NOĆ PERFORMANSA 2019

Dora Brkarić (HR): Life is GREJP
Napuštanjem ljudskog tijela u nove svjetove kibernetičkog prostora, stvara se novi virtualni identitet, nova forma umjetne inteligencije koja kroz virtualnu besmrtnost nadilazi ograničenja biološkog tijela pa se tako i gube dualizmi um/tijelo, civilizirano/primitivno, stvarnost/privid, posrednik/izvor, stvaralac/stvoreno, aktivno/pasivno, istina/iluzija, bog/čovjek, muškarac/žena…

Dora Brkarić trenutno završava treću godinu studija suvremenog plesa na ADU i sljedeći semestar provodi na UNIARTS-u u Helsinkiju. Tijekom studija surađuje s koreografima kao što su Matej Kejžar, Sanna Myllylahti i Andrea Božić. Sa solom Mađioničar Stefano nastupa na Monoplayu i drugim festivalima. Bavi se audio vizualnim umjetnostima i performansom ali ju zanimaju i kazalište i film. U radu razmatra teme nagosti, transhumanizma, utopije-distopije, repeticije, dosade i monotonije.

Vlasta Delimar (HR): Hoćeš jebat? Stani u red…
Ovaj rad je nastavak ciklusa radova kao što su Pravo na orgazam iznad 60 ili Uspješno starenje u kojima problematiziram ne samo položaj starijih osoba u odnosu na spolni život već i važnost emocionalnog s obzirom na našu tjelesnost, seksualnost i erotiku i koliko zapravo tu ima ljubavne odgovornosti. U radu Hoćeš jebat? Stani u red… glagol jebat može biti višeznačan, može biti metafora kolektivnog nasilja kao produkt društvene zbilje, kolektivne naslade nad tuđom mukom, a može biti i element erotskog prijedloga u smislu samopreobrazbe. Čekati u redu za spolni čin već je samo po sebi početak neke nove društvene samo(odgovornosti). Ponuditi vlastito tijelo i to žene koje je prešla šezdesetu godinu života kao poligon za erotsku, seksualnu ili ljubavnu igru može u patrijahalnoj konzervativnoj sredini zvučati humorno i neprihvatljivo. No, Delimar još uvijek vjeruje da pojedinci mogu svojim samostalnim ponašanjem i stavovima utjecati na preobrazbu društva.

Vlasta Delimar (HR) rođena je 1956. u Zagrebu, gdje živi i radi. Umjetničkim se radom počela baviti u kasnim 1970., odbacivši formalno obrazovanje kao neadekvatno, konzervativno i zastarjelo te raskinuvši s tradicionalnim principima razvoja umjetničkog djela tako što se fokusirala na akcije, happeninge i performanse. Odabravši vlastito tijelo kao primarni medij vlastitog rada, Vlasta Delimar definirala je svoju poziciju uvažene, autonomne umjetnice bez izravnih nasljednika, ali također i bez prethodnika. Neprestano i dosljedno odbija svoj rad konstruirati kroz termine “žensko” ili “feminističko”, inzistirajući na univerzalnoj umjetnosti koja nije podijeljena na žensku i mušku te se na taj način neprekidno odbija identificirati ili pridružiti bilo kojoj ideologiji, što joj se u konačnici predbacuje u skladu s etabliranim kanonima fiksnih kunsthistoričarskih i teorijskih praksi. Kontinuitet predstavljanja performansa od kasnih 1970. do današnjeg dana, uključujući i intimne performanse, često provokativne i danas već antologijske, klasificiraju Vlastu Delimar – zajedno s Tomislavom Gotovcem / Antoniom Lauerom – među najrelevantnije hrvatske performere, koji koriste (umjetničko) tijelo da bi proširili granice likovne umjetnosti i osvojili prostor slobode. Ove i naredne godine obilježava 40 godina svog umjetničkog djelovanja. http://www.performer-delimar.hr/

