PL logo EN
Search |
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).  
Read more
Lecture of Z. Cielątkowska: The contemporary relationship of art with theater, body and performance / LAZNIA 1
Laznia 1 Lower Town
 
"Every image is an image of the body. Each work is a visual representation of the body. Say it, say otherwise, that we see the body, even if they do not exist and that the formation of mold is to some extent the formation of the body "- wrote James Elkins.
 
The "Lake" (2016) directed by Yany Ross, one of the central figures - what's not in the original text of the drama - was created in the image of Russian artist Petr Pavlensky'ego known for its action in public places. The idea for this analogy may raise considerable doubt as nudity ever seen, and yet imperceptible, entered the consequences of such treatment. In the "Tsarina Catherine" (2013) directed by Victor Rubin title heroine in a coin you stack the box with holes through which you can touch her naked breasts and travels by encouraging the audience to this gesture of the people selected. Similarly, in 1968, he encouraged Valie Export in his iconic performance already TAP and TOUCH Cinema. As far as this quote before the nearly half century seems to be the holder and the significance of this gesture are still the same? In turn, the spectacle-spectacle Cezary Tomaszewski who is fun in quotations, borrowings and jokes with the avant-garde and contemporary "It's not bad, that would not work out nicely. Spectacle "(2014), one of the actors trying to play the" Open Book "Vito Acconci (1974) - achieving a similar effect known from the original.
The above-mentioned examples of references to the specific performances tend to a few questions; how contemporary theater uses the history and contemporary art? To what extent these references especially for performance - in the face of the changing concept of physicality and subjectivity seem to be relevant? When the series RE // MIX Commune / Warsaw looked like in "Paradise Now" (2015), one of the most important "theaters" for the visual arts - The Living Theatre gave rise to the association with the thesis Amelia Jones expressed in Self / Image: today we do not know how to live without the ideas themselves as an image.
Dawna space has undoubtedly saved. Today the body - especially naked - does not refer to the presence of only its absence - an image. Could it be that the body, which in the first performances seemed stubbornly, persistently, irritating and przeszkadzająco present today is not only strange, stubborn, persistent, irritating and nieprzeszkadzająco silent?
 
Read more
People
  • Zofia Cielątkowska
    Philosopher, an art critic and curator. She is in a constant state of writing something. Doctor of Humanities in the discipline of philosophy (Philosophy, Jagiellonian University, 2013). Her doctoral thesis was devoted to the performance area (“Embodiment of the Subject. Philosophy and Performance within the Context of Contemporary Critique of Culture”). A graduate of Philosophy (Philosophy, Jagiellonian University, 2006) and Curatorial Studies (Art History, Jagiellonian University, 2008). She has published a number of critical essays in various art magazines (Dwutygodnik.com, 2+3D, Obiegu, Contemporary Lynx etc.). Received a scholarship from The University at Buffalo (Department of Visual Arts, 2010). Curator inter alia of The Collection of Contemporary Art (NInA) and “Pracownie” Project.  Lecturer at the Academy of Art in Szczecin. She works mainly between art and theatre (with the emphasis on between).
     
    Read more
  • Joanna Krakowska
    Joanna Krakowska is a historian of contemporary theatre, essayist, translator and editor. She works in the editorial board of Dialog (Dialogue) and at the Institute of Art of the Polish Academy of Sciences. She specialises in the history of contemporary theatre, political theatre and drama as well as the social and moral transformations that are reflected in contemporary art. She is the author of the following research projects: “Teatr publiczny. Przedstawienia 1765–2015” (Public theatre. Representations 1765–2015) and “HyPaTia Historia Polskiego Teatru. Feministyczny projekt badawczy” (HyPaTia History of Polish theatre. A feminist research project). Her publications include: Mikołajska. Teatr i PRL (Mikołajska. The theatre and communist Poland), Warsaw: WAB, 2011; Soc i sex. Diagnozy teatralne i nieteatralne (Soc and sex. Theatrical and non-theatrical diagnoses), Warsaw: Oficyna Wydawnicza Errata, 2009 (with Krystyna Duniec); Soc, sex i historia (Soc, sex and history), Warsaw: Krytyka Polityczna, 2014 (with Krystyna Duniec), and an anthology of Polish drama (A)pollonia: Twenty First-Century Polish Drama and Texts for the Stage (Chicago: Seagull Books, 2014; with Krystyna Duniec, Joanna Klass).
    Read more
  • Piotr Morawski
    Piotr Morawski is a cultural scientist and historian of culture. He holds a PhD in the Humanities. 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. His most recent publication is Ustanawianie świętości. Kulturowa historia angielskich widowisk religijnych w XVI wieku (Establishing sanctity. The cultural history of religious performances in 16th-century England) (Warsaw: Wydawnictwa Uniwersytetu Warszawskiego, 2015).
    Read more
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.
 
Read more
The next edition in:
-607 days
Festival news