BADco. members are currently in Chicago on a research residency preparing a new work that will premiere at the impressive Chicago Cultural Center as part of the large exhibition Goat Island: We Have Discovered a Performance by Making It. The first results of this research will be presented at Links Hall in Chicago 23. February 2019.

BADco. received the invitation in July 2018 by the curator of the Chicago triennial IN>TIME2019 Greg Lunceford as one of the nine chosen artists to take part in the large international exhibition Goat Island: We Have Discovered a Performance by Making It. The exhibition is dedicated to the work of the Chicago performance collective Goat Island, a theater group that change the idea and image of contemporary performance during the 80s and 90s. Established in 1987 in Chicago, ist core members were Karen Christopher, Matthew Goulish, Lin Hixson (director), Mark Jeffery, Bryan Saner and Litó Walkey.

Goat Island: We Have Discovered The Performance By Making It will exhibit the archive materials of Goat Island through publications and a symposium alongside the response of nine artists in dialogue with one of Goat Island's performances in frame of an exhibition. BADco. is developing a performative-exhibition structure based on the production The Sea and The Poison Zagreb's audience had a chance to see at Eurokaz Festival in 1999.

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Goran Sergej Pristaš will present his new book Exploded Gaze and hold a workshop at Stanford University on 26. February 2019. The book will soon be available at superknjizara.hr and European Amazon websites.

You can download a free copy of the book here.

Diverse in forms and rich in styles, from personal artistic notes to academic insights, this volume by Goran Sergej Pristaš is “recapitulating two decades of reflection from Pristaš’s work in theatre and artworld, and Exploded Gaze flashes out as a rare treat of poetics and political and philosophical thought at once. In a virtuoso stroke of style, this book advances novel terms of viewing, time and production in which the imaginative and critical powers of theatre are reinvented past theatre. Like Jean-Luc Godard, Mladen Stilinović or Anne Boyer, Pristaš reinvigorates the dense thinking from within the matter of art that can alter our worldview if we follow its shrewd implications.” [Bojana Cvejić]

Pristaš leads us elegantly and eloquently to the conclusion, which is also his artistic starting point that “theatre demands a faithfulness to the impossible, to the living matter which is not there yet, was already there and will maybe re-appear again.” Or, as Peter Brook would say: “[theatre] don’t need certainty”.