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competition film
Double Step
Dir Zuza Golińska and Magdalena Łazarczyk
2016
Poland
The protagonists of Double Step are mysterious sisters residing at the Spectrum Tower building in Warsaw. They look peculiar: almost like twins, they have one body, two heads, four legs and one pair of hands. When moving between the floors of the building, they encounter the Hosted Simply exhibition...   Zuza Golińska and Magdalena Łazarczyk have collaborated for the past few years, also as the GOŁA collective. Their projects are a product of their individual artistic practices which they develop independently; they are mostly based on performative actions corresponding to the given surroundings. They have jointly made performances, installations and films. Both artists graduated from the Academy of Fine Arts in Warsaw and completed independent graduation projects at the Mirosław Bałka Studio of Spatial Activities (2015).  
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The performative readings of The nest. A play about how to use things in an improper way and yet not waste them / LAZNIA 1
Actors:
Joanna Drozda,
Directing and dramaturgy: Bogna Burska
Cast: Ewa Hevelke
 
The performative readings of "The nest. A play about how to use things in an improper way and yet not waste them", a tragicomedy about contemporary art, written in 2012. One of them took place at the Zachęta National Art Gallery and the other at the Theatre Institute in Warsaw. The intention of confronting the text with the spaces of the gallery and the theater was a continuation of my intermedia and interdisciplinary artistic pursuits. The dramatic text understood as an event taking place in a certain space was to be tested out in two locations with different traditions of creating meanings and cognitive tools.
The roles were assigned to 9 actors, so that none would have to appear in a scene all by himself. The first act, where the artists, curator, director and the technical staff mount the exhibition, and eventually a power shortage occurs, was read in Zachęta’s upper chamber in front of the staircase, occupied by an exhibition of works nominated for the Deutsche Bank’s most interesting young Polish artist Looks 2015.The works presented there - con- ceptual installations And Indescribable outline by Alice Bielawska and Turba, Turbo and Arena byIza Tarasiewicz - became a very good background for a text dealing with con- temporary artistic discourse, difficult to understand for an ordinary viewer of. Act 1 ended by turning off the lights, and the actors and audience approached to the staircase, where the next two scenes were shown - the Critical Artist writing a manifesto and his conversa- tion with the choir, and the opening of the exhibition. The opening, with participation of di- rector, Superintendent, Sponsor, Ambassador and the Minister was conducted exactly the same way and in the same place where actual exhibitions are usually inaugurated in this institution, thus fitting the roles of the actors into real places and characters familiar to all patrons of the gallery. Some of the actors impersonated the viewers who have difficulties coping with the exhibition that is being displayed in the dark. The next two scenes were shown on the ground floor among objects making up the Gardensexhibition (curator Magda Godlewska-Siwerska). The conversation in a luxury beachfront villa of the Old and Great Artist was read by the actors standing within Paweł Matyszewski’s Gardens of obli- vion, which consisted of a pond, plants and a rock garden. The last scene, taking place at the sitting room of intellectual aspirations of the Hostess, was read in the exhibition hall with Paweł Matyszewski’s paintingRavings and sculptures Untitled by Małgorzata.
 
 
 
 
 
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People
  • Jill Godmilow
    Jill Godmilow is a producer/director of non-fiction and other films that include the 1984 post-realist documentary feature, Far From Poland, about the rise of the Polish Solidarity movement; Waiting for the Moon (1987), a feminist/modernist fictional feature about the lives of the literary couple Alice B. Toklas and Gertrude Stein; Roy Cohn/Jack Smith (1995), a cinematic translation of a theater piece by performance artist Ron Vawter; What Farocki Taught, a replica and interrogation of a 1969 non-fiction film by German filmmaker Harun Farocki about the production of Napalm B during the Vietnam war, and most recently, a 6 hour, DVD archive, Lear ’87 Archive (Condensed) about the work of the renown New York City theatrical collective, Mabou Mines, on a fully gender-reversed production of Shakespeare’s “King Lear”. Among others, she has received fellowships from the Guggenheim and Rockefeller foundations and her work has been nominated for an Academy Award, invited to the Whitney Biennial and won first prize at the Sundance Film Festival. In 2003, her film Antonia: A Portrait of The Woman was added to the prestigious National Film Registry at the Library of Congress. She has just retired from 20 years of teaching film production and critical studies in the Department of Film, Television & Theatre at the University of Notre Dame.
     
