performative installation

Each collective process in theater begins with an encounter, and so every circuit of relations between the authors, institutions and the public has the character of an outcome of an encounter – it could have not occurred, and yet it did. The principle of conditioning of an encounter is a permanent state of incompleteness, incompleteness not as state of un-done, but as a state of creation through disruption – that of a premiere, interpretive disruption, economic disruption… This principle does not start from the principle of necessity, the principle that elements of the theatrical process arise out of necessity, but become necessity themselves. All encounters, and their outcomes, are subject to chance thus their conditioning can only be determined by reverse engineering.

The relatively fast pace of production of performances, the focus of the artists primarily on future life and distribution of new works, and the subsequent chronic lack of time for consideration of past work and public traces of the work, all provoke the need for a look back, a slowing down, an interruption as an artistic gesture which, in turn, allows for a creation of conditions for new beginnings. This installation is one such pulling of a brake with a desire to: Re-think things. See how it works. Hear the sound interruption.

The performative installation Broken Performances is a writing “on the margin” of our primary artistic production and is named after his own formation process – it was necessary to tear apart the performance into a series of notes, impressions, experiences, perceptions, so that we would be able to look at it again not through an interpretation of meaning it produces, but through the way it produces, the encounters that could have happened, its weak power to determine something.

The choreography that we have subjected to this analytical process is Fleshdance (2004), a work conceived as a problematic study of the triptych paintings by Francis Bacon.

The installation results from a collaboration of performance collective BADco. with cinematographer Ivan Slipčević – Slipke, editor Bojan Perić and visual artist Igor Pauška. Texts resulting from analysis by Goran Sergej Pristaš and Zrinka Užbinec, with textual fragments by Marcel Proust, Samuel Beckett and J. G. Ballard. Music, costumes and video used in the instalation are part of the original choreography.

The installation uses ALVES – Algorithmic Live Video Editing System software by Daniel Turing. Video scripting (ALVES): Tomislav Medak. Technical associate: Anton Koch.

Authors' team of Fleshdance are Nikolina Pristaš (choreography and performance), Pravdan Devlahović, Ana Kreitmeyer, Zrinka Užbinec (performance), Ivana Ivković and Goran Sergej Pristaš (dramaturgy), Silvio Vujičić (costumes), Helge Hinteregger (music), Oliver Imfeld (video).

The installation includes units of live performance every hour on the hour throughout the duration of the exhibition.

Project supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia The first installation presentation was a part of the Salon Exploded Views of Performance - Frontiers of Analysis, Frontiers of Poetics, 05.-07.12.2013, a public event of LABO21 - European Platform for Interdisciplinary Research on Artistic Methodologies, a partner project of BADco. (Zagreb), Random Dance (London), Troubleyn (Antwerp) and International Choreographic Arts Centre (Amsterdam). With the support of the Culture Programme of the European Union. Thanks to WHW - What, How and for Whom and Gallery Nova.

Strgane izvedbe

izvedbena instalacija

Svaki kolektivni kazališni proces kreće susretom pa tako i svaki sklop zaživjelih odnosa među autorima, institucijama i gledateljima ima karakter ishoda susreta: mogao se i ne dogoditi iako se dogodio. Princip uvjetovanja susreta jest stalno stanje nedovršenosti, nedovršenost ne kao nepotpunost, nego kao načelo stvaranja kroz prekidanje – premijerno, interpretativno, ekonomsko... Taj princip ne kreće od načela nužnosti, od načela da segmenti umjetničkog procesa proizlaze iz nužnosti nego da postaju nužnima. Svi su susreti, kao i ishodi, izloženi slučaju pa se i njihova uvjetovanja mogu odrediti isključivo radom unatrag.

Relativno brzi ritam proizvodnje predstava, upućenost umjetnika prvenstveno na budući život  i distribuciju novih djela, susljedno tome i kronični nedostatak vremena za sagledavanje minulog rada i javnih tragova tog rada provociraju potrebu za osvtranjem, za usporavanjem, za prekidom kao umjetničkom gestom koja, zauzvrat, omogućuje stvaranje uvjeta za nove početke. Ova instalacija jedno je takvo povlačenje kočnice sa željom: Ponovno razmisliti o nečemu. Vidjeti kako radi. Čuti zvuk prekida.

Instalacija Strgane izvedbe pisanje je "sa strane" naše primarne umjetničke proizvodnje i nosi ime vlastitog procesa nastajanja; valjalo je strgati izvedbu u niz bilježaka, dojmova, iskustava, opažaja ne bi li je se moglo vidjeti ponovno ne kroz interpretaciju značenja koja proizvodi, nego kroz način na koji radi, susrete koji su se mogli dogoditi i njezinu malu moć da nešto i ustanovi.

Predstava koju smo podvrgli tom analitičkom procesu je Fleshdance (2004), nastala kao problemsko istraživanje slikarskih triptiha Francisa Bacona.

Instalacija je realizirana u suradnji izvedbenog kolektiva BADco. sa snimateljem Ivanom Slipčevićem – Slipkeom, montažerom Bojanom Perićem i likovnim umjetnikom Igorom Pauškom. Autori tekstova proizašlih iz procesa analize su Goran Sergej Pristaš i Zrinka Užbinec, a u instalaciji se još koriste i fragmenti iz tekstova Marcela Prousta, Samuela Becketta i J. G. Ballarda. Glazba, kostimi i video korišteni u instalaciji pripadaju originalnoj predstavi.

U postavu se koristi ALVES, sustav za algoritamsku montažu video materijala uživo, autora Daniela Turinga. Video skripte (ALVES): Tomislav Medak. Stručni suradnik: Anton Koch. Autorski tim predstave Fleshdance čine Nikolina Pristaš (koreografija i izvedba), Pravdan Devlahović, Ana Kreitmeyer, Zrinka Užbinec (izvedba), Ivana Ivković i Goran Sergej Pristaš (dramaturgija), Silvio Vujičić (kostimi), Helge Hinteregger (glazba), Oliver Imfeld (video).

Instalacijski postav Strgane izvedbe uključuje i jedinice žive izvedbe na svaki puni sat tijekom cijelog trajanja izložbe.

Projekt je podržan od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH Prvo otvorenje i predstavljanje instalacije održano je 05.-07.12.2013. u sklopu Salona Eksplodirani prikazi izvedbe - poprišta analize, poprišta poetike, javnog događanja LABO21 - Evropske platforme za interdisciplinarna istraživanja umjetničkih metodologija partnera BADco. (Zagreb), Random Dance (London), Troubleyn (Antwerp) i International Choreographic Arts Centre (Amsterdam). Platforma LABO21 je podržana od programa Kultura Evropske zajednice. Hvala WHW - Što, kako i za koga i Galeriji Nova.