Vitar Drinković (HR): Biljno sljepilo, interaktivna instalacija

Plant blindness (biljno sljepilo) je termin kojeg su 1998. stvorili James Wandersee i Elizabeth Schussler. Oni definiraju biljno sljepilo kao „nesposobnost viđenja i primjećivanja biljaka u svojem okružju“. Iako je ljudska vrsta potpuno međuovisna s biljnim svijetom, gotovo simbiotski, ipak ih kao i planet na kojem živimo uzimamo zdravo za gotovo. Biljke vide, komuniciraju, prilagođavaju se, pamte, dišu, kreću se, razmjenjuju informacije na način koji je drugačiji, ali i vrlo sličan našem. Interaktivna instalacija je posrednik u komunikaciji između čovjeka i biljke. Biljka je senzorima spojena na Arduino i RGB reflektore. Arduino detektira mikropromjene u električnom potencijalu biljke te ih prikazuje kao promjenu boje svjetla u prostoriji. Na ovaj način trenutna reakcija biljke je vidljiva u cijelom prostoru kada ju se dodirne. Namjera je kroz interakciju s radom stvoriti veću svijest i senzibilitet za biljni te općenito “ne-ljudski” život, o kojemu zapravo malo znamo jer su istraživanja o tim poljima većinom komercijalno orijentirana, i potaknuti razmišljanje o svijetu koji je manje antropocentričan.

Vitar Drinković rođen je u Zagrebu gdje je diplomirao kiparstvo na Akademiji likovnih umjetnosti 2008. godine, te 2014. na Odsjeku za animirani film i nove medije na istom fakultetu. Sudjelovao je na studentskim razmjenama i rezidencijama u Americi, Engleskoj, Češkoj i Francuskoj. Djeluje na sjecištu tehnologije, znanosti i umjetnosti. Proteklih nekoliko godina istražuje načine stvaranja uvjeta za promjenu percepcije svakodnevne stvarnosti. Koristeći se raznim interaktivnim skulpturama, napravama, izumima i instalacijama kao posrednicima u komunikaciji, stvara novi kontekst za osjetilnu i misaonu spoznaju svakodnevice. Izlagao je na 18 samostalnih i 48 skupnih izložbi u Hrvatskoj, Njemačkoj, Nizozemskoj, Bugarskoj, Austriji, Češkoj, Engleskoj, Sjedinjenim Američkim Državama, Kanadi i Francuskoj. Dobitnik je nekoliko nagrada, priznanja i stipendija.
vitardrinkovic.blogspot.com

Dejan Gotić (HR): Upoznavanja 2 – Životna mudrost

Na desetu godišnjicu smrti svjetski proslavljenog doktora Erika H. Svenssona ( 1912. Eksjö – 2009. Stockholm), zaslužnog za revolucionaran razvoj i napredak umjetničkog izričaja 20. stoljeća, zagrebačka će publika imati priliku detaljno se upoznati s radom i teorijskim konceptima koje je ovaj briljantni um iznjedrio tijekom svog plodnog teoretskog stvaralaštva, a sve to kroz izlaganje i razgovor pripreman posebno za ovu prigodu, kao hommage osobi uz koju sam proveo većinu svoga života i profesionalnog stvaralaštva i uz koju sam postojano i predano bio do njenih zadnjih trenutaka. Kad je ovaj iznimni doktor teorije umjetnosti te predani pratitelj umjetničkih tendencija 1937. stvorio teoriju holističke interkonekcije u umjetničkoj produkciji, nije samo unaprijedio stvaralaštvo i izraz generacija umjetnika koji su obilježili 20. stoljeće, nego je utabao put za životnu obnovu i novi smisao nebrojenom mnoštvu običnih ljudi, čak i onih nepovezanih s uzvišenim svijetom umjetnosti kao takve. Bit će ovo prilika za zajedničku izgradnju novih sebstava, izdignutih iznad prašine besmisla i besciljnosti kojima nas ovaj svijet nastoji uvući u svoj beživotni kalup. Prilika za zahvalu čovjeku i teoriji koja je to omogućila! Doktore Svensson, hvala Vam!

Dejan Gotić rođen je 1987. godine u Zagrebu. Nakon maturiranja na Odsjeku grafičkog dizajna u Školi primijenjene umjetnosti i dizajna u Zagrebu pohađa Akademiju likovnih umjetnosti u Zagrebu, gdje diplomira u MA programu Odsjeka animiranog filma i novih medija 2013. godine. Osim djelovanja u obliku filmskih autorskih uradaka te vođenja brojnih radionica pri Akademiji likovnih umjetnosti i drugim obrazovnim institucijama od nedavno se bavi i galerijskim izlaganjem. Serijom performansa pod zajedničkim nazivom Upoznavanja predstaviti će se publici tijekom 2019. godine. Upoznavanja 2 – Životna mudrost drugi je u nizu različitih performativnih izlaganja u ovoj seriji.

