The THREE’S A CROWD exhibition covers areas ranging from Hong Kong to Slavic vixa parties. It looks at modern-day streets and floors, examining how – through their physical presence in the public space – bodies create temporary communities, how they transform the old reality and create new conditions. And how many people does it take to make a crowd.

The autonomous, affect-driven and confusing social body is a dynamic 19th-century construct that stands in opposition to the concepts of capitalist productivity, rationalism, and social order. It is more of a manifestation of social dis- order: the crowd as a horde, the crowd as a swarm. But it happens that three is already a crowd. The club culture remembers cases of criminalizing the rhythmic movement of at least three people dancing to the music based on repetitive beats. We also remember this pandemic year’s spring and autumn events, when the hearts of the Polish police beat faster at the sight of crowds of three and five people.

Bodies always function in relation to other bodies. To have no body is to be nobody. Bodies shape social life in the public space through movement and stillness, gath- ering and distraction. Also by absence. Regardless of whether it is a grassroots form of bodily (dis)organization, self-cho- reographed protests, improvised social , artistic, activist or artivist actions, bodies become a field of social and political struggle. Together and apart. GREGOR RÓŻAŃSKI (GR) ANKA HERBUT (AH) MICHAŁ GRZEGORZEK (MG) TEXTS: OFTHE AUTHORSTHE EXHIBITION GUIDE EXHIBITION CROWD THREE’S A ABSORBENCY Art OUT OF STH VI: SPACE International Festival of Urban CONTEMPORARY ART,2020 BWA WROCŁAW GALLERY OF STEMBALSKA VI: HUBERT KIELAN, JOANNA CURATORS OF OUT OF STH ABSORBENCY. OUT OF STH VI: SPACE URBAN ARTFESTIVAL INTERNATIONALOF THE THE EXHIBITIONIS A PART

3 PAWEŁ ŻUKOWSKI WERONIKA ZALEWSKA KUBA RUDZIŃSKI JAN MOŻDŻYŃSKI JULIA MINASIEWICZ YULIA KRIVICH MATEUSZ KOWALCZYK KAROLINA GRZYWNOWICZ MICHAŁ FRYDRYCH MAGDA DRĄGOWSKA MARIANKA DOBKOWSKA MARTA CZYŻ AND MARTA ZIÓŁEK ROMILYWALDEN ALICE DE VRIES ANNE FRÉDÉRIC GIES ANTON STOIANOV, PAWEŁ SAKOWICZ LUIZ ROQUE STEPAN POLIVANOV BASSIANI GIORGI KIKONISHVILI / NAJA ORASHVILI & ANIA NOWAK KANAS LIU&SAM TSANG COLLECTIVELAS TESIS LANGE NILS AMADEUS FIRENZE LAI DANIEL KOTOWSKI CHRIS KORDA ARTISTIC PRACTICES CONSORTIUM FOR POST- AGATA KALINOWSKA ANNA JERMOLAEWA STEFFANI JEMISON ZHANG HUAN MALASHCHUK ROMAN HIMEY & YAREMA IGOR GRUBIĆ DAISY CUTTER JAKUB GLIŃSKI& MICA LEVI JONATHAN GLAZER& ROBERT GETSO BOGOMIR DORINGER ZUZANNA CZEBATUL CÉSAR VAYSSIÉ& BORIS CHARMATZ RUFINA BAZLOVA ALEX BACZYŃSKI-JENKINS IVÁN ARGOTE PROTESTS ARCHIVES OF PUBLIC ARTISTS:

JOANNA WOLAN KLEMENTYNA SĘGA, PR: GRUPA PROJEKTOR VISUAL IDENTIFICATION: ADRIAN SIUTA MOVIES SUBTITLES: SONIA MIELNIKIEWICZ ANKA HERBUT JERZYCHYB AND TRANSLATION: NATALIA BARCZYŃSKA JOANNA STEMBALSKA, KAROLINAMOROZ AND CORRECTION: ANKA HERBUT EDITING: DANIEL ZYGMUNT SEBASTIAN MILEWSKI MARCIN SZALWA MICHAŁ PERUCKI TOMASZ KOCZOŃ ASSEMBLY: PATRYCJA ŚCISŁOWSKA MONIKA MUSZYŃSKA MONIKA MARCINIAK NATALIA BARCZYŃSKA PRODUCERS: HUBERT KIELAN EXHIBITION: ARRANGEMENTOF THE CONSULTATIONON THE JACQUELINE SOBISZEWSKI LIGHT ARRANGEMENT: GREGOR RÓŻAŃSKI ANKA HERBUT MICHAŁ GRZEGORZEK CURATORS:

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5 0. “Save the Planet, Kill Yourself”. The Church THE CHURCHOF EUTHANASIA The exhibition showcases materials from the talist founder of the Church of Euthanasia, the Church of Euthanasia, founded in1992 voluntary population reduction basedon 1994-1997, USA, banner, 147x276cm, four pillars: suicide,abortion,cannibalism which mainly meansanalandoral sex. Their who are already dead.Sodomy isdefined as ARCHIVES Chris Korda claims that itis the world’s only CHRIS KORDA (BORN1962) is a producer, artist,software devel- in Boston. The organization is“a non-profit perversely andprovocatively postulates a by equally absurd means.(GR) its followers so ment, modern world find the highlighting the unsustainablepopulation of music, publicity stunts anddirect action, mances, demonstrations, culture jamming, mental views by meansof sermons,perfor most popular andcontroversial sloganis refers to those who insistoneating meat procreate”. The postulated cannibalismonly by a voluntary population reduction. Rev. church maintain that itcanonly beachieved balance between humansand the remaining educational foundation devoted to restoring demonstration andpropaganda archives of oper andclimate activist.Sheis the antina- our planet. Referring to the Dadaistmove- of Euthanasia promotes itsradical environ- only commandment is“Thoushaltnot openly anti-human religion. The church’s and sodomy. a number of controversial activities, which a para-religious artisticproject known for absurd that their messagemustbespread any sexual actnot intended for procreation, and isstrictly limited to consuming those species onEarth”. The members of the stickers. Courtesy of the artist. - 2.

