlouporabe uistinu about the gunpowder and its applications spend some years in the mine with all through history and I discovered that the the coalminers. Three months after I liko godina u rudniku sa svim rudarima. Tri mjeseca neprepoznatljiva i da je jedina razlika kontekst i dividing line between use and abuse is truly came in the mine tunnels, there was an nakon mog silaska u rudnik dogodio se potres i metodika dok su tehnologija i način djelovanja na unrecognizable and that the only difference earthquake and I was stuck between zarobio me između pet zidova. Nisam imao izbora, terenu gotovo identični... Martin Mrzljak comes down to context and methodology, five walls. I had no choice, I started to while technology and the way it works in the eat stones, to squeeze the milky juices počeo sam jesti kamenje, istiskati mliječne sokove field are almost identical… Martin Mrzljak from root plants, imagining that the iz korijena biljaka, zamišljajući da Sunce nikada JOSIP HORVATL(HR) je završio BA na Nastavnič- Sun never existed. When I was attacked nije ni postojalo. Kada me napala vojska podze- kom odsjeku na Akademiji likov- JOSIP HORVATL(CRO) holds a BA from by the army of underground rabbits, a the Academy of Fine Arts fairy came to me. She had a leopard- mnih zečeva, ukazala mi se vila. Imala je frizuru nih umjetnosti u Zagrebu (2009.) te MA na Odsjeku in Zagreb, Department of Art Education patterned hairstyle and a yellow dress. s leopard uzorkom i žutu haljinu. Vidio sam žuto i animiranog filma i novih medija (2011.), također na (2009) and an MA from the same Academy, I saw yellow and I thought that this pomislio to je to, ona je moj spasitelj, pomislio sam ALU u Zagrebu. Njegovi se uzori baziraju na ‘camp’ Department of Animated Film and New was it, she is my savior, that she has Media (2011). His role models are based been sent by St Nicholas, and that she da mi ju je poslao Sv. Nikola i da je sva prekrivena pokretu i umjetnicima poput Ulrike Ottinger, Jeana on ‘Camp’ movement and artists like Ulrike is covered all in gold, but she just hit zlatom, ali ona me samo pogodila škarama u glavu i Genneta, Yvonne Reiner i Pine Bausch. Ottinger, Jean Gennet, Yvonne Reiner and me with the scissors on my head and onesvijestila. Naposljetku sam se probudio u svojoj Pine Bausch. knocked me down. Finally I woke up in my forest, somewhere by a wonder- šumi, negdje pored prekrasnog hladnog izvora koji MARTIN MRZLJAKL(HR) je završio MA na Odsjeku MARTIN MRZLJAKL(CRO) finished MA at ful cold spring that was disappearing je nestajao u zemlji ispod starog hrasta i oblikovao za animirani film i nove medije the Academy of Fine under an old oak in the ground and ogromno podzemno jezero. I tu je bio on! Pomislio na ALU Zagreb. 2009. godine Sudjeluje u mno- Arts in Zagreb, Department of Animated was forming a huge underground lake. Film and New Media in 2008. He has partic- And there he was! I thought that it was sam da je satir, tako smrdljiv, dlakav, jak i tih, ali ne, gim lokalnim i međunarodnim projektima poput ipated in numerous local and international a satyr, so smelly, hairy, strong, and bio je to Pan glavom i bradom – dirao je moju peraju. UNESCO Digital Arts Awards 2007 u Parizu, te projects, such as UNESCO Digital Arts quiet, but no it was Pan himself – he Pretvorio me u sirenu i dao mi jezero. Često pjevam izlaže u zemlji i inozemstvu. Između ostalih nagrada Awards 2007 in Paris, and has exhibited was touching my fin. He turned me into in the country and abroad. Among other a mermaid and gave me the lake. I sing za njega. Josip Horvat dobio je i nagradu Essl 2011. godine za Hrvatsku. awards, he won the Essl Award for Croatia for him often. Josip Horvat in 2011.

40 41 i privlačnim za posjetitelje koji imaju mogućnost Besides Zagreb (Croatia) our home- međusobnog povezivanja , kao i sa umjetnicima town, Perforacije and/or the Night of Performances have already been to Noć performansa na nekonvencionalan način. Uz Zagreb, Noć Perfor- New York (USA), Belgrade (), mansa izvodila se u Ljubljani, (Slovenija), Beogradu Skopje (Macedonia), Brest (France), 21.9. 22:00 — SC sve po svuda — Produkcija: Festival Perforacije — U suradnji s (Srbija), Skoplju (Makedonija), Brestu (Francuska), Bitola (Macedonia), Portland (USA) and Caen (France). Ganzom — www.perforacije.org Portlandu (SAD) i Caenu (Francuska).

This year, the Night of Performances Noć Performansa se ove godine vraća u Studentski returns to the Student Center in centar u Zagrebu, u čijim je prostorima već privukla Zagreb, in whose venues it allready has attracted and delighted hundreds of i oduševila stotine posjetitelja 2011. godine. Uvod u visitors at the Perforations 2011th edi- Noć će činiti novi projekt Alena i Nenada Sinkauza tion. The intro into the Night makes the te Ivana Marušića Klifa koji se sastoji od filma i new project of Alen and Nenad Sinakuz and Ivan Marušić Klif, consisting of a audio-vizualnog performansa, nastao na osnovu film and an audio-visual performance, razlaganja Keelingove krivulje koja opisuje pro- based upon the segmentation of Keel- mjene u koncentraciji CO2 u atmosferi kroz zadnjih ings curve that describes the changes in the concentration of CO2 in the 50-tak godina u elemente koje interpretiraju kao atmosphere over the last 50 years, and šum ili random generator. U nastavku noći, niz će interpretation of those elements as performansa biti izvedeno u raznim prostorima noise or random generator. Throughout the night, a series of various perfor- Studentskog centra. mances will follow in different venues of the Student Centre. Noć performansa je site-specific događaj u okviru The Night of Performances is a site kojeg Perforacije pozivaju domaće i regionalne specific performance-art event in umjetnike da predstave instalacije, eksperimente which Perforacije Week of Live Art sa svjetlom / zvukom / pokretom, različite pro- invites local relevant Balkan artists to do projects that reflect their specific storne intervencije, modele participacije s publikom, artistic universe as well as body of itd. Cilj je omogućiti nove izvedbe koje odražavaju work in innovative ways to them and/ specifičan pristup pozvanih umjetnika, ali i otva- or the arts. We value innovation of form and aesthetic and rely on their riti nove perspektive kroz istraživanje i refleksiju credibility and worthiness while also u odnosu na vlastitu umjetničku praksu. Cijenimo giving space to emerging and talented inovaciju forme, ideja i estetike te se oslanjamo na younger artists that need such places and opportunities to develop their own njihovu novu vjerodostojnost i vrijednost, istovre- strategies of work, of survival and of meno dajući prostor i talentiranim mlađim umjetni- relationship with the audiences. cima kojima trebaju mogućnosti da razviju vlastite Such project coming from a region not strategije rada – preživljavanja i odnosa s publikom. before renowned for its contemporary arts has attracted attention abroad and Događaju je pridodana i društvena dimenzija – pe- soon after our first edition we started planning for the overseas realization of rformansi se izvode tijekom večeri, jedan za dru- this event. gim u slobodnom okruženju, što ga čini važnim Noć performansa (Festival Perforacije 2011.)

