Amoroso is a film made from video material recorded during the research project Kik Melone Amoroso in April 2014.

The project started by inviting fellow dance artists Sonja Pregrad and pavleheidler and the multimedia artist Sabina Mikelić to spend a week being, working and exploring together. Intentionally leaving the boundaries of research undefined, the project proposed to approach relationships within collaboration as we would love ones. Relationships within which each gives and receives unconditionally, is autonomous and respects others’ autonomy, in which what is most valuable happens in the space between and is conditioned by mutual relationships. A space that affects all those included and taps into a zone of intimacy.

My desire was to create a sheltered time-space shell in which to be free to explore what we find valuable at any given moment and share it with others, without pressure about efficiency and without censorship. The poetry of Sylvia Plath was brought into the process, out of completely subjective reasons and in accordance with the utopian proposal of the project.

The entire process was documented with a video camera: to avoid the question of transience and ephemerality (or to emphasize it), to open up the issue of watching and performativity (or to disregard it) and to have a document of the process.

The film Amoroso is at the same time a pseudo documentary testimony, an attempt to hold time spent together, an analysis of a creative process and an autonomous artistic work which experiments with the choreographic process of film montage.

Silvia Marchig

TO SEE AMOROSO CLICK HERE

During the Canadian Wilderness Arts residency 2019, where a group of 10 curated artists with 2 guides paddled the Yukon River together travelling a distance of 700Km by water from Whitehorse to Dawson City, the Yukon Canada.

Recognizing the shift from water to land, daily and the traversed pathways each of us made were repetitive and pattern-forming, i invited each of us to "score" a morning or evening walked pathways at Camp.

I memorized Marina Hulzenga's 'Camp #8 Evening" score, and worked with my performance practice "Moveable Cinema" to ground it in the environment i was in at the moment.

Filmed in Fort Selkirk, by Sabine Burns-photographer
Perfromed by Shannon Cooney

TO SEE Camp Score Fort Selkirk CLICK HERE

Gender-bending cyborg sci-fi meets experimental choreography as an artist works through severe writer's block with the help of their dog. Based on many true stories, this video-animation hybrid ruminates care and concern at the "end of the world."

Director, Animator: Charli Brissey
Sound: Charli Brissey, Lavender Hex, The Caretaker

TO SEE Canis Major CLICK HERE
password: laika2020

I am making a series of pieces since my quarantine began March 5. I have a studio. I built it in the upstairs of my flat four years ago....an old attic now my sanctuary. Like everyone my work is cancelled or postponed until May...April who knows? If I am not creating work I will go nuts so I started a series..... Corona Princess. I make my sound track from a huge library of sounds collected from wonderful musicians I have collaborated, danced, done text and sing with. I then go to my studio..set up the angle...do the piece in one take. I go to my film program to place the sound and titles....done.

Katie Duck
www.katieduck.com

TO SEE Corona Princess #1 CLICK HERE

TO SEE Corona Princess #2 CLICK HERE

TO SEE Corona Princess #3 CLICK HERE

TO SEE Corona Princess #4 CLICK HERE

TO SEE Corona Princess #5 CLICK HERE

TO SEE Corona Princess #6 CLICK HERE

TO SEE Corona Princess #7 CLICK HERE

TO FOLLOW Coroca Princess directly CLICK HERE

During a seemingly social eclipse, Emanat is launching a regular TV program freely accesible at https://tv.emanat.si. Every night, at 8.00 pm (CET) until further ado, you will be able to watch recordings of performances from the Emanat archive, which dates back to 2004. While watching, you are also invited to talk, exchange views or simply 'hang out' in an online chat. For every day at home, one Emanat production. #Stayathome and socialize with distance.

TO SEE emanat.tv CLICK HERE

The first work in a series based on Durning’s performance practice “nonstopping,” inging proposes the insistent practice of unscripted nonstop languaging as performance, where speaker (performer) is in direct relation with listener (audience) at the moment of articulation. Part spoken word performance, part reverie, part dance, part oral biography, part meditation and psychotherapy, inging is a choreography of the mind, moving in the continuous present. It tracks the velocity of thought through a proprioceptive cascade of words. Both performer and audience are in perpetual disequilibrium, confronted with the limits of language as a paradigm for communication, knowledge and understanding. The body and its gesture emerge as the inevitable bridge between thought and language.