Marko Jović (HR): Inner Hidden
Inner Hidden multimedijska je instalacija u kojoj se kroz video, fotografiju i zvuk autor bavi problematikom mentalnog zdravlja. Prvi dio videa predstavlja stanje u kojemu se ništa ne vidi te nam tihi pozadinski zvukovi daju osjećaj kao da se nešto treba dogoditi. Drugi dio videa je sastavljen od niza isječaka grmljavine snimljene na balkonu autora u Osijeku. Korištena je i serija od 100 fotografija uz pratnju zvuka koji se oblikuje i izvodi uživo.

Marko Jović sa 16 godina počinje otkrivati svijet eksperimentalne i noise muzike, a njegov glavni projekt imena Xtematic nastaje početkom 2011., nakon čega počinje izdavati u suradnji s inozemnim izdavačkim kućama te sudjeluje u različitim projektima (The New Blocakders, Cubic Nomad, The Karmakumulator, Mo*Te, Defektro, :dARM , Ecoute La Merde, Torturing Nurse, Government Alpha). 2013. godine pokreće vlastitu digitalnu izdavačku kuću Xernex, a osim zvuka se bavi i fotografijom, grafičkim dizajnom, videom te ponekad i kolažem i crtanjem.

Nastasja Štefanić (HR): Viola, ja i nas dvije
Autorica i izvođačica: Nastasja Štefanić
Kostimografija: Dalibor Šakić
Oblikovanje svjetla: Marino Frankola
Umjetnička i produkcijska podrška: Koraljka Begović
Grafičko oblikovanje: Paula Šantić
Snimanje i fotografija: Neven Petrović
Projekt je dio rezidencijalnog programa Zagrebačkog plesnog centra te je podržan sredstvima Ministarstva kulture RH, a ostvaren u suradnji s Udrugom plesnih umjetnika Hrvatske i Kazališnom družinom Kufer.

Ples dvaju tijela – plesačice i instrumenta te zvuk koji iz tog plesa proizlazi temeljne su odrednice ove izvedbe. Plesati te istovremeno stvarati i reproducirati glazbu za taj ples, svirati plešući ili plesati svirajući neka su od pitanja kojima se ovaj rad bavi. Dekonstrukcija i napuštanje standardne forme sviranja viole te preispitivanje mogućnosti vlastitog plesačkog tijela, ali i tijela instrumenta rezultiraju stvaranjem specifičnog odnosa subjekta i objekta čija je međuovisnost vidljiva i u trenucima odvojenosti. Na koje je sve načine moguće tretirati instrument odnosno objekt kojega subjekt već toliko dobro poznaje?
Instrument u dodiru sa živim tijelom kao da i sam postaje živ i ostaje živim posredstvom zvuka koji se generira puneći prostor između ta dva tijela.
Poigravanjem s hibridnom formom solo-dueta autorica se „otvara“ pred gledateljem propitkujući vlastitu sebe, svoje glazbeno i plesačko ja.

Nastasja Štefanić profesionalna je glazbenica, plesačica, koreografkinja te glazbeni i plesni pedagog. Završila je preddiplomski i diplomski studij viole na Muzičkoj akademiji u Zagrebu. Spada i u prvu generaciju studenata suvremenog plesa na Akademiji dramske umjetnosti u Zagrebu gdje je u lipnju 2016. godine završila preddiplomski studij, smjer- plesač suvremenog plesa. Osim što se bavi autorskim radom, Nastasja redovito surađuje s domaćim i stranim plesnim umjetnicima. Njezini autorski radovi prikazani su na nekolicini festivala u Hrvatskoj i inozemstvu. Nastasja je dobitnica je brojnih nagrada i stipendija, između ostalog i Rektorove nagrade za koreografiju Cadenza per 6. Radi kao asistentica – vanjska suradnica pri Odsjeku glume na Akademiji dramske umjetnosti u Zagrebu.