42 43 TIHANA MANDUŠIĆL(1982.) završila je studij TIHANA MANDUŠIĆL(1982) graduated Novih medija na Akademiji from the Academy ( ) of Fine Arts in Zagreb, Department of Noćne vizije HR likovnih umjetnosti u Zagrebu, studij Filma i videa New Media, from the Arts Academy in na Umjetničkoj akademiji u Splitu, te fotografski Split, Department of Film and Video, 21.9. 23:00 — Dvorište SC— Multimedijalni performans — 90 min — Ulaz besplatan dizajn na Umjetničkoj školi u Splitu. Sudjelovala and Photographic Design at the School of Visual Arts in Split. She participated Program MM centra i Edukulture SC u sklopu Noći performansa je na mnogim grupnim izložbama i radionicama. in numerous group exhibitions and workshops. ANA HORVATL(1985.) završila je studij elektro- ANA HORVATL(1985) graduated Elec- KONCEPT I ORGANIZACIJA: Nives Sertić — VIDEO AUTORI: Josip Horvat, Luana Lojić, Tihana Mandušić ničke kompozicije na Muzičkoj tronic Composition at the GLAZBENICI: Ana Horvat (skladateljica), Ivan Kapec (gitara), Nenad Kovačić (perkusije), Eda Rimanić (flauta) akademiji u Zagrebu. Do sada je skladala glazbu Academy of Music in Zagreb. So far she za elektroniku, komorne sastave, solo instrumente, has composed electronic music, music for chamber ensembles, solo instru- film, performanse i umjetničke instalacije. Skladbe ments, film, performances and installa- A two-week multimedia workshop Dvotjedna multimedijalna radionica na kojoj će i projekti na kojima je sudjelovala predstavljeni su tions. Compositions and projects she par- accompanied by the participation and col- sudjelovati i surađivati video umjetnici i glazbenici na koncertima, festivalima, izložbama, radionicama ticipated in were presented at concerts, laboration of video artists and musicians festivals, exhibitions, workshops and of a younger generation. The workshop is mlađe generacije. Radionica je proizašla iz potrebe i i tribinama u Hrvatskoj i inozemstvu. forums in Croatia and abroad. a result of need and desire to connect the želje za spajanjem mlađe generacije umjetnika ovih younger generation of artists from these umjetničkih područja, a zamišljena je kao platforma, EDA RIMANIĆL(1983.) diplomirala je flautu na EDA RIMANIĆL(1983), graduated flute at artistic fields, and it was envisioned as a the Academy of Music in platform, place of encounter and collabo- mjesto susreta i suradnje. Rezultat radionice će Muzičkoj akademiji u Zagrebu Zagreb, and after that she earned a Bach- ration. The result of the workshop will be biti u obliku live-act multimedijalnog performansa 2005. godine. Nakon toga završava preddiplo- elor’s Degree in Sociology at the Faculty a live act multimedia performance in the u eksterijeru SCZG-a. mski studij sociologije na Filozofskom fakultetu u of Humanities and Social Sciences in Student Centre exterior. Zagreb. She is currently working on sev- Zagrebu. Trenutno radi na nekoliko projekata te je eral projects and is a member of Drvored NIVES SERTIĆL(1984) graduated from NIVES SERTIĆL(1984.) diplomirala je 2009. na član benda Drvored i klasičnog ansambla Glazbene band and Glazbene Staze classical the Academy of Fine Odsjeku za animirani film i nove staze, a od 2011. predaje flautu u Osnovnoj glaz- ensemble, and since 2011 she has been Arts in Zagreb, Department of Animated teaching flute at Ivan Zajc Elementary Film and New Media in 2009. She has medije na ALU, Zagreb. Sudjeluje na mnogim izlož- benoj školi Ivan Zajc u Zagrebu. Music School in Zagreb. participated in numerous exhibitions in bama u zemlji i inozemstvu. Surađuje intenzivno the country and abroad. She collabo- s plesnom scenom kao video umjetnica i perfor- NENAD KOVAČIĆLzavršio je studij sociologije NENAD KOVAČIĆLgraduated Sociol- rates intensively with the dance scene ogy and Ethnology as a video artist and performer. She also merica. Aktivno sudjeluje u organizaciji i kreiranju i etnologije na Filozofskom at the Faculty of Humanities and Social actively participates in the organization scene za umjetnike najmlađe generacije. fakultetu u Zagrebu. Školuje se na muzičkim Sciences in Zagreb. His attends music and creation of the scene for the artists of radionicama po cijelom svijetu. Svira i surađuje s workshops around the world. He plays the youngest generation. and collaborates with numerous bands, JOSIP HORVATL(1987.) mladi je video umjetnik i bendovima kao što su Antenat, Afion, Zykopops, te such as Antenat, Afion, Zykopops and JOSIP HORVATL(1987) is a young video performer čiji se uzori baziraju na radi glazbu za predstave. 2006. dobio je strukovnu composes music for performances. In artist and performer ‘camp’ pokretu i umjetnicima poput Ulrike Ottin- glazbenu nagradu Status za najboljeg instrumen- 2006 he received Status Award, given whose role models are based on ‘Camp’ by the Croatian Musicians Union, for the movement and artists like Ulrike Ottinger, ger, Jeana Genneta, Yvonne Reiner i Pine Bausch. talista u kategoriji etno glazbe. best instrumentalist in the category of Jean Gennet, Yvonne Reiner and Pine Završio je MA na Odsjeku za animirani film i nove folk music. Bausch. He holds an MA from the Acad- medije ALU Zagreb. IVAN KAPECL(1970.) je gitarist i kompozitor iz emy of Fine Arts in Zagreb, Department of IVAN KAPECL(1970) is a guitarist and Animated Film and New Media. Zagreba, gdje je završio Muzičku composer from Zagreb LUANA LOJIĆL(1991.) bavi se videom i performan- školu Vatroslav Lisinski, Odjel za jazz i popularnu where he finished Vatroslav Lisinski LUANA LOJIĆL(1991) deals with video som, a ove godine završava preddi- glazbu. Od ‘90ih aktivno je uključen u jazz i elektro- Music School, Department of Jazz and and performance, and this Pop Music. Since 1990s he has been year she is finishing her undergraduate plomski studij na Odsjeku za animirani film i nove ničku scenu. Svirao je u mnogim jazz ansamblima actively involved in jazz and electronic studies at the Academy of Fine Arts in medije ALU Zagreb. u zemlji i inozemstvu. 2003. dobitnik je nagrade scene. He has played in many jazz Zagreb, Department of Animated Film and Porin za najbolji jazz album. ensembles in the country and abroad. In New Media. 2003 he received the Porin Award for the best jazz album.

44 45 L.I., Lingua Imperii Sila je bila toliko jaka da ga je onijemila ANAGOOR (IT)

22.9. 20:00 — Velika &TD— Kazališna predstava — 100 min — Ulaz besplatan — Ciklus mladih talijanskih autora & APAP Izvedbena Europa