6 1. Their works featuremanyreferences to The affectionate act of interaction withan techno andrave cultures, antiquity or the tion onhygiene anddistance– when isour versions of history. Through hispersonal with asymbol of disgust, transmitting 2011, FR, video, 01:20. Courtesy of the artist. works in the field of painting, design,sce- ANTON STOIANOV (BORN1978) ALTRUISM In the recording of hisAltruismperfor IVÁN ARGOTE FRÉDÉRIC GIES(BORN 1973) in search of vestigial signsof fallen power, ityand transformation, travellingworld the investigates the city asaplace of potential- is adancer andchoreographer who treats unknowns. Otherpassengers turntheirunknowns. iments with atypical materials, techniques germs andbacteria from thousands of gote’s actionmakes you want to lookaway perspective of history. control, observingconventions andofficial expression. dance asaninclusive andeclecticmeans of public interventions andperformances. He creates videos, photographs, sculptures, metal subway bar. He engagesinagame mance, the artistlicks andkissesashiny heads, uninterested or embarrassed. Ar delight instead of disgust?”, asks the artist. conceptual aspectsof painting. nography, relief andinstallation. He exper excuse for deepeningmutualdetachment reaction causedsolely by healthreasons, object of collective useprovokes areflec- and consumerism,hequestions the western and stare at the same time. “Why would and forms. He explores the stylisticand and fear of other bodies? (GR) and when doesitbecomeasubconscious stories and their relationships with ideology studying the indirect manifestations of something that everyone touches not evoke (BORN1983) - - -

7 3. YAREMA MALASHCHUK (BORN terial – thanks to which the majestic relic – thanksmajestic terial to which the the history of artanddance, they queer and values functioning in society. They observe 150 cm.Courtesy of the artists. 1992) 1993) AND ROMANHIMEY (BORN formed both inartgalleriesande.g. the was adancer. which isalsoaclubnight. Dancingnon- 2016, BG/DE/SE Ukrainian identity, the complicated past and In the context of the exhibition, Stoianov’s Its creator, Anton Stoianov, perversely In theirworks, theyofexploreimages the PVC –anemblematic contemporary ma- PVC tarpaulin, electricpump;350x400 Berghain ). (MG) Gies’s performance may alsobeunderstood Pes (Latin: foot) looks like a fragment of a uncertain future. unambiguous categorization: Gies’s inter is Ancient, adurational performanceDance guess who exactly the mythical giant was, gains somewhat wild attributes. Itishard to PES monument, a figure of anancient colos- but we know one thing for sure –heor she combines the aesthetics of antiquity with everyday life, creating astudy of changesof culture, as well as the clashof oldandnew crowd asacollective actor of history and body to extreme exhaustion, going through bodies. redefine narrations and representations of removing differences between , club ests includeNijinsky, DuncanandBagouet, of danceandone-person protest against at the junction of visual artsandcinema. are aduoof filmmakers from Kiev working as aphysical andemotional glorification and ludicdance(the work hasbeenper serves asareference to Frederic Gies’s sculpture, the performance mega-object, sus whose body was destroyed by time. spiritual sphere of humanlife. Referring to stages ranging fromstages fatigueecstasy. to stop for seven hours, the artistdrives his - - 8 4. THE WORLD II THE WORLD The Kiev of the CXEMA group are young ravers donot seemready to embrace them into the morningafter. The historic they dance,andafter the party follows the camera observes them discreetly when the development of electronic musicin the Electronauts fund, aiming to support the new day or oldreality. (GR) White Noise Movement, fighting to liber founder of the underground techno club followed by disappointment andneed for 1988) zooms inandouton the romantic exaltation film studio of Oleksander Dovzhenko –a which led young Ukrainians to euphoria 2019, UKR, video, 08:50min,music: BASSIANI/HOROOM in Tbilisi andauthor Movement – for LGBTQ rights. Sheisanor . Sheisamember of the Georgian NAJA ORASHVILI (BORN1983) Stanislav Tolkachev, space:Forma. Courtesy GIORGI KIKONISHVILI (BORN its ritualisticrejection. The film endsin is anactivistandartivist,aco-founder of is anactivist, humanrights defender and Dedicated To The YouthOfII, World The ganizer of alocal Women’s Solidarity March, DEDICATED TO THE OFYOUTH biggest queer parties. near-static takesshowingoffaces the kind of escape from everyday reality and crowd, lights andStanislav Tolkachev’s pioneer of Ukrainian cinema–is turned into mare of the War inDonbass.In the film escapism, further influenced by thenight- atmosphereambivalentreactions to the ofartists. the promoter. He isa journalist writing about Horoomof Nights –aseriesof Georgia’s alize the anti-drug policy, and the Equality after-party utopia at the crack of dawn. The awaited by the entire Kiev youth, apeculiar and modernalienation. CXEMA isanevent arrhythmical, synthetic sounds. The camera dance floor,aa synchronized filledwith after the Ukrainian revolution of 2013-2014, - -

9 5. THE ARCHIVE OF PUBLIC Tsikarishvili was sentenced to 14 years in The film was made by made The film was the offounders The collectiondocuments social activity, the tradition of socialresistance inGeorgia. tive dancebecameacommunity-building the artists. tensions inPoland. two largest LGBTQ rights organizations: taboo issuesinpredominantly conservative 2019, GEO, video, 20:34min.Courtesy of (AH) Revolution andritual war dances,showing It was started in2013, when artistBeka Noise (თეთრი BASSIANI in Tbilisi, where the revolution Identoba andEquality Movement, member LGBTQ rights, homophobiaandother Georgia. He isaco-founder of Georgia’s PROTESTS in the 1980s,collapseof the USSR,Rose instrument. Under the guiseof anti-drug images connected with socialandpolitical is anopenplatform for the distributionof understood discrimination. revolution” bestexpress the specificity of man’s words “if Ican’tdance,it’s not my how politicaldancemay get. EmmaGold- growing populism,xenophobia andbroadly grassroots protests againstpoliticaldeci- protests andbirthof freedom movements even deeper into history, back to Georgia’s movement. But the authors of the film delve his release Tsikarishvili began to organize a prison for possessionof marijuana. The reform of drugpoliciesinGeorgia – White co-organized by the civicmovement for the DANCE ORDIE began inMay 2018,during which collec- of the oppositionparty Girchi. The next day rights. The archive isalsoa warning against arrested oneof the club’s owners, amember actions, the policeraided BASSIANI and a protest lastingseveral days began, of Horoomof Nights at BASSIANI. of the White Noise Movement andpromoter sentence was ultimately reversed and after sions, violation of democracy andhuman ხმაურის მოძრაობა ). 10 6. THE SQUARE (FRAGMENT) The projectwas The founded thanks to the Thousands of Polish women didnot go to Yourself (2016), PIXO (2017),Pamela(2018), the languageof new technologies andpop tightening abortionlaw. Numerous protest- tion, 04:38min.Courtesy of the artist. the exhibition City Squares. An Instruction tumes: Tomaszdancer: ballet Armada, to communicate the valuesto which the with to all the users who express their willingness formative power of movement. Sheuses Warsaw, 3October 2016,“BlackMonday”. financial support from the Warsaw City Hall. work, sheexamines the hybrid forms of ex with particular events, normally forgotten work insupportof the All- Women’s 2019, PL,performance video documenta - APP’s contributors include:Michał Adamski, It prolongs the life of imagesconnected Photo: Adam Lach, print, 195x130cm. Poland. Dylewski. The performance accompanied Emilia Cholewicka, production: Jakub Marta Ziółek,music:Zoi Michaliova, cos- Kruk, Joanna Musiał. Kruk, Joanna Dawid Zieliński,Bartek Sadowski, Marcin Radwański, Karolina Sobel,Paweł Starzec, Rafał Milach,ChrisNiedenthal, Wojtek Marta Bogdańska, Agata Kubis, Adam Lach, Courtesy of the artist. Concept, , performance: MARTA ZIÓŁEK(BORN1986) Strike against the proposed legislation Poison (2020) andMONSTERA (2020). in new ritualsandexploration of the trans- culture. Her performances includeMake gathers photographs inasingle,easily ac- HAUNTINGS AND ECSTASIES IN ers marched inmany towns andcitiesin pression andembodiment. Sheisinterested choreographer, performer, director. Inher collection identifies. cessible collection. The archive isavailable profiled andissue-specific APP platform after their publication, e.g.in the press. The -