Created and performed by Jeanine Durning.

inging was first publicly performed in Amsterdam in 2010, and has since been invited to theaters, festivals, studios, museums and galleries in Berlin, Leuven, Zagreb, NYC, Minneapolis, Milwaukee, Williamstown, and Chambersburg, with forthcoming performances in San Francisco in November 2015.

recorded Thursday, September 25, 2015

TO SEE inging CLICK HERE

TO SEE Context Video CLICK HERE

relates to To Being below

With a whole new range of transparency, still, and motion picture we present this Performance as evidence.

In an old yet newly discovered digital format, we leave ourselves open to charges of being ahistorical or flimsy, light and flaky, and we call upon this performance as a witness.

A witness of ?

The work collected here aims to displace the tyranny of identity, and instead to think about acts?

Theatrical acts, performance acts, circus acts?

Yes

and No.

Staged are: Acts of love. Acts of care. Acts of dancing to some Satie if we want to. Acts of speaking from a position of your alien other because I have to. New and yet prior notions of acts. Of acting out. Overacting. Overexplaining. Explaining acts.

Pataphysicians: Marko Gutić Mižimakov, Umberto Lancia, Silvia Marchig, Jasen Vodenica and Perun & Pino Ursulić

Production: Kik Melone, in frames of ANTISEZONA 20 project.

ANTISEZONA 20 is a meeting place - in the world today shaped by COVID-19, it will take shape of a continuous program of live online performances, other works and discussions live-streamed on our youtube channel.

ANTISEZONA is a continuation of a project of self-curation in performing arts. Instead of how it has been planned in a time before this present, and beyond online re-presentation of already existing (performance) works, we take on as a challenge to curate a season of live online performances and talks about the current condition of the body, performance and community.

ANTISEZONA is an experimental program. We continue to pursue our previous interests in unexplored and risky edges of media, where new performative formats arise, able to move the expected borders of choreography and performance. We are committed to continuously question conditions of production of art and to innovate ways to collaborate - artistically, conceptually and in producing.

Because of this, in the current situation of radicalized conditions, we want to continue to invest into survival and arising of dance and performance as live and embodied media, as well as into the survival and arising of the production and financing of culture, and last, but not the least into the survival and arising of the spaces of public and collective articulation of analysis of the present through the prism of the body and co-presence, as it’s focal points.

ANTISEZONA is a collaborative self-curation and self-organization project of four Croatian dance artists: Ana Kreitmeyer, Silvia Marchig, Sonja Pregrad and Iva Nerina Sibila, with their artistic organizations Divert (IMRC), Fourhanded/Četveroruka, Kik Melone and Improspekcije festival.

TO SEE MELONE PATAPHYSICA NO-BODY CLICK HERE

ROB3RTA is the third solo in a series of solo works by dancer and choreographer Roberta Milevoj. It follows on from plays Roberta, Roberta (2010) and Roberta Again (2013). Previously, the artist explored the relationship between a performance and a choreography as the point where the natural emotional experience meets the artificial performance space.

In this project, the artist is primarily interested in the analysis of the capacities of her own performing body. These capacities are bound to be conditioned by internal content, which is what brings up the main question: how can personal emotional experiences, memories and internal monologues become the basis of a solo performance and how can the characteristics of one’s own (female) nature and the ways it is manifested in a dance performance condition different poetic approaches to the dance material and choreography. The body is here observed as a mechanism bearing the story as well as the performance history of an artist’s body.

Choreography and performance: Roberta Milevoj
Music: Miro Manojlović
Costumes: Desanka Janković
Project collaborator: Matija Ferlin
Production: Artistic organisation NIKAD KRAJA

TO SEE ROB3RTA CLICK HERE

TALA is a non-profit arts organization the goal of which is the popularization of contemporary dance among children, young people, and adults. TALA was founded in the year 2000 by LARISA NAVOJEC and TAMARA CURIC, dancers, choreographers and dance educators.

TO SEE Task 21 by Škvadra and Tamara Curić CLICK HERE

TO SEE A Solo Together by Larisa Lipovac Navojec

TO SEE Displaced by T.Curić, L.Lipovac Navojec, A.Janeva Imfel
CLICK HERE

"The Chocolate Factory Theater exists to encourage and support artists in their process of inquiry. We engage specifically with a community of artists who challenge themselves and, in doing so, challenge us. We believe that by supporting the labor of these artists, we contribute to elevating New York City as a thriving marketplace of ideas."

The Chocolate Factory Theatre's library is breathtaking and definitely worth your time. Featured artists include:

Liana Conyers
Jan Rosenblit
Milka Djordjevich
Jennifer Monson
Niall Jones
Tess Dworman
Miguel Gutierrez
Julie Mayo
Mariana Valencia
Kristen Kosmas and Leon Finley
Aaron Landsman
Jeanine Durning
etc.