REDATELJ: Simone Derai — DRAMATURGIJA: Simone Derai, Patrizia Vercesi — SUDJELUJU: Anna Bragagnolo, Mattia Beraldo, Moreno Callegari, Marco Crosato, Paola Dallan, Marco Menegoni, Gayanée Movsisyan, Eliza Oanca, Monica Tonietto i Hannes Perkmann, Hauptsturmbannführer Aue, Benno Steinegger, Leutnant Voss — KOSTI- MOGRAFIJA: Serena Bussolaro, Silvia Bragagnolo, Simone Derai — ORIGINALNA GLAZBA: Mauro Martinuz, Paola Dallan, Marco Menegoni, Simone Derai, Gayanée Movsisyan, Monica Tonietto — KAMERMAN/VIDEO: Moreno Callegari, Simone Derai, Marco Menegoni — PRODUKCIJA: Anagoor 2012 — KOPRODUKCIJA: Trento Film Festival, Provincia Autonoma di Trento, Centrale Fies, Operaestate Festival — UZ PODRŠKU MREŽE: APAP, program Europske zajednice za kulturu — Realizirano uz pomoć Fondazione Cassa di Risparmio di Trento e Rovereto. — Anagoor je dio projekta Fies Factory. glazbene baštine te živo sjećanje naroda ranjenog the heart a lament and a dream. The nikada zaboravljenim – ali često sramotno zanema- chorus includes a singer of Armenian origin. She is a traditional custodian of rivanim – genocidom. Dok se na širokom središnjem an ancient and vast musical heritage, Stories of unnameable hunts: not Priče neizrecivog lova: ne radi se o metaforama, ekranu pojavljuju mnoga žrtvina lica, na dva bočna and living memory of a people who metaphors, but concrete historical nego o konkretnim povijesnim fenomenima, stra- LCD-a odvija se borba dvaju nacističkih časnika, was wounded by an unforgotten — yet phenomena, hateful old habits accord- often shamefully ignored — genocide. ing to which some men have become vičnim starim navikama ljudi zbog kojih su se neki koji zastupaju oprečne stavove o životu. L.I., Lingua As on the wide central screen the predators of other men and, even in the od njih pretvorili u grabežljivce drugih ljudi i, čak i Imperii je jezik carstva kao prisilne dominacije. To victim’s manifold face gradually twentieth century, have soaked the soil u dvadesetom stoljeću, natapali tlo Europe krvlju je siromašan, surov, varljiv jezik nacističke propa- emerges, on the two LCD side screens, of Europe with the blood of millions a struggle unfolds between two Nazi of people: so much its civil heart as milijuna žrtava: od gradova u samom njenom srcu, gande. To su abecede i jezici naučeni silom. Ali to officers, each championing oppos- its vast and beautiful forests, reaching do njenih prostranih i prekrasnih šuma, pa sve do je i sredstvo za ušutkavanja, silom nametnuti dar ing views of life. L.I., Lingua Imperii, as far as its mountainous borders. njenih planinskih granica. Ožalošćeni koji više ne vladara. U konačnici, to je sam jezik nasilja. is the language of the empire meant Mourners who no longer want to be as coercive domination. It is the poor, hunters and, in front of the resurfaced žele biti lovci te koji, pred oživljenim sjećanjima na brutish, deceitful language of the Nazi memory of the victims, complain the svoje žrtve, oplakuju teret krivnje zbog svog tog ANAGOORL(IT) su u gradu Castelfranco Veneto propaganda. It is the alphabets and burden of guilt for the bloody hunting. okrutnog lova. Kavkaz – najistočnija granica Europe, 2000. godine osnovali Simone Derai the languages taught by force. But it The Caucasus — easternmost limit of is also a gag imposed as a violent gift Europe, natural boundary, Mountain of prirodna granica, Planina jezika (kako se ponekad i Paola Dallan. Uskoro su im se pridružili i Marco by the rulers. Ultimately, it is the very Languages (as it is sometimes known), naziva), nerazmrsivi splet etničkih skupina, labirint Menegoni, Moreno Callegari, Serena Bussolaro i language of violence. inextricable tangle of ethnic groups, koji istovremeno obilježava i mrsi granice – diže se mnogi drugi, čime je to postao kolektivni projekt. maze marking and confounding the ANAGOORL(IT) was founded in Castel- boundaries at one and the same time kao epicentar sjećanja i pretvara se u mitsko mjesto 2008. godine Anagoor je nominiran za Premio Extra franco Veneto, Italy, in — rises as the epicentre of memory ovoga suda. Kazališni oblik odabran za ovo djelo je za performans Jeug*, a sljedeće je godine Tempesta 2000, by Simone Derai and Paola Dal- and turns into a mythical place of this tragični zbor u kojem se usko isprepliću pjevanje, dobila posebnu pohvalu za Premio Scenario. 2010. lan soon followed by Marco Menegoni, judgment. The theatrical form chosen Moreno Callegari, Serena Bussolaro for this creation of ours is the tragic glazba, pokret i simbolička vizija. Mala zajednica godine Anagoor je bio u finalu nagrade Premio Off, and many others, thus making this chorus where singing and music, muškaraca i žena različite dobi u trzajima odapinju Teatro Stabile del Veneto, dok je 2011. postao dijelom project the experience of a collectiv- gesture and totemic vision are closely svoje glasovne strelice prema središtu oplakivanja projekta Fies Factory te međunarodne mreže APAP ity. In 2008 Anagoor was nominated intertwined. A small community of for Premio Extra for the performance women and men of various ages shoot i snivanja. U zboru je i pjevačica armenskog pori- (advancing performance arts project). Između 2010. Jeug* and, the following year, Tempesta their voice-darts in between a jolt to jekla. Ona je tradicionalna čuvarica drevne i velike i 2011. godine grupa je radila na nizu performansa received a special mention for Premio

46 47 Scenario. In 2010 Anagoor was finalist posvećenih naslijeđu Mariana Fortunya. Glavni rezul- at the Premio Off of Teatro Stabile del tat tog projekta, performans Fortuny, pozvan je na Veneto, while in 2011 became part of the Fies Factory project and of the Venecijanski bijenale u režiji Alexa Rigole, dok su international network APAP (advancing s Tempestom gostovali diljem Italije, Ujedinjenog performance arts project). Between Kraljevstva, Danske, Portugala i Francuske. 2012. 2010 and 2011 the group worked on an articulated cluster of performances godine Anagoor je premijerno izveo L.I. Lingua around Mariano Fortuny’s heritage. Imperii te koncertni film Et manchi pietà o životu This project led to a main performance, i radu talijanskog baroknog slikara Artemisia Gen- Fortuny, which was then invited to the Venice Biennale directed by Alex tileschia. 2013. godine Anagoor po prvi puta radi i Rigola, while they toured with Tem- na režiranju opere: Il Palazzo di Atlante (1642), uz pesta all around Italy, UK, Denmark, glazbu Luigia Rossia i stihove Giulia Rospigliosia, Portugal and France. In 2012 Anagoor premiered L.I. Lingua Imperii and the koja će prvu izvedbu doživjeti sljedećeg kolovoza concert-movie Et manchi pietà about na 63. izdanju Sagra Musicale Malatestiana u tali- the life and the art of Italian Baroque janskom Riminiju. U lipnju 2013. Anagoor je primio painter Artemisia Gentileschi. In 2013 Anagoor is working for the first time on nagradu HYSTRIO – CASTEL DEI MONDI. Anagoor the direction of an opera: Il Palazzo di je gostovao na mnogim festivalima, događanjima i Atlante (1642), music by di Luigi Rossi, u kulturnim institucijama diljem Europe. lyrics by Giulio Rospigliosi, which will debute next august at the 63rd edition of the Sagra Musicale Malatestiana in Rimini, Italy. In June 2013 Anagoor Talijanski koreograf, Virgilio Sieni, jednom nam je The Italian choreographer Virgilio has been awarded with the HYS- TRIO – CASTEL DEI MONDI prize. rekao ‘Budite ponosni. Biti zajednica u današnje je Sieni once told us: ‘Be proud. To be a Anagoor has toured at many festivals, company today is a political statement’. happenings and in cultural institutions vrijeme politička poruka.’ Naše kazalište, koje sači- all over Europe. Our theater, formed by several differ- njava nekoliko različitih, individualnih svojstveno- ent, individual peculiarities and specific sti i određenih doprinosa te intenzivni i artikulirani contributions, and by intense and odnosi, izazov je svakom ekonomskom zdravom articulated relationships, is a challenge against any economic common sense, razumu, reakcija, možda, na tendenciju nekih solo a reaction, perhaps, to the tendency of kazališta posljednjih nekoliko godina. To je politički a certain solo theater of recent years. čin zajedničkog ostanka na pozornici ili na koncertu. It is a political act to remain together on stage or in a concert. It is a sign To je znak harmonije, ne-desegregacije, otpora. of harmony, of non-desegregation, of Stoga, slijedimo samo jedno pravilo: zavjera, koja resistance. Therefore we follow only zajedno diše, mi ispred ja, zbor ispred protagonista. one rule: the conspiracy, which is Zbor je naša osnovna stanica. Na toj osnovi, svaka breathing together, we before me, the chorus before the protagonist. The cho- se kreativna iznimka – njegovati i štititi – može razviti rus is our basic cell. On this basis, then uz podršku svih. any creative exception – to nourish and protect – can develop with the support of everybody.