11 7. trash, dynamising them with high-speed the sensitivity of grasped situations with the blogrelativelyhuman.blogspot.pl. What interests Kalinowska mostis the Wrocław. Shehasasoft spot for extremes, fetish anddubsit the minority fetish or functioning there. She considers ither main fringe of the normand the communities freaks, minoritiesandmargins of the main- framing or flash overexposure. Sheisa 1984) within the social fabric, posing the question white-and-red costumeandaccompanied 2013, PL,photography, 100x330cm. AGATA KALINOWSKA (BORN In MartaZiółek’s performance, the city In her artisticpractice, sheexplores the Courtesy of the artist. is aphotographer and writer basedin instrument helpingreclaim publicspace, using the mediumof dance to smuggle Manual atZODIAK at the Warsaw Pavilion HAH lease corresponds to our physical functions powerfulenough to transformenergy of the mechanism of musclecontraction andre- mime, street prophecies andFokin’s clas- ments of explosive krump with afterimages by urbanhoodlums,Ziółekclashesele- in TomaszDressed practices. Armada’s private stories, affectations, imagesand content andemotion inconvenient for the club HAH(full name:Heaven &Hell). The people close to her inintimate situations. post-documentary blogaesthetics, clashing bartender by passionandchoice.Sheruns of waysofbe articulating them whichwould of Polish catechesis, localhiphop,panto- of Architecture. outcast fetish. As a non-normativeoutcast fetish. female,a As anger andultimately let itgo.(AH) authorities. Rendered in the spiritof chore- sical Pavillond’Armidedemonstrated . The speech andmovement, and the body –an square becomesanenclave of freedom of self-organization of bodies on the dance she photographed the dance floor of thegay stream. Sheoften photographs partiesand ojunk, the material combinessnippets of 12 8. – becomeconvinced that they have enough “The day is theirs, the night isours”. Film The face of the boy lookingupwards resem- Together” on the steps of the former Par the malebodiesclosely packed together tradition. As aconsequence, the govern- themed “We Dance Together, We Fight the young – for whom techno isanatural 1994) floor reflecttends relationshipsto with - the 2019, RU, film, 61:00min.Courtesy of were detained, resulting inaprotest rave In May 2018,inananti-drug campaign, In 2016, together with RomanNaveskin, he . RavingRiot ishis feature-length Gallery andBassiani.Several dozen people Polivanov’s coming-of-age documentary, Polivanovnight: demand theirright to the Stereotactic. Stepan Polivanov, Sergey Yahontov and STEPAN POLIVANOV (BORN ies isalso full of tenderness andsensuality. in agiven clubbingcommunity. Ingay clubs, is a film director andartistlivingin Moscow. Flipside about the world of wax records in Riot isapicture of the youthful energy RAVING RIOT plays acrucialrole –itoften hasnot only crowd in which nonverbal communication covered or what isbared. (AH) hard to say which dominates here – what is elation. And justlike in those cases,itis between asexual experience andspiritual fromecstasies femalebles the thetradition photos, the languageof photographed bod- liament, acultplace for Georgian protest police raided two in Tbilisi: Café of Christianimagery, located somewhere debut. directed the medium-lengthdocumentary ment promised to liberalize itsdruglaws. In need forempowerment. byThose filmed part of life and protest anatural reaction of dance,rebellion andexpression of the of rave revolution, communalcharacter political power to changereality. Raving a community-building function, butalsoa and facingdirections variousa tight form against authoritiesinvading their freedom sexual undertone. However, inKalinowska’s

- 10. 13 9. The Boidsseriesof sculptures investigates the world. tions. He investigates the impactof tech- the flocking behaviour of birds, developed the phenomenonof crowd formation. The 2015, NL,polystyrene with print. Courtesy 2010-2011, USA, video, 07:41min.Courtesy ANNE DE VRIES (BORN1977) Paris in 2015, Mecca Hajj andHong KongParis in2015,Mecca Hajj March after the CharlieHebdo attack in STEFFANI JEMISON (BORN1981) improvisation, repetition and fugitivity. is anartist whose works confront the include two-dimensional photographs, 3D is aninterdisciplinary artist whose works including the eponymous Boidsalgorithm– used incomputer games.(GR) ulations andorganisms may bepredicted BOIDS ESCAPED LUNATIC everyday objects,new materials, technol- politics of serial form and tension between explores the limitsof narrative description, crowd generation. The gathering of pop- bacteria or bodiesof nematodes, implying resembles rods of the dangerous E.coli protests in2014. The shapeof the objects revolution in Tunisia in2011,“Je SuisCharlie” religious gatherings, including the Jasmine presented at the New Horizons Internation- nology onour perception andexperience of photo sculptures andmultimediainstalla- ogies andprinting techniques. His works by programmer Craig Reynolds, andalso objects are covered in“photo wallpaper” of Martin van Zomeren Gallery. ofartist. the abstract notions of new materialism with and culture onconceptual practices. She arise from the influence of blackhistory a computer artificiallife program simulating and describedby meansof simulations, an organic andcontagious dynamicof al FilmFestival (5-15 November 2020). (AH) showing the biggestsocial,politicaland 11. 14 The banner letter to the authoritiespresent - ŻUKOWSKI ŻUKOWSKI WERONIKA ZALEWSKA, PAWEŁ WERONIKA ZALEWSKA, PAWEŁ through the streets of Houston. The work is the screen, sprinting, jumpingandrolling the letter that took partin the actioncarried forms of authority. While she was living figures become symbols of fugitivity, which 2020, PL,220x1500cm.Courtesy of the A steady stream of black figures runacross Authors of the new version of the Letter: America. (GR) In this part, the artistmakes useof the ICH, JULIAMINASIEWICZ, JAN RUDZIŃSKI,KRIVICH, YULIA MATEUSZ KOWALCZYK, KUBA KAROLINA GRZYWNOWICZ, KOWSKA, MICHAŁ FRYDRYCH, MARTA CZYŻ,MARIANNA DOB- MICHAŁ FRYDRYCH, KAROLINA KOWSKA, MAGDA DRĄGOWSKA, MARTA CZYŻ,MARIANNA DOB- MOŻDŻYŃSKI, KUBA RUDZIŃSKI, GRZYWNOWICZ,KRIV YULIA