TO SEE The Chocolate Factory Theatre's archive CLICK HERE

The Legacy Project is an IDOCDE-hosted community-driven project that stands for a publicly available collection of video documents made by individual participants, often registered members of the IDOCDE* Community.

The objective of any individual record registered as The Legacy Project is to document a tracing of a lineage of a valuable lesson learned at any point in time during the course of one’s professional career. The Lesson featured in the record is assumed to be regarded as valuable by the document’s creator. By means of the document, the lesson’s value is articulated and as such shared with the community.

To make your own:

1. record a description of the valuable lesson, explaining why it is that you perceive this lesson as valuable

2. contact your teacher and ask them to record a reflection on the lesson, i.e., to contextualise the lesson by describing how they came to acrticualte it, why they felt compelled to share it

3. (how you decide to articulate your reflections and reports is up to you; see the gallery of existing videos for context and inspiration)

4. send your video to info@idocde.net, so that it can bee added to The Legacy Project archive

5. share at will

TO READ MORE ABOUT The Legacy Project CLIKC HERE

TO SEE The Legacy Project CLICK HERE

*IDOCDE stands for International Documentation of Contemporary Dance Education. for more see www.idocde.net

Ilse Ghekiere, Eleanor Campbell, Mira Mutka, Samuel Draper and pavleheidler for

TOGETHER ALONE, Stockholm, Sweden

TO SEE The Moon Practice CLICK HERE

#improvisation #performativity #agentialrealism

by Michaela Gerussi and Tracy Valcarcel
camera: Tracy Valcarcel
performance: Michaela Gerussi

https://vimeo.com/401113033
PW: moonrises

The moon rises in four parts documents a durational, site specific performance structured around the cyclical natural phenomenon of the tidal rhythms in at Five Islands Provincial Park in Nova Scotia, Canada. In accordance with the local tide times, we developed a repetitive practice of returning to the same geographical spot four times over a series of days. This project is part of a larger interdisciplinary research dealing with the process of familiarization with an unfamiliar space as expressed in the body.

Known for some of the highest tides in the world, the location we chose on the Bay of Fundy is an important component in this piece. Both of our work is directly informed by the subtle dynamics found both in the body and in natural environments. Our interest is in the use of video to heighten the expression of those dynamics and the way they interact.

With Tracy behind the camera and Michaela in front, we respond to the space in movement, building an ongoing dialogue with each other and our surrounding environment. Through this practice, together we establish a relationship with the space itself, inherent in the dance, the camera gaze and its accumulative expression.

Created by Jeanine Durning with Julian Barnett and Molly Poerstel. Directed by Jeanine Durning. Performed by Julian Barnett, Jeanine Durning, and Molly Poerstel. Sound by Tian Rotteveel. Lighting by Joe Levasseur.

To Being is a choreography of persistence in the heart of jeopardy and precarity: the body continues in ongoing change, relations transform, meanings proliferate and fade. A companion work to Durning’s acclaimed solo performance practice, inging, To Being is based on the decidedly chosen practice of nonstopping — always moving absent destination— always becoming, never arriving. A psychosocial experiment, To Being opens to a landscape where radically divergent desires converge and empathy unfolds. To Being is dance as both ontological inquiry and homage, a force against the absolute, the nameable. To Being is a composition of endurance, a sonata of devotion. To Being is an unending search for an imperative relationship to movement in which dichotomies between self and other, material and immaterial, thought and action, incessantly dissolve. But more than anything else, To Being asks: What’s at stake? Where’s the end? How can we give more when all we feel is that we’ve met our limit?

To Being was made possible, in part, through The Movement Research Artist-in-Residence Program, funded, in part, by the Mertz Gilmore Foundation, the Davis/Dauray Family Fund and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; by a Space Grant from BAX/Brooklyn Arts Exchange with support from the New York State Council on the Arts, the NYC Department of Cultural Affairs, and the Andrew W. Mellon Foundation, and by a space grant from Abrons Art Center. In addition, Jeanine Durning researched, developed and honed To Being with financial, administrative and residency support from the Dance in Process Program at Gibney Dance.

TO SEE To Being CLICK HERE

TO SEE Context Video CLICK HERE

relates to inging above

This podcast is an experimental, documentary podcast concerned with documenting knowledge articulated within the field of experimental dancing and choreography, where choreography is understood to be an expanded practice and the broader fields of art making, creativity, writing, and performing.

TO LISTEN TO THE PODCAST VIA SOUNDCLOUD CLICK HERE