48 49 ALEKSANDAR STOJKOVIĆL(RS) frontmen je i tek- ALEKSANDAR STOJKOVIĆL(RS) is the stopisac alternativnog frontman and songwriter of the Malo je dovoljno rock benda koji je do sada objavio 8 albuma band Goribor, which has so far released ALEKSANDAR STOJKOVIĆ (RS), od kojih su neki bili proglašavani albumom godine, 8 albums; some of those albums were a većina ih je iznimno hvaljena i od kritike i od declared album of the year, and major- ity was highly praised by both critics ALEN SINKAUZ I NENAD SINKAUZ (HR) publike. Goribor je nastupio na brojnim festivalima and audience. Goribor has performed u regiji. Talentiran, muzikalan i kreativan pjesnik, at numerous festivals in the region. Stojković je do sada objavio 3 zbirke pjesama, a Stojković has published three collec- tions of poetry so far, and his honest 22.9. 22:00 — MM centar — Glazbeno-scenska predstava — 55 min — Ulaz besplatan njegovo je iskreno i emocijama nabijeno pjesništvo and emotionally charged poetry is often Muzički salon SC-a — Staro dobro je uvijek ganz novo! nerijetko inspirirano životom u rudarskom gradiću inspired by life in a mining town in the na jugoistoku Srbije. southeast Serbia. ALEN SINKAUZL(CRO) has a Masters IZVODE: Aleksandar Stojković, Alen Sinkauz i Nenad Sinkauz — TEKST: Aleksandar Stojković — GLAZBA: Alen ALEN SINKAUZL(HR) magistrirao je muzikolo- Degree in Musicol- Sinkauz (kontrabas, bas gitara, efekti ) i Nenad Sinkauz (elektronika, ukulele, klavir) — AUTORICA PRODUKCIJE: giju na Filozofskom fakultetu u ogy from the Faculty of Humanities Nataša Rajković — PRODUCENTICA: Davorka Begović — DRAMATURG: Sandro Siljan — INSPICIJENT I DRAMA- and Social Sciences in Padua. He is a TURŠKI SAVJETNIK: Vedran Hleb — OBLIKOVANJE ZVUKA: Miroslav Piškulić — OBLIKOVANJE SVJETLA: Bojan Padovi. Po zanimanju je skladatelj, basist i kon- composer, bass and double bass player Gagić — VIZUALNI IDENTITET: Miro Župa — PRODUKCIJA: Studentski centar Sveučilišta u Zagrebu – Kultura trabasist u raznim glazbenim, kazališnim i multi- in various music, theatre and multidisci- promjene – Teatar &TD — KOPRODUKCIJA: Kulturban disciplinarnim projektima. Njegov je rad usmjeren plinary projects. His work is focused on study of transversal musical forms and istraživanju transverzalnih glazbenih formi i mak- maximum openness towards different simalnoj otvorenosti prema različitim glazbenim musical expressions. Since 2002 he izričajima. Od 2002. djeluje u hrvatsko-talijanskom has been a member of Croatian-Italian experimental band East Rodeo which eksperimentalnom bendu East Rodeo povezujući connects avant-garde, live electronics, Little is enough, we admit, but one can Malo je dovoljno, priznajemo, ali dobre glazbe i avant rock, živu elektroniku, noise, te eksperimen- noise and experimental and improvised never have enough of good music and lijepih riječi nikada dosta. I zato novi projekt Malo talnu i improviziranu glazbu. East Rodeo je objavio 3 music. East Rodeo has released three nice words. Thus you must not miss albums, and the newest one, Morning the new project Malo je dovoljno (A Bit je dovoljno koji je okupio vrhunsku ekipu, glazbe- albuma, a na posljednjem Morning Cluster gostuju i Cluster hosts world-renowned musi- is Enough) that brought together a top nike i skladatelje Alena i Nenada Sinkauza (East svjetski poznati glazbenici Marc Ribot, Greg Cohen cians Marc Ribot, Greg Cohen and team, musicians and composers Alen Rodeo) i muzikalnog pjesnika i pisca Aleksandra i Warren Ellis. Alen Sinkauz sklada glazbu za krat- Warren Ellis. Alen Sinkauz composes and Nenad Sinkauz (East Rodeo) and music for short film and documenta- musical poet and writer Aleksandar Stojkovića (Goribor) ne smijete propustiti jer ono kometražne i dokumentarne filmove, a kazališnim ries, and he has been involved with Stojković (Goribor), because what što vas čeka više je od glazbe i više je od riječi – to se radom bavi od 2002. godine. theatre since 2002. awaits you is more than music and je priča o životu koja se pjeva. more than words – it is a singing story NENAD SINKAUZL(1980, CRO) has a about life. NENAD SINKAUZL(1980., HR) magistrirao je etno- Masters Degree in Krenuvši od Stojkovićevih priča i pjesama odnosno muzikologiju u Padovi, a glaz- Ethnomusicology from Padua, and he Starting with Stojković’s stories and motiva, te muzičkih materijala braće Sinkauz, u ovom bom se aktivno bavi od 1995. godine. Suosnivač je has been actively involved with music songs, i.e. motifs, and musical materi- since 1995. He is the co-author and als by Sinkauz brothers, in this project projektu Muzičkog salona i Teatra &TD istraživali smo i član eksperimentalnog benda East Rodeo s kojim a member of an experimental band by Music Salon and &TD Theatre we odnose između glazbe i teksta, gradili novu formu i danas djeluje. Od 2001. do 2009. je kao sklada- East Rodeo. As a composer, musician explored the relationship between i stvorili jedinstveno glazbeno-scensko djelo. Djelo telj, glazbenik i performer surađivao s eksperimen- and performer, from 2001 to 2009 he music and text, we created a new form collaborated with TAM teatromusica and thus a unique musical-theatrical u kojem glazba i tekst povremeno izmjenjuju uloge, talnim kazalištem TAM teatromusica iz Padove i experimental theatre from Padua and work. A work in which music and texts pa tekst postaje glazbeni materijal, a glazba narativni redateljem Micheleom Sambinom, nakon čega svoj the director Michele Sambino, after occasionally exchange roles, thus the element. Tu usklađenost zvuka i riječi možemo isto- kazališni rad nastavlja s Ivanom Sajko, te kao koa- which he continued his theatre work text becomes musical material, and with Ivana Sajko and as the co-author music becomes a narrative element. vremeno i misliti i osjećati što čini doživljaj potpunim utor i izvođač glazbeno-scenskog projekta Malo je and performer in a musical-theatrical The harmonization of sound and words i potvrđuje da je malo dovoljno, a da sve imamo. dovoljno. Nastupio je na nizu glazbenih, kazališnih project Malo je dovoljno. He has per- can be felt and thought simultaneously, i filmskih festivala i pozornica diljem Europe. formed at a number of music, theatre which makes the experience complete and film festivals and stages all over and confirms that little is enough, and Europe. that we have all we need.

