Performance weekend – Ujazdowski Castle Centre for Contemporary Art

We invite you to the performance weekend in frames of the Other Dances exhibition.

28/04

• 7:00 pm
  • Ola Maciejewska
    • LOÏE FULLER: Research
      • performance
      • Laboratory, Auditorium Hall
        • In LOÏE FULLER: Research, Ola Maciejewska probes the limits of human autonomy and the autonomy of the object in motion. Invoking Loïe Fuller –a 19th-century precursor of contemporary dance, Maciejewska brings to the fore the critical potential of questioning the relationship between body and object. The performance comprises two physical exercises, which are intended to instil form into motion.
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• 8:00 pm
  • Ramona Nagabczyńska
    • More
      • performance
      • Laboratory, Auditorium Hall

        • In 1993, Genesis P-Orridge and his partner Lady Jaye Breyer embarked on the process of a gradual transformation of their bodies in order to achieve a state when not only would both their bodies look the same, but indeed become one. Employing a ‘cut-up’ technique, P-Orridge and Breyer’s generated a new, pandrogynic creature, whom they named Breyer P-Orridge. Their transformations can be viewed as a utopian transhumanist practice. According to Max More, one of the founders of the transhumanist movement, its essence lies in transition – the instability of the human condition. In her production More, Ramona Nagabczyńska takes on board the destabilisation of the myth of individualism, as well as summoning the desire to return to a communion of intertwined bodies.

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29/04

• 7:00 pm

  • Joanna Leśnierowska

    • blur

      • performance

      • Laboratory, Auditorium hall

        • Although the principle of ‘blur’ has been introduced into the tradition of European painting already by da Vinci’s sfumato-technique, it is however only after Gerhard Richter (in whose work the phenomenon of out-of-focus and hazy images took such a dominant role) that the blurred surface has become one of central motives in both figurative and abstract paintings as well as photography and post-photography of nowadays. Artists employ the means of blurring intentionally, in different combinations, and following different conceptual and technical strategies. Blurred surfaces, dissolving contours, hazy appearances, indistinct motifs in a state between apparition and dissolution, chaotic accumulation and constant overdose of equally important and unimportant details, dispersed visions and meanings, and aspects of color and composition brought to the fore - with all this in mind, we entered the stage to examine possibility of ‘blur’ in the context of body and choreography.

        • The research for the solo has been developed with an input by artists of different disciplines. Together, we have searched for translation of  ‘blur’ into all levels of a stage performance. ‘Blurred’ we understood literally - as something ‘out-of shape’ or ‘unable to keep one shape/form’, but first of all metaphorically – as visual and physical representation of an emotional and mental state in which we are being deprived of previously recognized and generally accepted point(s) of reference, and, both on a micro and macro level, constantly exposed to fragmented reality made of data of all sorts: bits and scratches of images, sounds and (post) information sunk in noise and echoes of ideas and ideologies.

        • blur is another chapter of Exercises in Looking– a practice of seeing and thinking with (moving) images initiated with a trio “…(rooms by the sea)” (2014). Stemming from the interest in contemporary painting and (post) photography, it is inspired by its theory and creative and political strategies, and  examines a  possibility of  restitution of the gaze in the context of the stage.