in 1967, when sixpostmen,assisted by the in Houston, Jemison shot the video with a in mediaandculture. The quickly moving LETTER gesture was repeated on the route from the local parkour team. The history-inspired concentratedaround the ed at the exhibition isareconstruction of post office on Ordynacka Street to the Fok militia, transferred ascaledletter from the refers to ahappeningby Tadeusz Kantor can Americans as fugitivescan fleeing Americans various chase film genre, which often depicts Afri- part of a trilogy that borrows itsnarrative out onMay 6,2020in Warsaw. Its form historically have always marked blacklife in of urbanlife andrepresentations of blacks an informal, temporary group of activists artists andMuseumof Contemporary Art sal Gallery. Over fifty years later, Kantor’s structure boldly links the unjustconditions structure from early 20th-century cinema. Letter action - - 12. 15 Vargas. In their activities,Las Tesis translate threat”. The penalty was canceledafter the tickets in the amount of PLN10,000 each the artists. the protests against the tightening ofprotestsagainst thetightening the the feminist thought into the languageof activ- from May this year with oneof the main for the alleged“creation of anepidemic works of RitaSegato, an Argentine-Brazilian were “at work” andcontinued the action. with the Constitutionof Poland. The new referred,who interalia, tofact the that the 2019, CHL, video, 04:45min.Courtesy of which perpetuate violence. In 2019, their UN EN VIOLADOR TU CAMINO) A RAPIST IN YOUR PATH (ORIG. 8% of allreported rapists are convicted. November 2019 inSantiago de ,on the Nine women dieevery day. Inspired by the Diaz, Paula Cometa Stange, SibilaSoto- During the seconddetention in front of the Main Post Office to theSejm of theRepub- On average, 42 cases of sexual abuseaday Russian feminist group Pussy Riot, they LAS TESIS intervention of the HumanRights Defender, ism, holdinginto account state institutions in Valparaiso, Chile, formed by LeaCáceres ing ManifestoPolice Violence. Against Rapist in Your Path was first shown on25 lic of Poland asaprotest against the illegal letter replaces the “live not, die”slogan mayor Van Rysseghem and Daffne Valdés parliament building, the group received two between the peoplecarryingit who, when made itpossible to keep the covid distance citizens’ security. The size of the letter also epidemic banonassembliesisinconsistent performance A Rapist in Your Pathbecame brutality entitled 1312, with itsaccompany released an A.C.A.B. anthem againstpolice organization of electionsat the expense of over2020, In togetherworld. the with the academic and feminist, the performance A are reported to the policeinChile,butonly an interdisciplinary, feminist group based askedshowconfirmed that to they theirIDs, abortion law. (GR) anti-government slogansusedduring an anthem for women’s movements all - 13. 14. 16 TYPHOON THE ARCHIVE OF PUBLIC The figures inher paintings cover almost the to beseenin other works at the exhibition: tightening the abortionlaw. their government ared card inprotest of that sexual abuseisapolitical,not amoral textual variations, dependingon the local the oneindicating the culprit.In various tions, andemancipatory gestures, including the female body by the policeduringdeten - the oppressive choreography stagedagainst victims. On the level of movement, the Warsaw, August 8,2020, Polish women give figures, frozen in everyday situations. 2012, oiloncanvas, 50,5 x50,5 cm.Courte- with unrest. The artistisinterested in A closer inspection reveals that the figures International Day for the Elimination of Vio- Photo: Rafał Milach,print, 49,5 x62,5cm. Despite their focus onordinary activities Courtesy of the artist. FIRENZE LAI (BORN1984) FIRENZE LAI PROTESTS is acouple fleeing the typhoon. Thede- in Firenze Lai’s painting are not dancing.It individual-collective dependenciesand ger imposeaspecific choreography, also lence against Women. It was a voice stating likewaiting friend fora bus, talkingto the reflection, hardship and trouble. entire canvas – we see them at amoment of depicting complex interpersonal relations, paintings of the artistare full of anonymous has beenshown approximately 400 times in becoming ananthem for Chilean feminists, problem. It went viral, almostimmediately relationships between the body andmind. or asubway ride, the pictures are laden over 50countries. (AH) performance isbuilton the tension between opposing the culture of rape, blaming the structive force of nature andasense of dan- sy of the artistand Vitamin Creative Space. socio-political context, the performance (look: 5) 15. 17 tilted torso, covered face. A body arrange- the legsspread wide, kneesbent, adodge, the artists. to formal limitations, looking for new pos- tional frameworks. He often subjectsdance them. from the stage to an unfamiliar terrain –a for archiving art,challenging the existing filmmaker, heisamember of the Académie 2014, FR, video, nosound,14:22min, 2009-2018, he was the director of the weapon. (MG) 2018), ElvisdeMédicis (2000) andUFE (Unfilmévénement) (2016). Haniel in the Ruhr District,itis transferred Bretagne, basedonchoreography to Boris Museum of Dance–National Choreograph- His films include His films Charmatz’s Levée desconflits. Courtesy of CÉSAR VAYSSIÉ (BORN1967) BORIS CHARMATZ (BORN1973) immobility of the whole. Shot onHalde is adancer and choreographer combining is aFrench visual artistanddirector. As a ic Centre inRennes,. Inhisartistic Levée labyrinthine, self-generating structure of LEVÉE (ORIG.LEAVEN ) cultural noman’s land, where it forms a mobility of individualbodies versus the chorégraphique national deRenneset de duction: Muséedeladanse–Centre camera andediting:César Vayssié, pro - director: BorisCharmatz, César Vayssié, movement with visual arts.In the years refuses to subdue. A body which becomesa ment resisting asinister force. A body which es films which fuse the boundaries of boundaries visual es filmswhichfuse the de France-Villa Medici inRome.He produc- or end,addressing the paradox of the practice, heexplores the body asaspace museum structures, hierarchies andinstitu- of cinemaandblurringgenre differences. arts anddance, venturing beyond the limits sibilities for bodiesand tensions between ischoreography without abeginning Nepas (1968- travaille 16. 18 – the movement circulates, slides from body TRISTAN, KEWIN& JOSS The three pairs of tracksuit bottoms frozen Tristan, Kewin and Joss. Who are the per ZUZANNA CZEBATUL (BORN the dustof mining waste to lift,creating an to body anddriftsamongst them causing through objectsanddecorations. She tion propel the organic andmathematical treme flash mobor a fleeting socialmonu- visual abstraction, science fiction, docu- variable geometry. Levée view, in which the struggle with movement various spatial and temporal arrangements foam, polyester, metal; 150x140135cm. forming boys (boys?) and what does their 1986) 2015 PL/DE (both in terms of structure andaesthetics) Courtesy of the artist. Czebatul’s sculpture hasadualnature: it is asculptor exploring power relations in mid-motion are characters who were not intimacy, butanother, lessoptimistic vision unreal landscape which oscillates between granted life but were namedby the artist: like, apathetic dance, anerratic dummy contradictory, the aesthetics of ancient major inspirations include,only seemingly concentrates on the visual, seductive force both an euphoricand gloomy character performance. Activity andagency have comes to the fore. Onecannot helpbut choreographic machine.(AH) of artefacts andarchitectural elements – know if itisa working-class rebellion, anex mentary andgenre cinema. And we don’t praise for clubactivism,or even queer may be viewed asanapotheosis of vitality, enigmatic choreography serve? ment that canonly beseen from abird’s eye and clubculture of the 1990s. and conflicts between them. Theartist’s attributes of power –revealing the kinship and matter, and the never endingexhaus- sculptures, contemporary exhibition forms see the work in the context of a trance- subsequent, overlapping gestures forming isasnapshot of - - 17. 18. 19 TILTED CIRCLE The Time of the Individual andComrades. tion: Van Drivers (2015) andVan Drivers 2 tests inHong Kong. Shehasproduced two the powers and the roles distributed insuch figures in thepainting rests onanunknown, 2018, HK,oiloncanvas, 110x140cm. which emerge not only among the protest- (2016), as well asaseriesof five short films Inc. (TBS). In2019, hestarted documenting In her works, Firenze Lairefers to the Courtesy of the artistand Vitamin Creative Czebatul’s sculpture isanovert criticism Do they alldefend asingleidea? How are Occupy Central campaigninHong Kong. FIRENZE LAI KANAS LIU(BORN1986) Since 2014,shehasbeen filming socialpro- Space. She isinterested inrelations andstructures SAM TSANG (BORN1979) is anindependent documentary filmmak is anindependent documentary filmmaker. international media,including VICE News Not One Less, Trial andError, Be Water, into the group of protesters? (MG) documenting the anti-extradition protests: documentaries about the Umbrella Revolu- groups? Are we allable to save the move- night dance floors, to scarecrows. (MG) here. Irrespective of the interpretation, er. Hismaterials were used by localand of neoliberalism, whose hideous tentacles or TokyoSystemBroadcasting Television, pressing force. Isitahumanchain that the ment from collapse? The tilted circle of does acitizen generate acollective body? ers, butalso the clashinggroups. When a senseof exhaustion anddespair creeping aggressive policecannot break? Or perhaps spare nobody,spare world,art from through the social movements protesting against the (look: 14) - 20 TRIALERROR AND The authors concentrate on the communal Two months after the outbreak of the The film documents massprotests against tion of Hong Kong citizens to Chinaand the introduction of abillallowing extradi- the protesters began to fear real institution- tests at the airport(12 August 2019), when to the government’s project of compul- together againstoppressive authorities, for everyone. wants to decideitself whether itmoves or 2019, HK, film, 12:00min,director: Kanas 2019, HK, film, 15:00min,director: Kanas (AH) Kong. In theirdocumentary Liu. Courtesy of the artist. Liu, Sam Tsang. Courtesy of the artists. Liu andSam Tsang film theclashes withriot instruments assuringbetter effectiveness extradition bill.He lives and works inHong NOT ONELESS launched acounter-strike –blocking the public space, where everyone isresponsible camera lens the civicendeavor to reclaim experience of aprotest, following with a limiting the region’s autonomy. Inagradual, repressions on the partof the police force. documents the fourth day of the masspro- not. Inher film Trial andError, Kanas Liu more troublesome collective body which economic flow, they stronger, a formed lysed. All flights were cancelled. In reaction largest in the world, was completely para- prison, where the protestersprison, where the weredetained. police on31 August 2019andnight-time bility of tactics andgeographical dispersal. ership, horizontal co-operation, changea- bottom-up way,protesters the worked police brutality, the localairport,oneof the protests inHong Kong, indirect response to out strategies activating people to stand al violence following the increasingly bloody and safety, principlesof decentralized lead- sory relocation of citizens, the protesters singing duringa vigil outside the LaiChiKok Not OneLess, Kanas 20. 19. 21 TO RAISE THE WATER LEVEL IN A TESTS (LOOK: 5) THE ARCHIVE OF PUBLICPRO- The artistinvited ananonymous group of ZHANG HUAN (BORN1965) the agency of acollaborating crowd. De- ty when the participants lookimpassively the experiment exudes anaura of uncertain- the coronavirus pandemic.Photo: Karolina tual andreligious figures to anonymous 1997, CHN,photographic prints, 23x16cm. Women’s Rights roundabout, inconnection Warsaw, April 14,2020, acar protest at the well. (GR) who hadjustarrived inBeijing to work as with the planned changes to the abortion changes to the planned with the works, herefers to Chinese traditions and Courtesy of the artist. Chinese proverb saying that asingleman Sobel, print, 50x75cm.Courtesy of the is aconceptual artistandperformer. Inhis FISH POND life. The group performance refers to the not entirely agree with the maxim,proving environment. In this case,ZhangHuandoes makes nosignificant difference inalarger metre. In the Chinese tradition, a fish is the raise the water level ina fish pond by a physical aimof the performance was to builders andpoorly paid fishermen. The blies were then banned worldwide due to wereblies worldwidebanned then public space. metaphorical performances andactionsin erished margins of Beijing,Zhangcreated portraits andlandscapes. When livinginan history, from prominent political,intellec- at the artist,and–consequently –at usas artist. about forty participants –migrant labourers and sexual education laws. Publicassem- artistic community located on the impov- spitefact the performed, thatwas thetask symbol of sex, and water – the source of 22. 21. 22 town of Barnaul, where –inresponse to the to ademonstration of toys in the Siberian triggered asurge of protests inRussia. The tions herself. Methods of SocialResistance that she would pack the rebellious toys ina toys are not citizens of Russia”. Anna Jer to legalize the next protest of that kind was Jermolaewa’s installation, presents methods video, 94:00min.Courtesy of the artist. 10 Matchbox cars. The organizers’ request from traditional methods like blogposts, 1970) film, containing interviews withmembers working inPrague. Her works are inspired by 2012, RU/AUT, mixed-media installation, ANNA JERMOLAEWA(BORN ANCE ONRUSSIANEXAMPLES In 2011, the riggedpresidential elections RUFINA BAZLOVA (BORN1990) ised communitiesandeveryday life, which in her artisticpractice shecombines visual is aBelarusianartist,illustrator, performer METHODS OF SOCIAL RESIST duly rejected on the grounds that “Chinese leaflets or hunger strikes, through perfor mighty power of mockery. (AH) cal processes. deals with issuesconnected with marginal - reasons, sheleft Russia for Vienna, where criticism of culture. In1989, for political prehistoric culture andphilosophy, as well minifigures, 20 toy soldiers, 15plushiesand ered 100Kinder Surprise toys, 100Lego ban onpublicmeetings – the protest gath- mances of the feminist group Pussy Riot, of laughtivism, combiningactivism with the molaewa offered her friends from Barnaul of resistance usedat that time inRussia: of the Russianopposition, which isapartof arts with socio-politicalcommitment and as proto-Slavic mythology. and scenographer, currently livingand suitcase andhelp them express their objec- she seesasametaphor of socialandpoliti- she lives to this day. Inher works, sheoften on RussianExamples isa work in the spirit - - - 23.