50 51 i igrače dovodi u krizu, prisiljavajući ih da ponovno follow them, invited by their delicate izmisle način stajanja. A zbog ovoga, vrijeme je da and terrifying decadence that let the system derail out of its central point The Iliad, 3 Men And A Hole pogledamo u rupu. Uz zaokret pažnje uzrokovan that puts into crisis the play and the FELIX OTT (DE) i MARKO JASTREVSKI (HR) ovim trima osjetljivim vodičima, zaranjamo kroz slo- players, forcing them to reinvent a way jeve vremena, prelazimo različite razine imaginar- of standing. And for this, it is time to look into the hole. nog, ukazanja i snova uništenih na onome na čemu 30.9.–13.10. non stop — Kino SC — Umjetnička rezidencija — APAP Izvedbena Europa se izgradila naša povijest, prelazimo od moderne With the twist of attention provoked www.felixmathiasott.com — threemenonehole.wordpress.com političke pozornice do antičkog polisa, i natrag u by these 3 sensitive guides, we dive through the layers of time, we cross svoju sadašnjost otkrivenu u svojoj nevidljivoj igri...i the different levels of imaginary, phan- putovanje se nastavlja. Nikada nije završilo. Ono tasms and dreams ruined on what our KONCEPT, REŽIJA: Felix Mathias Ott — IZVOĐAČ: Marko Jastrevski — PRODUKCIJA: Inge Zysk — PRO- je, kao beskrajno ponavljanje početka, naša Ilijada. history builds itself, we pass from the DUKCIJA: Felix Mathias Ott — KOPRODUKCIJA: Sveučilište u Zagrebu, Studentski centar u Zagrebu, Kultura contemporary stage of politics till the promjene, Tanzfabrik Berlin — UZ FINANCIJSKU POTPORU: Haupstadtkulturfonds Berlin — UZ PODRŠKU: antique Polis, and back to our present APAP Izvedbena Europa FELIX MATHIAS OTTL(DE) uglavnom se bavi revealed then in its invisible game... plesom i koreografijom na and the travel continues. It has never stopped. It is, as an endless repetition području suvremenih izvedbenih umjetnosti, na of a beginning, our Iliad. 3 men, gravitating around the unique Trojica muškaraca, gravitiraju oko jedne jedine rupe potezu između Pariza i Berlina. Prvo je studirao hole of a playground called Troya golf igrališta zvanog Golf klub Troja. Nalazimo se neg- scenografiju te se svojim performativnim korijenima FELIX MATHIAS OTTL(DE) is mainly club. We are somewhere in between a dancer Europe and Asia, where the traces of dje između Europe i Azije, gdje su tragovi drevnog vratio tijekom studija Contemporary dance, Context, and choreographer in the field of an ancestral war are now covered by rata sada prekriveni modernim terenom razigranog Choreography na HZT-u Berlin u suradnji s UDK i contemporary performing arts who the contemporary terrain of a playful sukoba čija su pravila savršeno poznata trojici ele- Ernst Busch Hochschule u Berlinu. Od tada djeluje works between Paris and Berlin. He conflict which rules are perfectly known first studied stage design and came by the 3 elegant players. All what we gantnih igrača. Sve što možemo jeste gledati ih, kao scenograf, video umjetnik, izvođač (ples/gluma), back later to his performative roots can do is to watch them, to observe promatrati odnose koji konstruiraju i dekonstruiraju autor i koreograf diljem Europe vlastitih kreacija ili within a study in Contemporary dance, how the relations are constructing and osobnosti na djelu – uključujući i nas – u ovoj igri u suradnji s umjetnicima poput Mathilde Monnier, Context, Choreography at HZT Berlin in deconstructing the singularities at Cooperation with UdK and Ernst Busch work here – including us – in this game koju poznajemo, ali je ne razumijemo u potpunosti. Borisa Charmatza, Björna Melhusa, Krzysztofa War- Hochschule in Berlin. Since then he that we know without understanding it Je li počela? Nije li uvijek već počela, u obliku onog likowskog, Yvesa Noela Genoda, Clementa Layesa, works as a stage designer, video artist, entirely. Has it started? Hasn’t it always stalnog ‘prije početka’ u kojem je sve još uvijek Maud le Pladec, Djega Agulla, među ostalima. Rad performer (dancing/acting), author already started under the form of this and choreographer all over Europe for permanent ‘before the beginning’ in moguće i nikada nije nepromjenjivo u jednom jedin- Felixa Otta više teži stvoriti refleksivne nego kon- his own creations or with artists like which everything is still possible and stvenom obliku? ceptualne prostore, u kojima se gledatelje poziva Mathilde Monnier, Boris Charmatz, never fixed in one unique form? da otkriju svoje nesvjesne svjetove, da se oslanjaju Björn Melhus, Krzysztof Warlikowski, Yves Noel Genod, Clement Layes, Thus, the movement of the conflict Prema tome, kretanje sukoba nije više usmjereno na vlastitu kreativnost da bi ponovo stvorili svijet Maud le Pladec, Djego Agull among is not orientated anymore towards na vanjski problem, već preuzima oblik višeslojne uz pomoć fragmenata koje im predlaže umjetnikov others. The work of Felix Ott tends to an external issue but takes the form spirale kojom upravlja rupa, temeljnom prazninom nadrealni tekst. U okviru ovoga Felix želi stvoriti tihi create reflexive more than conceptual of a multilayered spiral directed by spaces where the spectators are a hole, by a fundamental emptiness koja trajno preraspodjeljuje tri identiteta i vrstu tla uron iz stvarnosti u fikciju koja se želi suprotstaviti invited to discover their unconscious that redistributes permanently the 3 po kojem stupaju. Oni ne idu dalje, nego idu dublje; našim modernim načinima primanja informacija i world, to call on their own creativity in identities and the type of ground they svaki je od njih na osobnom putovanju, ali koje se utjecaja sa vrištećih manipulativnih slogana. Dobi- order to recreate one world with the are stamping on. They are not going fragments that the surrealistic writing further, but they are going deeper; each događa izvan granica individualne osobnosti, jer tnik je nekoliko nagrada. of the artist proposes to them. Within of them is in a personal journey, but it borba nije za jasno predstavljanje ovog ili onog this, Felix wants to create a silent dive happens out of the borders of the indi- poznatog lika (Ahileja, Hektora ili Agamemnona...) from reality into fiction, which wishes vidual personality, since the struggle is to contrast our contemporary ways of not for representing clearly this or that nego za priliku prelaska iz jedne prisutnosti u receiving information and getting influ- well known character (Achilles, Hector drugu, iz jedne estetike u drugu, iz jednog svijeta enced by screamed out manipulative or Agamemnon...) but for having the u drugi. Slijedimo ih, ponukani njihovom delikatnom slogans. He won several prizes. chance to pass from one presence to the other, from one aesthetic to the i zastrašujućom dekadencijom koja je dopustila other, from one world to the other. We sustavu da iskoči iz svoje središnje točke što igru

52 53 je, nakon kratke karijere televizijskog i filmskog in Berne. Then after a short career as glumca, počeo raditi za nezavisnim kazališnim i an actor for TV and cinema, he started to work for independent theatre and Halfbreadtechnique plesnim produkcijama. U suradnji s Laurom Kalauz dance-productions. In collaboration (postkapitalizam za početnike) ostvario je CMMN SNS PRJCT (2011.) koji je upravo with Laura Kalauz he realised CMMN na svjetskoj turneji i Title (2009.) koji je 2009. godine SNS PRJCT (2011) which is on tour around the world and Title (2009), that MARTIN SCHICK (CH) osvojio ZKB pokroviteljsku nagradu u Theaterspek- was honoured with the ZKB patron- takel Zürich. 2012. godine stvorio je samostalno age prize 2009 at Theaterspektakel 15.10. 20:00 — Polukružna &TD — Plesna i kazališna predstava — 40 min — Ulaz djelo pod nazivom Not My Piece u okviru BBI, koje Zürich. In 2012 he realised a solo piece called Not My Piece in the frame of the besplatan — Culturescapes u Studentskom centru, u suradnji s Festivalom Culturesca- je odabrano za Dane suvremenog švicarskog plesa BBI, that was selected for the Swiss pes Balkan 2013. i Swiss Arts Councilom ProHelvetia — martinschick.wordpress.com 2013. U procesu je realizacije dva nova projekta. Contemporary Dance Days 2013. He is about to realize 2 new projects.

KONCEPT I IZVEDBA: Martin Schick Nakon umjetničkog obrazovanja počeli su me I was into movies and TV after my art zanimati filmovi i televizija, ali dok se u filmovima education, but while in the movies the artist (in case an actor can be called ‘Happiness is the only thing that dou- ‘Sreća je jedina stvar koja se udvostručuje kada umjetnik (u slučaju da se glumca može zvati umjet- artist – I find it questionable. I would bles when it is shared’ said Albert Sch- se dijeli’ rekao je Albert Schweitzer. Rad švica- weitzer. The work of Swiss performer nikom – mislim da je to upitno...prije bih ga nazvao rather call him a soldier) is getting and choreographer Martin Schick is rskog izvođača i koreografa Martina Schicka teme- based on this premise and blurs the lji se na ovoj pretpostavci te zamagljuje granice vojnikom) formatira, na području kazališta, a još formatted, in the field of theatre and boundaries between the stage and između pozornice i stvarnoga života. HALFBREAD- even more in contemporary dance the real life. HALFBREADTECHNIQUE is više u suvremenom plesu, umjetnik može izmisliti a strikingly simple but original way of TECHNIQUE na iznenađujuće se jednostavan, ali artist can invent new formats. It is one nove formate. To je jedno od rijetkih mjesta gdje addressing the injustice in the world. originalan način bavi nepravdom u svijetu. Schick of the few places where conflicts, open Schick asks: why keep everything for pita: zašto zadržati sve za sebe kada toga ima yourself when there’s enough to go su mogući konflikti, otvorena pitanja i neuspjesi i questions and failures are possible dovoljno da se može dijeliti? Njegov je odgovor around? His answer is to give various čak ih se vidi kao potencijal. Premda smo dio velike and even seen as potentials. Although other artists – dancers from countries pružiti mnogim drugim umjetnicima – plesačima iz we are a part of the big machine of shaken by economic crisis – the chance zemalja potresenih ekonomskom krizom – priliku mašine kulturne produkcije, još je uvijek moguće to present themselves and their work da predstave sebe i svoj rad na njegovoj pozornici. culture-production, participating in the on his stage. In Zagreb, one Croatian sudjelovanje u natjecateljskoj igri i borba za našu dancer is due to showcase his talent U Zagrebu će jedan hrvatski plesač predstaviti svoj competitional game and fighting for our alongside Martin Schick. His thrilling talent uz Martina Schicka. Njegova nam uzbudljiva autorizaciju financijski potpomognute egzistencije authorisation of a subsidized existence performance tell us much about the predstava mnogo govori o umjetnosti preživljava- art of surviving as an artist and as ili za prepoznavanje/pažnju, još je uvijek moguć rad or for acknowledgement/ attention, a human being in our money-ruled nja kao umjetnika i kao čovjeka u našem društvu process-oriented working is still pos- society. This intelligent and enjoyable kojime vlada novac. Ovaj inteligentan i ugodan uvod usmjeren na proces, dok su iskrenost i hrabrost induction into post-capitalism à la sible, while honesty and courage are Schick provides audiences with food u post-kapitalizam à la Schick publici nudi materijal jednako vrijedne kao i produktivnost – koje povla- as valuable as productivity – what a for thought. za razmišljanje. šteno stanje! luxury state! MARTIN SCHICKL(CH) is a a freelance performer and MARTIN SCHICKLslobodni je umjetnik i koreograf choreographer from Switzerland, iz Švicarske koji živi u Berlinu. living in Berlin. He works on scenic Radi na kazališnim predstavama, istraživanjima, plays, researches, performative acts and installations, investigating on performativnim aktima i instalacijama koji istražuju human economies and the influence ljudsku ekonomiju i utjecaj socio-političkih pokreta of socio-political movements to the na umjetničko okruženje i obrnuto. Nakon poha- art-environment and visa-versa. After visiting a private balletschool he đanja privatne škole baleta, studirao je dramske studied theatre at the University of Arts umjetnosti na University of Arts u Bernu. Zatim

