2017, performance, 35 min
choreography and performance:
dramaturgical assistance: Mateusz Szymanówka
artistic coaching: Guy Cools
light design: Aleksandr Prowaliński
technical realization: Łukasz Kędzierski
production: Art Stations Foundation by Grażyna Kulczyk in the frame of Solo Project Plus 2017
2018, Performing Arts Festival, Sophiensaele, Berlin
2018, Kalejdoskop Festival, Białystok
2017, Studio Theatre, Warsaw
2017, Art Stations Foundation, Poznań
Blue screen is a post-production technique that allows image manipulation. By using an even, blue background, the camera-recorded action can be transferred to a completely different scenery. In his latest performance, Przemek Kamiński refers to the cultural history of the colour blue, approaching it through the prism of the ancient Greek term pharmakon, meaning medicine, poison, and something that must be sacrificed. The artist creates a series of vertical landscapes, in which a body irradiated by the colour moves between the visible and the imagined. The first and second plan, as well as viewers’ fantasies, blend into each other, while the identity is negotiated along and across the surface of the screen.
The piece’s title alone imposes multiple meanings and challenges dichotomies that artificially classify reality. […] In Pharmakon, the body becomes a site where notions are projected, an unstable, flickering screen. […] Images of the body are set into motion mainly by the surface of the back, by the bending of arms and shoulders, and by rhythmic syncopated steps, which the viewer’s eyes follow with a slight delay, resulting in their registering as something like afterimages. […] In Cruising Utopia, Muñoz writes that we are not yet queer though we can feel queerness as a light on the horizon imbued with potentiality, because queerness is an ideal that can be distilled from the past and used to imagine the future. For Kamiński, the colour blue is precisely the tool to create such a potential.
Anka Herbut, A Few Queer Choreographies and a Horizon Imbued with Potentiality, Polish Theatre Journal
Kamiński’s performance was the strongest and the most poetic accent of this curatorial program [Scena Tańca Studio, Studio Theatre, Warsaw]. […] Pharmakon (it radiates) is one of those performances that open up some unknown, elusive spaces, situated completely beyond the category of words, oblivious to the viewer before.
Adela Prochyra, taniecPOLSKA.pl
With the original choreography, thanks to the intuition and sensitivity, in combination with a sterile blue, a beautiful, visually stunning performance was created.
Marcin Miętus, esplot
Maciej Zakrzewski for Art Stations Foundation by Grażyna Kulczyk