23 TOWSKA, BORN1996) TA events supportingorganiza- Years after the collapseof the USSRand (FROM THE SERIES (FROM THE the protests which broke outinBelarus totalitarian violence. (GR)totalitarian violence. tions for persons with refugee backgrounds, JAKUB GLIŃSKI(BORN1985) from the mass demonstrations whichweremass from the 2020, BR,digitalcollages,35xcm. which the presented works originate isa well asauditory and visual noise.He creates According to ancient beliefs, embroidery August 2020. The title of the series from vyzhyvatSticking to the survive. –to RUN FROM THE GUN,#JABACKY In her works, RufinaBazlova responds to Kapitał –Poland’s first independent com- OF BELARUSIAN VYZHYVANKAOF ) People’s Republicdeclared in1918,later Courtesy of the artist. DAISY CUTTER (TOSIA ULA its folk handicraft asakey element in the industrial aesthetic of trash, waste, error, as is apainter andperformer exploring the is anactivistandDJ, organizer of the FLAU- helped chaseaway evil spirits.InBazlova’s country’s promotion and tourist advertising. munity Internet radio station. curator, co-founder andCEO of Radio embroidery becomesapoliticalinstrument, pun –vyshyvat meansto embroider , while regaining independence,Belarusstillused captured by the Soviet UnionandPoland. by the opposition– that of the Belarusian regime. The colours refer to the flag used byrigged the elections reactions to the often picturingbrutalanddramatic events art, the evil spiritsare oppression and aesthetics of Belarus folk art, the digital ↘