54 55 Spektakularni gledatelj Nik Bärtsch’s Ronin MARTIN SCHICK (CH) 22.10. 20:00 — Velika &TD — Koncert — 90 min — Ulaz besplatan — Culturescapes u Studentskom centru, u suradnji s Festivalom Culturescapes Balkan 2013. i Swiss Arts 16.10. 17:30 — Polukružna &TD — Radionica — 120 min — Ulaz besplatan — Culture- Councilom ProHelvetia — www.nikbaertsch.com/ronin scapes u Studentskom centru, u suradnji s Festivalom Culturescapes Balkan 2013. i Swiss Arts Councilom ProHelvetia

A practice oriented workshop for Praktična radionica za i o publici. Sve više i više Sa svojim zen-funk kvartetom Ronin osnovanim With the zen-funk quartet Ronin founded and about the audience. More and umjetnika zauzeto je aktiviranjem publike ili priča- 2001., ciriški kompozitor i pijanist Nik Bärtsch poči- in 2001, Zürich composer and pianist more artists are busy by activating Nik Bärtsch proceeds with the work on the audience or by talking about the njem o istoj. Stvaratelji i gledatelji postavili su se u nje rad na svom Ritual Groove Musicu, zajedno s his Ritual Groove Music, together with audience itself. Makers and spectators čudan odnos. Ova radionica umjetnicima i publici Kasparom Rastom (bubnjevi), Shaom (bas i kon- Kaspar Rast (drums), Sha (bass- and have placed themselves in a strange namjerava ponuditi prostor koji se bavi individual- trabas, klarinet, alto sax) i Thomyjem Jordijem contrabass clarinet, alto sax) and Thomy relationship. This workshop intends Jordi (bass, replaced Björn Meyer in offering artists AND audience a space nom i kolektivnom inteligencijom. Najavljuje li sad (bas, zamjenio Björn Meyer 2011.). Njihova glazba 2011. Percussionist Andi Pupato was a where individual and collective intel- ovaj tekst temu ove radionice? Jeste li ikada pogle- dosljedno prati istu estetsku viziju u raznim instru- band member 2002-2012). Their music ligence is addressed. Does this text dali neku izvedbu/događaj zbog onoga o čemu mentalnim oblicima – kreirajući maksimalan efekt consistently follows the same aesthetic now announce what this workshop is vision under various instrumental about? Did you ever go to a perfor- govori? Zašto uopće dolazite na ovu radionicu? minimalnim sredstvima. Uz turneje i izvedbe, Ronin guises: creating the maximum effect mance/ event due to the specificity of posljednjih 6 godina svakog ponedjeljka navečer by minimal means. In addition to its what it is about? Why are you coming održava koncerte u vlastitom klubu u Zürichu, a od tours and performances, for six years to this workshop anyway? Ronin has held a concert every Monday 2009. u klubu EXIL kojeg je suosnovao Nik Bärtsch. evening at its own club in Zürich – since Ovaj dugotrajni eksperiment potiče i zahtijeva kon- 2009 at the club EXIL cofounded by tinuiranu glazbenu evoluciju – rezultat je interak- Nik Bärtsch. This longterm experiment encourages and demands constant cije, pažljivog slušanja, i kritičkog, čak i ironičnog musical evolution – the result of interac- glazbenog i verbalnog dijaloga. Tih ponedjeljaka tion, attentive listening, and critical, even glazbenici jedu i sviraju zajedno. Na ovaj je način ironic musical and verbal dialogue. On these Mondays the musicians eat and Ronin, tijekom godina, samostalno kreirao vlastitu play together. In this way Ronin has, frazeologiju i veselo, ali dosljedno, nastavio svoj over the years, independently created its put društveno-glazbenog organizma. Nik Bärtsch own phraseology and proceeded blithely but consistently on its own path as a kao kompozitor benda zapisuje većinu kompo- socio-musical organism. Nik Bärtsch zicija u notaciji, ali u živim izvedbama postaje, u as the band’s composer precisely sets nekom trenutku, nemoguće reći što je komponi- down most of the pieces in notation; but in live performances it becomes, at rano, interpretirano ili improvizirano. Bend treba some point, impossible to tell what is otkriti pravu tenziju i prikladnu dramsku strukturu composed, interpreted or improvised. za kompoziciju u trenutku izvedbe. Bend-organizam The band has to discover the right ten- sion and the suitable dramatic structure tako nadmudruje ne samo svoju kompoziciju, već for a piece on the spur of the moment. i samoga sebe. Na ovaj način Ronin ljubazno, ali The band-organism thus outwits not radikalno kontinuirano, radi na kolektivnom frazira- only the composition, but itself. In this way Ronin works politely but radical and nju koje ne može biti uhvaćeno u notaciji. Može se in the long run on a collective phrasing postići kroz vježbanje i strpljenje, kroz zajedničko which cannot be captured in notation. It

