torek, 27. 11. 2018 // Tuesday, 27th November 2018
7 pm, Old Power Station – Elektro Ljubljana
Koreografija, Scenografija/Choreography, Set Design: Anna Konjetzky
Izvedba/Dance: Sahra Huby
Glasba/Music: Brendan Dougherty
Video: Timm Burkhardt
Scenografija/Set Design: Anton Lukas
Tehnično vodstvo/Technical Direction: Barbara Westernach
Projektni vodja/Project Management: Rat&Tat Kulturbüro
Koprodukcija/Co-production: Rodeo Festival Munich, Kammerspiele Munich in/and Théâtre de la Ville de Luxembourg
Podpora/Supported by: the Kulturreferat der Landeshauptstadt München, Kreissparkasse München-Starnberg-Ebersberg in/and Muffatwerk GmbH.
Dogodek so omogočili/Event Enabled by:
The German choreographer Anna Konjetzky, who will present herself for the very first time in Slovenia with the performance Chipping, is a researcher of space. We need to be precise: her choreographic research is not aimed at locations or stable towns, but to space. The French philosopher Michel de Certeau understands location as an order in which the elements are organised in relation to cohabitation and which is defined by the current division of positions, which gives it a characteristic stability. In locations things are in their place. However, space emerges when we introduce direction, speed and time to the category of location. Space is the ‘crossroads of moving elements’ and ‘practised location’, which emerges because our bodies have time: different stories and desires.
The performance Chipping with its accelerated time, invasive sensory dynamics, wishes and performances that are projected onto locations, is some sort of a ultra-constructivist space. ‘Art + object = operation, which is the total synthesis of the movement in space’, wrote the Slovene constructivist Avgust Černigoj in his manifesto for the Trieste exhibition in 1927 and added ‘absolute sculpture = vibrations of colours + space + time = form or function [e.g. of architecture]’. Anne Konjetzky’s performance responds to everything that Ferdo Delak dreamed about in his manifesto article Modern Stage (Mladina, 1926), however her contemplation of the ratio between space and the human body is moved to the existential level and the edge of dystopia, for it seems that her constructs, due to the sensory invasiveness of physics, fail as if the body would have found itself on another planet.
In her work Anne Konjetzky plays with perspectives, sometimes with their over availability which pushes the viewer into actively selecting his spatial position, and other times with momentary contrastive alternations, which shakes the viewer’s sensory perception. This constant reconfiguration of the stable positions forces the viewer into a dynamic re-articulation of his own positions. Thus the viewer’s gaze can never be neutral or objective, as it sensorially constantly moves between the visible, invisible and surprising. The space is a fold, a cave in the visible, a chipping or an event. It is a meeting of two living organisms: mechanical and bodily force. Thus the main question is not how we treat the space, but how do we urbanise our body and what is its sensory infrastructure.
Anna Konjetzky was born in Munich, studied theatre direction and contemporary dance in Brussels and Berlin, and between 2005 and 2008 she was the assistant to the choreographer Wanda Golonka in the Schauspiel theatre in Frankfurt. She has received numerous awards, amongst others the George Tabori award in 2013. Her interdisciplinary work places her alongside the most interesting names of contemporary German choreography.