All the works presented at the exhibitionAll theworkspresentedat the tion, contact the reception of the gallery. the regime inBelarus.For more informa- are forsale. revenueThe total from the sale will be allocated to the victims ofallocated to the victims be sale will THE HISTORY - 24. 24 The authors were inspired by their own story, ter-sweet yearning. The aimhere is to form them imperceptibly, leaving behindabit- term research project onclubbingasa technology. The startingpoint of hislong- tive choreographies of various socialgroups view andidentity bonds.(GR) from NATO bombingsasa teenager. His 1983) which beganinclubspace,andcreative 2015-2019, NL, video installation, 17:24min., 2020, PL,installation, object:348x770 were clubevents inBelgrade, where hehid I Dance Alone project, BogomirIn hisI Doringer documents individualandcollec- BOGOMIR DORINGER(BORN intuition on the basisof agrey-blue palette, internal dynamics. Filmed from abird’s eye is aresearcher, artistandcurator, working using anairbrushand visual quotes from Euphoric Ground isa fleeting immaterial I DANCE ALONEI EUPHORIC GROUND collaboration within it. The seemingly elu- monument to the party asa“non-place”. no sound.Courtesy of the artist. cm, musicset: 30:00min.Courtesy of the drawings. murals, popculture, tattoo andchildren’s pictures andinstallations following his mechanisms of crowd formation andits melts within our bodiesand then abandons community. Itisaplaceof euphoria which bodies andephemeral unity of a temporary club – through the co-presence of dancing protest. projects includeFaceless, IDance Alone reflection of socialandpoliticalchanges mainly in the fields of choreography and on various dance floors, thus exploring as well asuniquepsycho-physical, world- an audio-visual framework for asymbolic artists. artistic practice, the dance floor isa form of and Danceof Urgency . Inhisresearch and strong, lastingrelationships and friendships, sive clubor party experience often leads to space which may beexperienced ina 25.

25 Tańca Studio,Zachęta –National Gallery of the established format of the socio-political tensions. Itis therefore not only areflection the physical andsocialbody in the ev- the individualandcollective body, as well as to exhaustion, andpossessing the power tion in the field of choreography. His works tesy of the artistand the Zachęta –National the Zachęta –National Gallery of Art. Cour JUMPCORE view, dancingbodiesshow the grammar of from various choreographic practices and well aspatterns of socio-politicalbehaviour. 2017, PL,danceperformance, 40:00min, works inaspecificstate –an effect of long, Anna Smolar), Masakra (2019) andDRAMA Art. The work belongs to the collectionof (2020). Regardless of the venue, whether inastu- Doringer’s work, the clubbingsubculture is In hisperformance Jumpcore, Sakowicz Doom 3k,production: Maat Festival, Scena Gallery ofGallery Art. PAWEŁ SAKOWICZ (BORN1988) Sakowicz, dramaturgy: Mateusz Szy intellectual inspirations embeddedin the intensive activity leading the body andmind include TOTAL lands, they resemble cellsof alive organism er-changing cultural landscapes and social dent or gay club,in the Balkans or Nether of current contexts, butalsoareaction to bilizing and transforming relations between choreography andperformance: Paweł observed under the microscope, forming particularly interested inborderline physical realm of books anddancehistory with manówka, music:Indecorum,costume: of resetting them. The choreographer is explores gravity-defying jumps,stemming dance floors – from club –from dance floors affection andnonverbal communication, as a system of spontaneously regulating, sta- a choreographer anddancer. He combines and classicalballet. At the same time, he sphere. (AH) solitary islands,sets andconstellations. In states of the body andcultural appropria- sports stagepractice. Recently hehasbeen hardjump andrelease, to moderndance (2016),(2018, with Thriller , through - - - 26. 26 “we will invade your homesandburndown your cars, you will never feel safe again”. The tensions –especially onalocalbasis– he ture andscience fiction. Exploringsocial the American dancer knownfromdancer Andy the American tures may beinterpreted as the message: the anger of persecuted communitiesisex the spacesof the proletarian revolution in Warhol’s early films. Itisnot entirely clear from breakdance and voguing –emancipat- with the legacy of Modernism, popcul- 2017, BR, video, 05:00min.Courtesy of the (AH) In S, the atmosphere of violence andrev- Fritz Lang’s Metropolis from 1927. Buthere, Latino andqueer communities. Roque’s Cornelia Street. After all,ballet dancers LUIZ ROQUE(BORN1979) S is anartistusing the languageof visual arts, if Fred Herko planned to finish hisintimate inspired by the tragic story of Fred Herko, possible scenarios for the future. He lives examines power relations andspeculates on practice, hecombinesqueer bio-politics cinema andcritical theory. Inhisartistic living room. He approached anopen window empty subway cars and tunnels resemble palpable. The post-apocalyptic, black- bath, turned onMozart’s Coronation Mass performance with asuicidedeath. He took a he ran andjumpedout the window of the olution to break outany minute isalmost queer imagination generates a world of ed dancepractices with their roots inblack, ritual choreography performed here derives people of various skincolours, whose ges- pressed by adancinggroup of gender-fluid and works inSãoPaulo. and-white underworld of anunknown city, artist andMendes Wood Gallery. and began to dancenaked inhis friend’s are said to believe they can fly. Andindeed, apartment on the fifth floor of New York’s severaltimes. When suspended for asecondinjump, they do. ↘

We will inform you about the date of the Jumpcore show on the BWA Wrocław website and via socialmedia. Sanctus resounded, - 27. 28.