56 57 can only be gained through training and poštivanje i zanimanje, te kroz sposobnost da gla- Moj je djed, amaterski glazbenik, jednom rekao: session player for various artists as well patience, through mutual respect and zbenici rezoniraju jedni s drugima. Tada se poznate as a regular member in bandprojects, interest, through the ability to resonate ‘Glazba je raj na zemlji.’ Nikada nisam morao odlučiti touring and recording with popstars like with each other. Then familiar phrases, fraze, čudni i životni preokreti fraza, mreže duhova Helge Schneider Mikis Theodorakis and curious and vivid turns of phrase, webs nota i ritmičke poante pojavljuju kao same od sebe. ozbiljno se baviti glazbom – to se dogodilo prirodno. Rosenstolz. of ghost notes and rhythmic punch lines Usprkos raznim utjecajima, glazba benda Ronin will arise as if by themselves. Prednost svakodnevnog glazbenog treninga jeste uvijek posjeduje snažnu individualnost. Uključuju My grandfather, who was an amateur Despite the multiplicity of the band’s elemente različitih glazbenih svjetova, bili oni funk, da ne bi trebali puno pričati – to remeti rezonancije musician, said: ‘Music is heaven on earth’. influences, Ronin’s music always nova klasična glazba ili zvuci japanske ritualne I never had to decide to seriously play possesses a strong individuality. They koje su vrlo važne za dobar zvuk. Naš je glavni inte- incorporate elements of disparate musi- glazbe. Ipak, ove forme nisu nikad samo supro- music – it just happened naturally. The cal worlds, be they funk, new classical res svirati kao radni bend. Prema našem iskustvu i stavljene na postmodernistički način već su amal- advantage of daily musical training is that music or sounds from Japanese ritual gamirane u koherentan novi stil. (Michel Mettler) music. However, these forms are never stavovima, redovno sviranje i rad povećavaju razinu you should not talk too much – it disturbs merely juxtaposed in a postmodernist kvalitete: na glazbenoj, društvenoj, filozofskoj i iro- the resonances that are so important for fashion but instead amalgamated into a The Wall Street Journal odabrao je živu izvedbu coherent new style. (Michel Mettler) Ronina kao jednu od šest najboljih živih izvedbi ničnoj razini. Osim gostovanja, već devet godina sva- a good sound. Our main interest is to play 2011. godine (uz Björk, Radiohead, Patti Smith, as a working band. We think and experi- The Wall Street Journal has chosen koga ponedjeljka sviramo u našem vlastitom klubu Ronin’s live show as one of the six best Feist i Annu Calvi). ence that regular playing and working live shows in 2011 (together with Björk, u Zürichu. Na taj se način glazbeni jezik razvija u Radiohead, Patti Smith, Feist and Anna increases the quality level: on a musical, NIK BÄRTSCHL(CH) Pijanist, kompozitor i produ- Calvi). jedinstveni dijalekt, pa čak i smiješni sleng. social, philosophical and ironic level. cent. 1997. diplomirao je na ‘Musi- Besides our touring, every Monday, for NIK BÄRTSCHL (CH) Pianist, composer khoch-schule Zürich’. 1989. – 2001. studira filozo- and producer. 1997 nine years already, we have been playing Graduation from the ‘Musikhoch- fiju, lingvistiku i muzikologiju pri Osvojio je brojne schule Zürich’. 1989 – 2001 studies in nagrade od 1999., uključujući i Jazz Priority Award concerts in our own club in Zürich. This philosophy, linguistics and musicology Swiss Arts Councila 2006. way the musical language develops into a at the University of Zürich. 2003 – 04 stay in Japan. Numerous awards from unique dialect and even a funny slang. 1999, including the jazz priority award KASPAR RASTLsvira bubnjeve od svoje 6 godine. of Swiss Arts Council in 2006. Učio je na JMS-u u Zürichu i Drum- KASPAR RASTL(CH) has been playing mers Collectivu u New Yorku. Gostovao je i svirao drums since the age of diljem Europe, Afrike i Južne Amerike. 6. Trained at the JMS in Zürich and the Drummers Collective in New York. Kas- par’s list of concerts and tours covers SHAL(CH) svira saksofon i bas klarinet. Među Europe, Africa and South America. njegovim učiteljima su Don Li, Nik Bärtsch, Sujay Bobade i Bänz Oester. Sha je diplomirao na SHAL(CH) plays the saxophone and the bass clarinet. Among his teachers Jazz School u Luzernu. On je član benda Blau Mika are Don Li, Nik Bärtsch, Sujay Bobade Keusena i vođa i skladatelj za vlastiti bend Banryu. and Bänz Oester. Sha made his master in performance at the Jazz School in Lucerne with distinction. He is also a THOMY JORDILje studirao na Swiss Jazz School member of Mik Keusen’s ‘Blau’ and the i u the Musicians Institute u Los leader and composer for his own band Angelesu s Jeff Berlinom. 1988. seli u Berlin gdje ‘Banryu’. svira za različite umjetnike te kao redovni član u THOMY JORDIL(CH) studied at the bendovima, gostujući i snimajući s pop zvijezda- Swiss Jazz School ma poput Helge Schneider Mikis Theodorakis and and at the Musicians Institute in Los Angeles with Jeff Berlin. In 1988, Thomy Rosenstolz. moved to Berlin, where he worked as a

58 59 APAP Izvedbena Europa 2011.–2016. www.apapnet.eu — www.facebook.com/apapnet.eu

APAP Izvedbena Europa financiran je od strane Europske komisije. Sadržaj komunikacije je isključiva odgovornost autora i u nijednom slučaju ne predstavlja stajališta Europske komisije.

European network APAP (Advancing Europska mreža APAP (Advancing Performing Arts Performing Arts Project) has produced Project / Projekt unapređivanja izvedbenih umjet­ a large number of artistic programs and has created a European network to nosti) od svog je osnutka prije trinaest godina do exchange artists and artistic projects, danas producirala velik broj umjetničkih programa cultural workers and know-how in the i stvorila europsku mrežu razmjene umjetnika, last 13 years. The network has success- fully introduced programs to connect the umjetničkih projekata, radnika u kulturi i ideja. in­ternational and the local aspects of Mreža je uspješno uvela programe povezivanja contemporary arts and created new pre- međunarodnih i lokalnih aspekata suvremenih sentation forms and means of interme- diation between the arts and audiences. izvedbenih umjetnosti u različitim okruženjima i In 2011, APAP introduced new, five years kreirala nove forme prezentacije i intermedijacije long, pro­gram Performing Europe. It is između umjet­nosti i publike. U 2011. godini APAP a European program for the develop- ment of contemporary performing arts započinje novi petogodišnji program pod nazivom and its impact on European societies. Performing Eu­rope (Izvedbena Europa). Program It comprises the fields of production, je to razvoja suvremenih izvedbenih umjetnosti i presentation and dis­tribution of artistic works and focuses on researching njihovog utjecaja na europska društva. Obuhvaća new ways of mediation. The project is područja produkcije, prezentacije i distribucije interdisciplinary and brings together art- umjetničkih djela i fo­kusira se na privlačenje nove ists from various backgrounds, genres and generations. The program offers publike te istražuje nove načine medijacije. Pro- long term perspective of continuity to jekt je interdisciplinarnog karaktera i objedinjuje dijalog između tri generacije umjetnika iz različi- generations of artists coming from dif- the artistic works, while theatre, dance, umjetnike iz različitih pozadina, žanrova i generacija. tih polja djelovanja i različitih kulturnih konteksta. ferent cultural and artistic backgrounds performance, visual arts, design, new and practises. Pro­ject leader is: Szene media and film represent key elements Program nudi dugoročnu perspektivu kontinuiranog Nositelj projekta je: Szene Salzburg (Austrija), Salzburg (Austria), and the co-organ- in the development of new artistic umjetničkog rada, dok su kazalište, ples, perfo- dok su suorganizatori: Bit Teatergarasjen Bergen isers are: Bit Teatergarasjen Bergen forms. Performing Europe program rmans, vizualne umjetno­sti, dizajn, novi mediji i film (Norveška), Centrale Fies (Italija), C/U Foundation (), Centrale Fies (Italija), C/U includes established and emerging Foundation (Poland), Kunstzentrum artists from all over Europe. Some of the ključni elementi razvoja novih umjetničkih oblika. (Poljska), Kunstzentrum BUDA (Belgija), Maison de BUDA (Belgium), Maison de la Culture, most influential and renowned interna- Program Izvedbene Europe uključuje etablirane te la Culture, Amiens (Francuska), Studentski centar Amiens (France), Student Centre tional artists commit themselves to the nadolazeće autore iz cijele Europe. Osim toga uklju- Sveučilišta u Zagrebu – Kultura promjene (Hrvat- Zagreb – University of Zagreb – Culture project as board of mentors, ensuring of Change (Croatia) and Tanz­fabrik a transfer of artistic knowledge and an čuje i upravni odbor utjecajnih i renomiranih među- ska) i Tanzfabrik Berlin (Njemačka). Berlin (Germany). ongoing artistic dialogue between three narodnih mentora kako bi se osigurao kontinuirani

60 61 Culturescapes Balkan

Listopad – prosinac 2013. — U suradnji sa Swiss Arts Councilom Pro-Helvetia i Ministar- stvom kulture RH — www.culturescapes.ch

