Grüße aus der Kommune
EXHIBITION / DANCE / PERFORMANCE / DISCUSSIONnadaLokal explores in this new evening the differences and similarities between the use of the body in Viennese Actionism and in contemporary dance performance. Katarina Jensen performs one of her paintings and Anatoli Vlassov presents a solo and a group choreography.
ARTISTS
Katarina Jensen (DE), Anatoli Vlassov (RU/FR)
DURATIONAL PERFORMANCE – Katarina Jensen
Aktion: Kleider Zerschneider Falls Dich die Schere erwischt, zieh lieber ein altes, möglichst farbiges Shirt „Sweaddy“ oder Pulli an. Schneiden wir uns gegenseitig die Kleider vom Leibe und basteln eine Piselotte. Eine scharfe Schere mitzubringen, ist nützlich.
TALK – Performance practices at the beginnig of the commune – with Katarina Jensen, Gabrielle Cram & Amanda Piña
IVAN LE FOU
Solo performance Anatoli Vlassov
To overcome his low social status, Ivan le Fou, one of the popular heros of Russian tales, invents strategies that often diverge from the standard behaviour. I have based my (Ivan le) Fou on ways of doing, and also telling, that break out of the phonetic principles of ordinary language.
Conception, interpretation and costumes – Anatoli Vlassov
CORDER
Group piece Anatoli Vlassov
CORDER seeks the distinct voices of dancers, which are neither those of singers, nor those of actors. Taking the voice as the extension of a dance gesture, we extract material to create a new dance whereby all of the sounds produced by the vocal cords are closely linked to the movement. CORDER is the choreography of the relationship between the group and the individual, in which the mobile chorus supports the dancing subjects. The trio sounds the breathing of its work in unison. Connected through this pneumatic gesture, this interlinking chain creates a tonic background for the dancers‘ solos. CORDER, or how dance bears its voices.
Conception and choreography – Anatoli Vlassov ; Dance material – Julie Salgues, Gaetan Le Marchand and Anatoli Vlassov ; Artistic collaboration – Gaetan Le Marchand ; Collaboration on sound design – Dmitri Kourliandski ; Costumes – Anatoli Vlassov ; Administrator : Sergio Chianca; Production: IDCore.
BIOGRAPHIES
Katarina Jensen
I was born on 6 february 1944 in Leisnig, Saxony. My mother and father, both of them doctors, settled down in Plettenberg, Westphalia, near the town of Altena, in 1945, after having taken a dangerous, dramatic and courageous flight. Plettenberg was my mother’s place of birth. My parents were always interested and engaged in the fine arts and were eager to make us children ( my brother Michael, Stefan and myself, „the little one”) develop a penchant for art and culture. We regularly went to art exhibitions, concerts and theatre productions. I had what you might call a cultivated childhood. I gave up playing the piano and the cello during my university years, studying sociology, philosophy and political science in Hamburg. I started painting. After graduating as a MA in 1970, I briefly worked as a sociological planning advisor in Hamburg, but soon felt “eaten up” by this job and decided to opt out(“austeigen”). Love as well as my political friends were more important to me than a secured lifelong occupation. So in 1972, I moved from Hamburg to Cologne in order to live in a communal flat. I became interested in the feminist movement and founded a centre for women in the district of Ehrenfeld which was to provide a shelter for women with severe problems. In our Cologne commune we were frequently visited by friends who ran a political bookshop and they gave us a book with the title “SS Modell” ( referring to an action analytical model of life). In this way we took notice of the Austrian “Mühl” commune. In december 1976 I joined the Mühl commune “Friedrichshof” in the Burgenland. Each day, there were drawing and painting courses and each evening there were nude drawing. Our daily program consisted of studies in rhetoric, dancing, performance, sport and therapeutic sessions dealing with the exploration of our own personality. From 1980 on I went into teaching, first of children, later on I led educational programs for adults in France, Switzerland and Norway. In 1986, I joined the Amsterdam Commune and became pregnant short after, back to “Friedrichshof” my daughter Olympia was born and and two years after my son Eddie. The large central commune broke up in 1990 and an odyssey of its remains began. In 1998, I was diagnosed with Cancer. The hormone used in the treatment destroyed my retina after three years. Many of the activities I had been used to suddenly became inaccessible. My life had reached rock bottom, I could not paint any more, and realise that painting was my strongest desire. Everything that looked obsolete to me, old drawings, newspapers, clothes, where torn up by me. I was shocked, but with all this bits and pieces I started to compose a work I could see with the hands. I discover a new technique. The “pisselotte“ was born.
Anatoli Vlassov
Born in Moscow and living in Paris, Franco-Russian artist Anatoli Vlassov revolves around three poles. Conjugate – work in environments autistic disability. With «TOUS» he is one of the finalist of the dance competition „Danse élargie 2012“ at the Théâtre de la Ville in Paris and with «NOUS» he was programmed in the dance festival “Faits d’hiver”, Paris in 2014 (https://vimeo.com/90303401 – password “nous”). Extent – work on questioning the limits of the dancing body. «L’ENVERS DU DEHORS», for exemple, was presented in 2012 at Tanzquartier (Score) in Vienna and in 2013 in dance festival “Artdanthé”, Paris and in Platforma in Vinzavod in Moscow (https://vimeo.com/59439831). «IVAN LE FOU» and «CORDER» are the parts of this pole. Surface – new choreographic forms «DANSEURS DE SURFACE» involving specific trades and professions as France’s trash collectors, Canada’s drainage-workers and shoe-shiners in Bolivia, programmed in Festival Paris Quartier d’Eté, 2004, Nuit Blanche, Paris 2004, Nuit Blanche, Montréal, 2006, Nuit Blanche, La Paz, 2012 (https://vimeo.com/75377066).
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