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Nikolina Komljenović (HR)

GLA SANJE: Ob jektusu bjektprela ziglas

2.7. | 19h | Polukružna dvorana &TD-a, Savska cesta 25, Zagreb | 60 min

Nikolina Komljenović (HR)

GLA SANJE: Ob jektusu bjektprela ziglas

Kad se kraj i/ili početak procesa povežu sa drugim procesom, onda krajevi i početci postaju proces za sebe. Tako dobijemo niz procesa, niz gdje jedan proces prelazi u drugi proces i pri tom zadržimo krajeve i početke. Ili drugim riječima: ulazimo u tok (flow). U tok se ulazi tako da postaješ tok, to samo postajanje toka je već tok. U to stanje padneš jer si se spotaknuo uz fakt, očito, nešto čitljivo, razumljivo, opipljivo. Tko se ne spotakne, neće pasti. Zato smo tu mi (Nikolina, Bruno, Božidar) da vas spotaknemo sa očitim prijedlozima i to spotakne i nas – da zajedno padnemo u tok glasa, pogleda, pokreta, svjetla, prostora, vremena, plesa, koreografije, u tok gdje se sve prepliće bez da se spoji. I se čudimo.

Iz toka ispadnemo jer smo se spotaknuli uz značenje, smisao: zatvorili smo nešto što ne možemo više (iz)držati rastvoreno. Opet smo samo tu dok se opet ne spotaknemo o očito i padnemo “nazad” u tok. Toliko je tog padanja i ispadanja da smo opet kod procesa (padanja) koji prelazi u proces (ispadanja). Samo još jedan proces u nizu procesa. Na horizontu/rubu procesa se jedva čujno čuje glas transa, rituala, igre, izvođenja, iscjeljivanja. Mašu nam glasom i ne možemo razlučiti/rastumačiti od koga je koji glas, glas koji se spaja glasom zenita i nadira naše percepcije. I se čudimo.

Nikolina Komljenović je izvedbena umjetnica sa širokim spektrom znanja. Bazirana na kretanju, pokretanju iz podsvijesti, unutarnjim mehanizmima kojima ulazi u interakciju s publikom. Radi na strukturama koje proizlaze iz odnosa, iz uzajamnosti te ih gradi pomoću prijenosa težine. Djeluje u polju izvedbenih i vizualnih umjetnosti. Pedagoškim radom bavi se od 2008. godine, podučavajući zračne akrobacije i suvremeni ples. Koordinatorica plesne udruge Ekscena. Članica međunarodne umjetničke platforme Bacači sjenki i strukovne udruge UPUH. Magistrica povijesti umjetnosti i komparativne književnosti. Od 2013. samostalna umjetnica.

Božidar Šumi izučava zaigranost i tjelesno-kinestetičku inteligenciju kao izvođač, plesač, koreograf, spisatelj, pedagog, klaun u formatima kao igra, predstava, događaj, performans, instalacija, publikacija, klaunska točka…

Bruno Pocheron je studirao vizualne umjetnosti u Francuskoj, živi u Berlinu. Djeluje internacionalno ponajviše kao oblikovatelj svjetla, ali i kao tehnički direktor, dizajner scene i oblikovatelj zvuka. Zajedno s Isabelle Schad i Renom Andersonom, inicirao je suradničku platformu Good Work, koja je usmjerena na prezentaciju i percepciju tijela na sceni i u društvu. Koordinira Wiesenburghalle (Wie-sen55 e.V.), kolektivni working space u Weddingu u Berlinu, i Gangplank, otvorenu mrežu umjetnika i dizajnera s fokusom na intermedijalnu komunikaciju. Razvija softwerska sučelja u programima Pure-Data i WMV, omogućujući fluidnu komunikaciju između svjetla, zvuka i videa te istražuje dramaturško djelovanje tih elemenata.

Ideja: Nikolina Komljenović
Igra i izvedba: Nikolina Komljenović i Božidar Šumi
Dizajn svjetla i izvedba: Bruno Pocheron
Dizajn promotivnih materijala: Tomislav Turković
Koprodukcija: ekscena, festival Perforacije
Podrška: POUZ Zagreb i Tala plesni centar
Financije: Ministarstvo kulture RH

Nikolina Komljenović (HR)

VOIC ING: Ob jectintos ubjecttran sitsvoice

When the end and the beginning of the process are linked to the other process, then the ends and beginnings become a process for themselves. So we get a series of processes, a sequence where one process goes to the second process and keeps the ends and beginnings. Or, in other words, we enter the stream. One enters the flow so that you become a flow, only the flow of the flow is already flow. You fall into that situation because you have been tossed by the fact, something obvious, something legible, understandable, tangible. He who does not stumble will not fall. That is why we are here (Nikolina, Bruno, Božidar) to let you take a look at the obvious suggestions (and this is also making ourselves stumble); that together we fall into the flow of voice, gaze, movement, light, space, time, dance, choreography; the stream where everything is touched without being connected. And we’re surprised.

We break out of the flow because we are tossed with meaning, sense: we closed something we can not hold out. We’re just back there until we stumble on the obvious and fall back in the stream. So much of that fall and falling out, that we are again at the process (of falling) that goes into the process (of falling out). Just another process in a series of processes. On the horizon / edge of the process, barely audible is the voice of trance, ritual, game, performance, healing. They are waving with the voice and we can not distinguish to whom a voice belongs, the voice that is melted by the voice of zenith and the voice of nadir of our perception. And we’re surprised.

Božidar Šumi studies gameplay and body kinesthetic intelligence as a performer, dancer, choreographer, writer, pedagogue, clown in format as a game, play, event, performance, installation, publication, clown act.

Nikolina Komljenović is a performing artist with a wide range of knowledge. Based on movement, starting from the subconscious, internal mechanisms that interact with the audience. She works on structures that arise from relationships, from reciprocity and builds them by weight transfer. She works in the field of performing and visual arts. She has been teaching pedagogical work since 2008, teaching aerial acrobatics and contemporary dances. She is a coordinator of dance association Ekscena. She is the member of the international art platform “Shadow casters” and professional association UPUH. She holds a MA of Art History and Comparative Literature. Since 2013 she is an independent artist.

Bruno Pocheron studied visual arts in France, lives in Berlin. He works internationally, mostly as the light designer, but also as a technical director, a scene designer and a sound designer. Together with Isabelle Schad and Reno Anderson, he initiated a collaborative platform the Good Work, aimed at presenting and perceiving bodies on the scene and in society. He coordinates Wiesenburghalle (Wiesen55 eV), the collective workspace at Weddington in Berlin, and Gangplank, the leading network of artists and designers focusing on intermediate communication. He develops software interfaces in PureData and WMV programs, enabling fluid communication between light, sound and video and explores the dramatic effect of these elements.