CULTURESCAPES as a multidisci- CULTURESCAPES kao multidisciplinarni festival Suradnja s Umjetničkim vijećem Švicarske Pro Cooperation with the Arts Council of plinary festival of culture is committed kulture posvećen je promociji međukulturalnog Helvetia omogućila je festivalu organizaciju ‘povra- Switzerland Pro Helvetia has allowed to the promotion of cross-cultural the festival to stage ‘return events’ dialogue, cooperation and networking. dijaloga, suradnje i umrežavanja. Sa sjedištem tnih događanja’ umjetnika iz Švicarske u onoj regiji by artists from Switzerland in each Based in Basel, its influence extends u Baselu, njegov se utjecaj proteže mnogo dalje. na koju je festival te godine orijentiran. Lokalne year’s focus region. Local institutions far beyond. It sets out to explore how Njegova je namjera istražiti kako se mogu doži- institucije i festivali postali su partneri, međusobno and festivals have become partners, a cultural region can be experienced formed networks among themselves and how its national aspects can be vjeti kulturne regije i kako se njihovim nacional- su se umrežili te su uključili švicarske projekte u and included Swiss projects in their addressed in a way that is both deeply nim aspektima može baviti i na jako ozbiljan i na svoje programe. Takva povratna događanja dobro- programmes. Such return events serious and entertaining. zabavan način. došla su prilika za podizanje svijesti o festivalu are a welcome opportunity to raise awareness of CULTURESCAPES and For the first time the festival will focus CULTURESCAPES i za jačanje partnerstva. Takvo intensify partnerships. Such a give and on a whole region: the Balkans. CUL- Po prvi će se puta festival orijentirati na jednu cijelu davanje i uzimanje omogućuje festivalu stvaranje take allows the festival to forge direct TURESCAPES Balkans wants visitors regiju: Balkan. CULTURESCAPES Balkan želi nave- veza između umjetnika i institucija na obje loka- ties between artists and institutions to broaden and re-examine their image in both places. Numerous ensembles of the Balkans. It seeks to maximize sti posjetitelje da prošire i preispitaju svoju sliku cije. Brojni ansambli i umjetnici sudjelovali su na and artists have gone on tour as part of the impact and experience of art by Balkana. Festival nastoji povećati utjecaj i iskustvo turneji Swiss CULTURESCAPES, a među njima Swiss CULTURESCAPES, among them opening the door to other cultures- umjetnosti otvaranjem vrata drugim culturescape- su ove godine i Boris Nikitin, Felix Pachlatko this year Boris Nikitin, Felix Pachlatko capes and providing its audiences with and Nik Bärtsch. an opportunity to see the world as if sima (kulturnim krajolicima) i pružiti publici priliku i Nik Bärtsch. with new eyes. da vidi svijet novim očima.

The eleventh edition of the festival – CULTURESCAPES Balkans – will Jedanaesti po redu festival – CULTURESCAPES take place in 9 countries in total. In Balkan – održat će se u ukupno devet zemalja. U Switzerland in more than 10 cities. Švicarskoj u više od deset gradova. Sveukupno Altogether more than 300 events in 8 disciplines – concerts, theatre/ više od 300 događanja u osam disciplina – koncerti, dance productions, exhibitions and kazališne/plesne produkcije, izložbe i umjetnici u artists in residence programmes, film rezidenciji, prikazivanje filmova, čitanja i razgovori presentations, readings and discus- sions with authors and lecture series s autorima i serije predavanja na sveučilištima. at universities.

62 63 Festivalski tim

Hvala svim umjetnicima, suradnicima, partnerima, sponzorima i svim djelatnicima Studentskog centra u Zagrebu koji su omogućili realizaciju festivala! / Thanks to all the artists, collaborators, partners, sponsors and all Student Centre Zagreb's employees that have made this festival possible!

KONCEPT I PROGRAM / WEB: VOLONTERKE / VOLUNTEERS: GARDEROBIJERKE / WARDROBE: CONCEPT & PROGRAM: Goran Arbanas, Ana Suntešić, Snježana Kovačić, Lucija Klanac Đurđa Janeš, Jagoda Kolenko Silvija Stipanov Davor Višnić INSPICIJENTI / BLAGAJNA &TD / &TD BOX OFFICE: IZVRŠNA PRODUKCIJA I KORDINACIJA MARKETING: STAGE MANAGERS: Lidija Hleb FESTIVALA / EXECUTIVE PRODUCTION Danijela Andrijašević Jelena Erceg, Vedran Hleb & FESTIVAL COORDINATION: ADMINISTRATIVNA PODRŠKA / Štefica Bartolin, Silvija Stipanov HOSPITALITY: ŠEFOVI TEHNIKE / ADMINISTRATIVE SUPPORT: Danijela Andrijašević, Iva Stojević TECHNICAL DIRECTORS: Dijana Hrebak, Renata Matijević ASISTENTI PRODUKCIJE / Kruno Dolenec, Fahro Kulenović PRODUCTION ASSISTANTS: VIZUALNI IDENTITET / &TD POTPORA / &TD SUPPORT: Jelena Kirin, Marta Lučić Jozak, VISUAL IDENTITY: TON / SOUND: Petra Budiša László Levente-Norbert Dario Dević i Hrvoje Živčić Vlado Horvatić, Danijel Škrbo VOZAČ / DRIVER: GLAZBENI PROGRAM I PRODUKCIJA / REKLAMNI SPOT, BANNERI, SVJETLO / LIGHT: Krešimir Ocvirek MUSIC PROGRAM & PRODUCTION: NEWSLETTERI / PROMOTIONAL Boris Bogojević, Miljenko Bengez, Davorka Begović VIDEO, BANNERS, NEWSLETTERS: Damir Kruhak, Mario Vnučec ŠEF VOZAČA / CHIEF OF DRIVERS: Ploha Nenad Pantelić SURADNICA ZA LIKOVNI SCENA / STAGE: PROGRAM / VISUAL ARTS FOTOGRAFI / PHOTOGRAPHERS: Dubravko Dolenec, Stipo Katavić, ŠEFICA OD KASE / PROGRAM COLLABORATOR: Damir Žižić, Marta Lučić Jozak Željko Mikin CHIEF OF CASH-REGISTER: Karla Pudar Lada Čikara KRONIKE / CHRONICLES: STOLAR / CARPENTER: ODNOSI S JAVNOŠĆU / Dinka Radonić, Andrija Gvozdić-Michl Dragan Pavlić ŠEFICA KULTURE SC-A / PUBLIC RELATIONS: CHIEF OF SC CULTURE: Štefica Bartolin, Ana Suntešić INTERVJUI / INTERVIEWS: REKVIZITER / PROPS: Nataša Rajković Deborah Hustić Mladen Božović DRUŠTVENE MREŽE / SANACIJSKI UPRAVITELJ SC-A / SOCIAL NETWORKS: PRIJEVOD / TRANSLATION: ŠMINKA / MAKE UP: SC RESTITUTION MANAGER: Marija Andrijašević, Marta Lučić Jozak Zana Šaškin Iva Dežmar Pejo Pavlović

64 65 Sponzori

ORGANIZATORI SURADNJA

PARTNERI

SPONZORI

MEDIJSKI PARTNERI

APAP Izvedbena Europa financiran je od strane Europske komisije. Sadržaj komunikacije je isključiva odgovornost autora i u nijednom slučaju ne predstavlja stajališta Europske komisije.

66 67 Sveučilište u Zagrebu / Ako želite isplanirati svoje GANZ iskustvo i biti University of Zagreb sigurni da ćete imati sjedeće mjesto, rezervirajte Studentski centar u Zagrebu / Student Centre in Zagreb svoje ulaznice za predstave već od 5.9. na ganzno- Kultura promjene / Culture of Change [email protected] ili na 014593 510 (11–13 h i Ganz novi festival / Ganz New Festival 18–20 h) najkasnije do dana prije same izvedbe. Savska cesta 25, Na dan izvedbi predstava pustit ćemo preostali HR - 10 000 Zagreb broj ulaznica u promet pa tko prije do &TD-a, nje- gova je. Rezervirane i nerezervirane ulaznice se www.sczg.unizg.hr ganznovi.sczg.hr preuzimanju isključivo na dan izvedbe predstave facebook.com/GanzNoviFestival na blagajni Teatra &TD (od 11 do 13 h te dva sata [email protected] prije početka predstave). Za koncerte, projekcije, radionice, instalacije nije potrebno preuzeti ula- znice – samo se pojavite!

If you wanna plan your GANZ experience and be sure that you will have a seat, reserve your tic- kets for theatre performances already from 5.9. at [email protected] or on 014593510 (11 – 13 h i 18 – 20 h) latest one day before the per- formance itself. On the day of the performance we will release the remaining number of tickets in free circulation guided by the principle who arrives first, gets the ticket. All tickets will be issued on the day of the performances at &TD Theatre Box Office (11 – 13 h and two hours before the show). There is no need to get your tickets for concerts, screenings, wor- kshops, installations – just show up!

68 14. — 22. rujna 2013. STUDENTSKI CENTAR U ZAGREBU mEđunarodni FESTIVAL RAZVOJNOG KAZALIŠTA

ULAZ besplatan ganznovi.sczg.hr