27 “Manifestos for Queer Futures”. A project by (BORN 1987) topic of sickness/disability, care andlabour the tension between publicspaceand the vision of asick,disabledandcare-giving fragility of the body. Their practice spans framework of the Alliance of International working methodology. They work both with asocially engagedandresearch-led 2019, DE, video, sound,10:00min.Commis - where shespeculates on what the body and works inbroadly understood choreography, Utopia, andanurgent call to actionin the ANIA NOWAK (BORN1983) Media, Berlin.Courtesy of artist. Production Houses by the Federal Govern- HAU Hebbel amUfer. Supported within the ROMILYWALDEN ALICE ising member of Sickness Affinity Group; individually andcollectively asanorgan- is a transdisciplinaryartist whoseworkis in which sensualchoreography articulates Notes From The Underlandsisaperform- gender, racial andclasshybrids of identities, NOTES FROM THE UNDERLANDS conditions. perform. (MG) be physically present (and abled)inorder to bodymust notion that the challenging the eo, audio,large-scale print andsubtitles; now.performed throughThe textis vid- language are capableof these days. She printed matter, allof which isundertaken centres aqueer, disabledperspective on the bility culture. Itisboth a future-orientated ment Commissioner for Culture and the exhibition. Sheisinterested in the material explores performance, shifting itsbound- bodies inhabitingit.(AH) art workers and activists who work on the art workersactivists whowork and a group of sick,disabledandcare-giving ative text from the depths of queer disa- aries towardsother formats: text,or video sculpture, installation, video, curation and sioned by HAU Hebbel amUfer, Berlin, for

29. 28 – astreet blockade. A protest against the “Desire, unite, name”–says the artist to the THE CHURCHOF EUTHANASIA TO THE ACHING PARTS! (MANI- TESTS THE ARCHIVE OF PUBLICPRO- the artist. tive(MG) voice. the artist’s work goes beyond acommunity the mostpainful emotions of non-binary 1994-1997/2020, USA, stickers, 15x8cm. Warsaw, October 26,2020, Women’s Strike within the frameworkwithin the ofof the Alliance 2019, PL/DE, video, sound,10:00min. ARCHIVES 0.0. CHRIS KORDA International Production Houses by the For Nowak, the body isimportant in the Federal Government Commissioner for Berlin, for “Manifestos for Queer Futures”. A Courtesy of the artist. Culture and the Media, Berlin.Courtesy of Commissioned by HAU Hebbel amUfer, Constitutional Tribunal’s rulingon tighten- illness, andmourning,as well as the ethics ing the abortion law. Photo: Agata Kubis, individual manifestation becomesacollec- idarity andlackof agency. Usingher mi- FESTO) dimension of the body and itsnon-physical political crisis. context of sexual activity, the experience of embodied practices of care andcommunity. language style,Nowak calls for mutualcare project by HAU Hebbel am Ufer. Supported of pleasure in the times of aclimatic and lament because the real danger for the cro-choreography andidiosyncratic, cryptic communities: internal exclusions, non-sol- print, 73,5x 125cm.Courtesy of the artist. more andmore vocal. Insuchsituations, an queer peoplelurks elsewhere andisgetting aspects –emotions, feelings, intuitions –as and buildingdifficultalliances. However, audience inher poetic manifesto, touching starting points for the development of (look: 5) (look: 0)

30. 29 This special form of intimacy hasnothing Thanks to RabeaGrand andGessnerallee Zürich. (BORN 1989) tor who attaches great importance to art tains (Manneken PisinBrussels,Di Trevi ofimages tovery the well-known foun- tempt to embedhumanbiology, the gentle thorities (of e.g.museumsandcollections) tion. Inhis works, hequeers the accepted tionary activity is the establishment of new fountain outof their own bodies.Referring filth –isa taboo.(MG) 2020, CH, video, 03:00min., water. Courte- water isreplaced by the exchange of urine. A FOUNTAIN FOR THE PUBLIC In hislatest work, together with agroup of Ronja, Rufio, Annina,Lara Fountain inRomeand Jet d’EauinGeneva), Boys DancingGroup), inmixingupexisting Camera:Kreyden AlvaroSita, Timon, With: NILS AMADEUS LANGE LANGE NILS AMADEUS SPACE SIREN,SONG TO THE is aperformer, choreographer andsculp- DEDICATED TO MY FRIENDSAM good taste. The consequencesof hisrevolu- perverse aboutit,neither isitanexpression human pyramid in which the circulation of he arranges anintimate choreography, a human body, with allitscrevices, fluids and encounter, in the urban fabric, in which the meanings onnightclub dance floors (Young definitions andpatterns, underminesau- history and the notion of anartinstitution, performers, Nils Amadeus Langebuildsa of dominanceor submission.Itisanat- normally devoid of a voice to have asay. meanings, butabove all–allowing groups orders, or injokes verging on the border of around them. Instead, he tends to look forlook he tends to Instead, around them. and callsinto question the narrations built and consequently –canonandrepresenta- sy of the artist.

