In June 2013, I visited Peaks Island, Maine just off the coast of Portland. I found this amazing artist that have created an Umbrella Cover Museum.
I interviewed Nancy 3. Hoffman, its creator and curator and she explains the evolution of the project, her concept and vision.
dance-tech.tv presents a selection of Piezas Distinguidas by La Ribot (Spain/Switzerland). They are part of what she calls DISTINGUISHED PROJECT which has spanned form more than 20years. The are characterized by their brevity and metaphorical encapsulation questioning “the temporal, spatial, and conceptual limits of dance.”
Transformance is a video-event-work that activates and documents a five-month durational performance. Over this period of time, Nina Kurtela establishes a daily practice of visiting and witnessing the changes at the building site of the Uferstudios, Wedding, Berlin – the warehouse for the repair of public trams and buses becomes a dance institution. She is spectator to the making of an institution, an art institution, the making of the theater stage. The camera acts as a witness to her performing/witnessing.
Balkan Dance Platform 2009 At the Balkan Dance Platform 2009 in Novi Sad, Serbia, I interviwed Tomislav Meda & Ivana Ivković, authors and performers of the collaborative dance/theater group from Croatia. They closed the Balkan Dance Platform 2009 with a sophisticated pieces called “1 poor and one 0”. http://badco.hr/works/1-poor-and-one-0/ http://www.balkandanceplatform.net/ Directors: Tomislav Medak & Goran […]
In 1 poor and one 0 BADco. returns to the scene of the first film ever shot – Workers Leaving The Lumiere Factory: the factory gates. The first moving images ever made show workers leaving their workplace. The movement of the workforce from the place of industrial work into the world of film: the starting point for the problematic relationship between cinema and the portrayal of work.
“My Private Bio-politics” performance by Saša Asentić was from the beginning conceived as an open research within the field of dance and performance in Eastern-European transitional context. It arose as a part of a perennial research and artistic project called „Indigo Dance“ in which a number of associates of different profiles were included – performer and culture worker Saša Asentić, ballerina, dancer, and choreographer Olivera Kovačević – Crnjanski, performing arts and culture theoretician and dramaturge Ana Vujanović, as well as others – and is realized through different work formats: in addition to the performance, there are also a CD presentation “Bal-Can-Can Susie Dance” and historical archive/video installation “Tiger’s Leap into the Past” and “Recycle Bin” as its addition.
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