     
     
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  • Zorka Wollny
    The works of artist Zorka Wollny (*1980 in Kraków) inhabit a space between art, theatre, contemporary music and dance and are always closely connected to the historic and functional context of specific architectural sites. Wollny understands architecture not simply as a material figuration, but rather as a cognitive space dependent on movement, an expression of cultural conditions and a scene of performative interventions. Following a critical interest in cultural codes, gestures and structural modes of behaviour, which she observes e.g. in art production and reception and in environments of post-industrial work, she develops not only installations and videos, but frequently also choreographic live-performances and concerts. In the latter, she deploys feminist and deconstructivist approaches to explore the thresholds and superpositions of private, public, subjective and institutional spaces and narratives.     
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Festival IN OUT
10th IN OUT FESTIVAL 2016
23-24 April 2016, Łaźnia CCA
Subject: Theatricality

The theatre may today seem to be an anachronistic medium. Pushed out of the mainstream by media that are better equipped to reflect reality – first film, then television – the theatre may be taken to symbolise artificiality or conventionality. However, older media do not die out – this is not the case of some media being replaced by others, as they are all interrelated in the media landscape, feeding on one another. What is more, the older ones are released from the ‘me too’ drive, so they may perform a critical function with respect to more recent ones. Something that is taken for an error in cinematography may prove to be subversive in terms of theatre: it disrupts cinematographic illusion, spoils the smooth narrative, prevents one from becoming involved, keeps showing that it is all a game of pretence, make-believe. That we are actually deluded by the cinema in its quest for hyperreality. Even though corporeality and liveness should have the upper hand here, we are much more seduced by the image – “film is the winner of this rivalry precisely on account of the viewer's need of immediacy and intimacy”, wrote Philip Auslander (Liveness: Performance in a Mediatized Culture, Taylor Francis elibrary, 2012). However, new media also enable the old ones to start a new life. This is more or less the essence of remediation (see Jay David Bolter, Richard Grusin, Remediation: Understanding New Media, The MIT Press, Cambridge London 2000). All in all, Bolter and Grusin’s thesis is a good follow-up of Marshall McLuhan’s well-known statement that the medium is the message, and the content of any medium is always another medium. Remediation is incessant, while the practices created by one medium are transposed onto other ones. This pertains to both the reception and methods of handling new media. Habits created by older media move on to the new ones (see Siegfried Zielinski, Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means, transl. by Gloria Custance, MIT Press, Cambridge MA, 2008). The Polish theatre has been employing video, film and new media strategies, embedding them in performances, for at least several seasons. From Krysian Lupa’s Factory 2 to Krzysztof Garbaczewski’s productions, theatre directors often reveal their fascination with other media, providing material for theoreticians writing about the co-existence of various media. Here, it should be clearly stated that the productions at hand do not only employ “new media aesthetics”, but rather they are organically connected with the theatrical medium: theatre directors problematize the presence of other media, thereby allowing theatre to perform its critical function. What is meant is the theatre, but also theatricality as a medium. As Samuel Weber wrote (Theatricality as a Medium, Fordham University Press, 2004), the theatrical medium “does not instantiate itself in individual, self-contained, and meaningful works, but rather in plays that never come together to form a self-contained whole, remaining true to their name: plays, fragments, pieces (in German: Stücke, in French: pieces). This irreducibly fragmentary character predestines the theatrical medium – which is to say, theatre as a medium – to emerge increasingly as a paradigm for the modern situation”. It follows that theatricality delineates a perspective of fractures, breaking with the continuous narrative in favour of fragmentation. The theatre is testing visual strategies. The old medium is absorbing newer ones. Can we reverse this situation, though? Introducing older media into the field of influence of newer ones also gives rise to tension. What can theatre and theatricality represent for video art and visual artists? How does the theatre’s function change in new media’s field of influence? Do theatrical strategies work in connection with other media – and how? And finally: how can we theatricalise video art?
 
10. IN OUT Festival curators:
 
Jolanta Woszczenko is a curator and historian. She is currently writing a PhD at the University of Gdańsk on experimental film and video. Since 2009 has been working on IN OUT Festival, since 2012 as a curator. At the Laznia CCA she runs the Parakino cycle of monthly meetings with experimental film and video artists and curators from Poland and abroad - Parakino.
 
Piotr Morawski is a cultural scientist and historian of culture. He works in the editorial board of Dialog (Dialogue) and at the Institute of Polish Culture at the University of Warsaw. He collaborates with the Zbigniew Raszewski Theatre Institute, most recently in the “Teatr publiczny. Przedstawienia 1765–2015” project (Public theatre. Representations 1765–2015) and in creating an electronic encyclopaedia of Polish theatre. He focuses on the cultural history of stage performances. He also writes about contemporary theatre and its social and cultural implications.
 
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