33. 32. 31. 30 THE EDGE) TESTS (LOOK: 5) THE ARCHIVE OF PUBLICPRO- to the streets to rule the city: tear itdown to the notions of biopower andbiopolitics. the experience of beingdeaf isastarting the artist. through the early 1990s,as well asother Warsaw, 8 August 2020, demonstration in 2014, USA, digitalprintout, 60x48cm. was aneducator (undergraduate/graduate A half-naked manperforms anerotic dance 80s, turning the spotlight back to those spotlight 80s, turningthe His fields of interest includesocial politics, Rafał Milach,print, 66x50cm.Courtesy of HIV/AIDS activism,particularly the direct Courtesy of Tim Landers. DANIEL KOTOWSKI (BORN1993) DIED 2014) ROBERT GETSO (BORN1962, imagine that before he takes off hisskimpy is a visual artistandperformer for whom gay bars in Texas andasan ACT UP activist NYC GO-GO(POSTCARDS FROM rejected by the binary society. (MG) drag queens,ghostsof the epidemic– take have remained inhidingso far –sex workers, down Manhattan – Trump’s playground and he broaches the subject of marginalized during the HIV/AIDS pandemic.Inhis works, his own experience, back when he worked in pleasure. Getso talks aboutexclusion using levels) andartist.His work tends to feature next to aNew York skyscraper. You may on a whim or turn itinto aplaceof endless point inartisticpractice. He often refers because “the AIDS crisisisn’tover”. politics of urbangay life andHIV/AIDS, healthcare issues.Hisinterest was in the a sanctuary of neoliberalism. Those who arrest of Margot, anLGBT activist.Photo: action of ACT UP initsheyday from 1987 shorts, hestrolls like asex godor KingKong social groups in America of the 1970sand support of the LGBT community after the 34. 31 The work provokes adiscussionabout the WIEKIEM) today – the dominanceof the English to something that isuniversally accepted the deaf. In1992, the Croatian artistpointed to –justlike Stilinović –approach exclusion, to resemble a word expressed insignlan- tion, 14:00min. Courtesy of the artist. tion, especially in the context of perception without basing them onold, exclusive whose senses(of sight, hearingor others) works includeinterventions inpublicspace 2020, PL, video, sound,01:03min.Courtesy 2009-2013, HR, two-channel video installa- A PERSON WHO CANNOT USE CZŁOWIEK, KTÓRY NIEPOSŁU- GUJE NIE SIĘMOWĄ, JEST CZŁO- Daniel Kotowski isinspired by Mladen IGOR GRUBIĆ(BORN1969) Stilinović’s work Speak EnglishIsNo Artist (1992) inorder SPEECH ISNOHUMAN(ORIG. issues of socialand politicallife. interpersonal relationships andcommunica- is a visual artist who hasbeeninvolved in utterance. A signeveryone recognizes. guage. Inreality, the multipliedgesture isa limits of visibility andaudibility of persons EAST SIDE STORY language in the globalart world. Kotowski except hedoesit from the perspective of rude, even arrogant actexpressing adisre - models? (MG) platforms of meeting andcommunication he usesinhis works addresses the burning his work, the artistusesa fake sign,stylized nication through the mediumof speech.In concentrates on the dominanceof commu- of socially marginalized persons. ofartist. the audible voice fight for itsplaceinadiscus- are impaired. How cana very quiet, barely and film production. Thepoetic language activism andpolitics for many years. His spectful attitude towards someoneelse’s sion about the world? How to buildnew An Artist Who Cannot An Artist Who

35. 32 to both of them. The documentary material today,decades that almost two despite the the score forthe Glazer the Jonathan film vić callsa“counter-monument” or a“mon- JONATHAN (BORN1965) GLAZER 2020, GB, video, 10:00 min.Courtesy of the which released the album Shades. which brought her anOscar nomination. the Skin, for which shereceived the - Under the Skin (2014).Under the In hisEast SideStory, the artistjuxtaposes His music videos include those for Nick Cave, RadioheadandMassive Attack, and MICA LEVI(BORN1986) She isamember of the bandGoodSadHap- STRASBOURG 1518 in the streets of Belgrade (2001)andZa- ument of extreme fragility” that reactivates in which the dancers reconstruct direct and is anEnglishcomposer, musicproducer and is aBritish film director andscreenwriter. groups, conservative organizations, and greb (2002) with aperformance referring gler, Nike andSony. The feature films he like in the musicalWest, Grubić SideStory different from those we seein thestreets repressed images. Are Grubić’s imagesso becomes real action, which DejanSreteno- hate, processing it through art. The dance reographies of the protesting bodies. Just mance, taking placein the originaldemon- both parades. The recording of the perfor has directed includeSexy Beast (2000) and place during the Gay Pridedemonstrations eventsdocumenting material that took other citizens towards the participants in created? (MG) have elapsedsince the work was originally py Bad(formerly Micachu and the Shapes), appropriates the languageof violence and acclaimed commercials – for Levi’s, Wran - artists andSalaudMorriset. an Film Award, andPablo Larrain’s Jackie, symbolic violent gestures, as well ascho- stration venues, isanartisticre-enactment shows aggressive behaviours of neo-Nazi singer, alsoknown asMicachu.Shecreated Under - 36. 33 The film isinspired by thedanceepidemic, 7th and18thcenturies, self-choreographed (BORN 1987) the artist. therapy inone.(AH) temporary communitiesof dancingbodies ty andsensuality. vision of taking power by achaotically who dancedaloneinpublicandrefused to 2019–, PL, video, 03:00min.Courtesy of with queer affect, corporeality and relation- Agata Grabowska, Billy Morgan, Filip ALEX BACZYŃSKI-JENKINS In terms of choreography, it was agestural Krzysztof Bagiński. Rutkowski, Dawid Nickiel, Gracjan Smo- But on the socialandpoliticallevel, the Camera: Krzysztof Bagiński, performance: Sadler’s Wells by meansof basicequipment, Strasbourg 1518 was madeduring the pan- invitation, with no determined end or final it continues asan ongoing work, being in arationalized publicspace.Between the impulsivity, lackof control or coordination. is anartistandchoreographer who deals Faggots, Friends was initiated in2019as linski, OlaRusinek,music: Jaś Rabiejand FAGGOTS, FRIENDS(TRAILER) developedexhibition further each with pressed within the body, treating danceas distilled the energy of the lockdown sup- demic incollaboration with the dancers of moving bodies was labelledanepidemic. dancing crowd loomedover the authorities, her.danced with They wereunstoppable. disciplining bodiesgetting outof control dancing plagueisinterpreted today as disaster, manifested in tics andspasms, of dancers closedinconfined spaces,Glazer politics of desire through the useof gesture a commissionby Kunsthalle Basel,and a symptom of anillness,acure, poisonand and rehearsed onZoom. Usingrecordings appropriated city squares andstreets. The and touch as well as the issuesof collectivi- ality. His works operate in the context of the so the collective practice of unacceptably stop. A month later, asmany as400people started in1518Strasbourg by Frau Troffea, 34 The film emphasises other ways of living the experiences of homeandmaking, the film follows their depicting friendship, 1977 –apartstory andpartmanifesto for from, anexperience of beingoutof place Pietrusinskiego, where theyread fragments in the documentary form asitisin fiction, Revolutions written by Larry Mitchell in extended andre-performed. The protag- performers visit the neo-baroque Villa performersthe visit queer homeisinvoked through moments pleasure, longing,andbelonging.Intimacy onists are Warsaw-based performers and one in which relations develop over time outcome. The project isasmuchinvested communities come together inorder to collective livingand mutualsupport, where of TheFaggotsof and Their Friends Between of shared (dis)orientation; aplace to depart of resilience inhostileenvironments. opatriarchal order. (MG) and are returned to as the film is reiterated, and something akin to acine-performance, and desire. and Amongst various venues,the and simultaneously adestination of care and being together. The notion of the and togetherness are traced here asmodes survive and to overthrow the rulingheter -

35 Rusznica, Ewa Szabłowska, Joanna Szyma- Horizons International FilmFestival, Ras- Magdalena Komornicka, Tim Landers, New Special thanks to: Space, Zachęta –National Gallery of Art jda, Martin Van Zomeren, Vitamin Creative mus MyrupandCruisingPavilion, Łukasz and Karolina Zajączkowska. International Festival of Urban Art OUT OF STH VI: SPACE ABSORBENCY THREE’S A CROWD EXHIBITION

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