Program se provodi kroz platformu aktivnog gledateljstva projekta suradnje BeSpectactive! uz podršku Kreativne Europe

Dora Brkarić (HR): Life is GREJP

By abandoning the human body into the new worlds of cyber space, a new virtual identity is created, a new form of artificial intelligence that through virtual immortality goes beyond the limits of the biological body, thus losing the duality of the mind/body, the civilized/primitive, reality/illusion, the mediator/source, the creator/created, active/passive, truth/illusion, God/man, male/female …

Dora Brkarić is currently finishing the third year of Contemporary Dance Studies at Academy of Dramatic Art in Zagreb and is spending the next semester at UNIARTS in Helsinki. During her studies, she collaborated with choreographers such as Matej Kejžar, Sanna Myllylahti and Andrea Božić. With the solo Magician Stefano she performed at Monoplay and other festivals. She works in the fields of audio-visual arts and performance but is also interested in theatre and film. Her works deal with topics of nakedness, transhumanism, utopia-dystopia, repetition, boredom and monotony.

Vlasta Delimar (HR): Do you want to fuck? Stand in line…

This work is a continuation of a cycle of works such as the Right to an orgasm above 60 or Successful aging in which I problematize not only the position of the elderly in relation to sexual life, but also the importance of the emotional with regard to our body, sexuality and eroticism and how much responsibility towards love is actually there.

In the work Do you want to fuck? Stand in line… the verb fuck can take on multiple interpretations, it can be a metaphor of a collective violence as a product of social reality, a collective gloating over another’s torment, and it can also be an element of erotic suggestion in terms of self-transformation.
Waiting in line for a sexual act is already in itself a beginning of a new social self(responsibility).
To offer your own body – especially that of a woman who has passed sixty years of age – as a polygon for an erotic, sexual or love game can sound humorous and unacceptable in a patriarchal conservative environment. But Delimar still believes that individuals can influence the transformation of the society by their own independent behavior and attitudes.

Vlasta Delimar (HR) was born in 1956 in Zagreb, where she lives and works. She began her art work in the late 1970’s, rejecting formal education as inadequate, conservative and obsolete, and breaking up with the traditional principles of developing art by focusing on actions, happenings and performances. By choosing her own body as the primary medium of her own work, Vlasta Delimar defined her position as a respected, autonomous artist without direct heirs, but also without her predecessors. She continuously and consistently refuses to construct her work through terms “female” or “feminist”, insisting on universal art that is not divided into women and men, thus continuously refusing to identify or join any ideology, for which she has been finally criticized in line with the established canons of fixed kunsthistoric and theoretical practices. The continuity of presenting performances from the late 1970’s to the present day, including intimate performances, often provocative and today already anthological, has classified Vlasta Delimar – together with Tomislav Gotovac/Antonio Lauer – among the most relevant Croatian performers, who use the (artistic) body to expand the boundaries of fine arts and win the space of freedom. In 2019 and 2020, she is celebrating 40 years of her artistic work. http://www.performer-delimar.hr/

Vitar Drinković (HR): Plant blindness, interactive installation

Plant blindness is a term created in 1998 by James Wandersee and Elizabeth Schussler. They define the plant blindness as “the inability to see and notice the plants in ones’ surroundings”. Even though the human species is fully interdependent with the plant world, in an almost symbiotic way, yet, like the planet on which we live, we take it for granted. Plants see, communicate, adapt, remember, breathe, move, exchange information in a way that is different, but very similar to ours. This interactive installation is the mediator in communication between humans and plants. The plant is connected to the Arduino and RGB reflectors through sensors. Arduino detects microchanges in the electrical potential of the plant and displays them as a change in the color of the light in the room. In this way, the immediate reaction of the plant to the human touch is visible throughout the space. Through interaction with the work, the intention is to create greater consciousness and sensitivity to the plant and generally to “non-human” life, which we do not really know much about, since research on these fields is mostly commercially oriented, as well as to stimulate thinking about the world that is less anthropocentric.

Vitar Drinković was born in Zagreb, where he graduated in Sculpture at the Academy of Fine Arts in 2008. In 2014 he acquired MA in Animated Film and New Media at the same faculty. He participated in student exchanges and residencies in America, England, the Czech Republic and France. He works on the intersection of technology, science and art. Over the last few years, he explored ways of creating conditions for changing the perception of everyday reality. Using various interactive sculptures, devices, inventions and installations as communication intermediaries, he creates a new context for the sense and thought of everyday life. He has exhibited at solo (18) and group exhibitions (48) in Croatia, Germany, the Netherlands, Bulgaria, Austria, the Czech Republic, England, the United States, Canada and France. He has received several awards, acknowledgments and scholarships.

Dejan Gotić (HR): Introductions 2 – Life Wisdom

On the tenth anniversary of the death of doctor Erik H. Svensson (1912 Eksjö – 2009 Stockholm), notable for revolutionary developments of the 20th century art expression, I will try to commemorate the brilliance and ingenuity of his abundant body of work by staging a presentation and detailed conversations with the local audience, tailored specifically for this extraordinary and rare occasion, thus paying homage to a man who directly influenced both my personal and artistic progress, and by whose side I respectfully and devotedly stayed till the very end. It was 1937 when this great man, a doctor of art theory and a true artistic trendsetter, first formed his Theory of Holistic Interconnection and applied it to the process of artistic production. By doing this not only did he manage to elevate and perfect the work of countless prominent artists of the 20th century, but he also paved a way for a much wider and grander effect, giving the ordinary men, even those not connected with the profound world of the art, a chance and an ability to fully use all of their potential and live the life to its fullest. So let us use this opportunity to broaden our minds, to deepen our understanding, to fully take charge of all that we are capable of, especially the artists among us. Let us thank the man and theory that made all of that possible! Doctor Svensson, thank you!

Dejan Gotić was born in 1987 in Zagreb. After graduating from the Department of Graphic Design at School of Applied Arts and Design in Zagreb, he attended the Academy of Fine Arts in Zagreb, where he acquired MA at the Animated Film and New Media Department in 2013. Apart from his work in the field of film and conducting numerous workshops at the Academy of Fine Arts and at other educational institutions, he recently became involved in gallery production as well. A series of performances unified under the title „Introductions“ will be presented to the audience during 2019. „Introductions 2 – Life Wisdom“ is the second performance in this series.

Marko Jović (HR): Inner Hidden

Inner Hidden is a multimedia installation where the author deals with mental health issues through video, photography and sound. The first part of the video represents a state in which nothing can be seen, and the silent background sounds give us the feeling that something needs to happen. The second part of the video is composed of series of thunderstorm fragments recorded on the author’s balcony in Osijek. A series of 100 photographs is also used, accompanied by the sound that is shaped and performed live.

Marko Jović started to discover the world of experimental and noise music at the age of 16 and his main project called Xtematic was created in early 2011, after which he started publishing in collaboration with foreign publishing houses and participating in various projects (The New Blocakders, Cubic Nomad, The Karmakumulator, Mo * Te, Defektro, dARM, Ecoute La Merde, Torturing Nurse, Government Alpha). In 2013, he launched his own digital publishing house Xernex, and in addition to sound, he works with photography, graphic design, video and sometimes collage and drawing.

Author and performer: Nastasja Štefanić
Costumes: Dalibor Šakić
Light Design: Marino Frankola
Production / Artistic consultant: Koraljka Begović

The dance of two bodies, the body of the dancer and the body of an instrument, and the sound that is produced during this dance are the base of this performance. To dance and, at the same time, create music for that dance, to play dancing or dance playing, these are some of the topics that the performer and author Nastasja Štefanić is exploring in her work.
The moment the instrument meets a living body it becomes alive itself and it remains alive with the help of the sound that is produced in this process and that fills the space between the two. By playing with a hybrid form of a solo-duet, the author opens up to the viewer, she questions her own self, her musical and dancing self. This is a solo as a reminiscence of a duet, a union with another body, a contact with an inanimate object but also an act of liberation through the exhaustion of her own physical body.

Nastasja Štefanić is a professional musician, dancer, choreographer and a music and dance pedagogue. She holds a BA and an MA degree in Viola and a BA degree in Contemporary Dance that she received at the Academies in Zagreb, Croatia.
Nastasja makes her own pieces and also collaborates regularly with both Croatian and international artists. Her authorial pieces were presented at festivals in Croatia and abroad. Nastasja has won numerous awards and scholarships, among them is the Rector’s award for her work Cadenza per 6. She works as a teaching assistant at the Drama Department at the Academy of Dramatic Arts.

The program is implemented through the platform of active spectatorship of the collaboration project BeSpectactive! with the support of Creative Europe