2014, performance installation, 30 min loop
plastic drop cloth, tape, cardboard-gypsum slant board, ropes, foam mattress, wooden box
2014, HD color video, 19 min 03 sec
2014, drawing, 21×29 cm
pen on paper
2016, lecture performance, 40 min
HD color video, plastic drop cloth, tape, rope, wooden roller, wooden box
concept, choreography, performance:
also performed by: Sonja Pregrad
video: Robert Mleczko
sound: Bartosz Dziadosz Pleq
production: Labirynt Gallery
thanks to: Mateusz Szymanówka
2018, group exhibition: The Proximity of the Straight Line. Performativity of the Avant Garde, Polish Institute, Berlin (performance installation)
2016, publication: Back to the Future (drawing)
2016, performance cycle: Back to the Future, Jan Tarsin City Art Gallery, Kalisz (lecture performance)
2016, Begehungen Festival, Chemnitz (video screening)
2014, Performance Cycle, Polish Television Kultura (video screening)
2014, solo exhibition, Labirynt Gallery, Lublin (video installation)
2014, solo exhibition, Labirynt Gallery, Lublin (performance installation)
In May 1961, an American choreographer Simone Forti presented a performance „Five dance constructions and some other things”. An audience gathered in Yoko Ono’s famous loft on Chambers Street, New York, witnessed a kind of a movement installation in which dance exists in a space above conventional stage-audience division, the way object exists in an art gallery space.
Przemek Kamiński appropriates Forti’s idea, recycles and reinterprets the original choreographic material. He creates his own “dance constructions”, focusing on the materiality of action, rather than potential narrative associations. Performer and simple objects occupy together the same space and engage in similar kinds of movements: waving, sliding, rolling, squeezing, crashing, dropping, hanging.
Some Other Things unfolds into four formats:
– a performance installation, where the choreographic material is looped and performed during the opening hours of the gallery,
– a color video, which is, simultaneously, a performance documentation and an independent artwork,
– a drawing, which stems from the analogy to Simone Forti’s drawings and serves as a score for the performance,
– a lecture performance, which contextualizes and traces the work historically, including screened excerpts of the video work as well as performed fragments of the performance installation.
In his work Some Other Things, […] Przemek Kamiński in a very non-museum-like way, guided an audience through Simone Forti’s experience and practice, and her work Five Dance Constructions and Some Other Things from 1961. As during hypnosis, the voice of the artist led an audience through rooms and arranged there choreographic situations. This, narrated in the present tense, tour through the historic performance, was intertwined with his actions, consisting, as in Forti’s work, of independent parts. […] The dancer’s body performed, along with other objects, as a neutral object in space. His movement was resulting from outside factors – characteristics of the adhesive tape, unimpeded movement and orientation of the rope. Between verbal narration and live action, Kamiński also created the third space – of his own documentation, presented on a computer screen placed on a skateboard-like platform. A video was showing the artist performing simple actions with objects and wandered between him and an audience, pushed or held by individuals. Some Other Things in a very subtle manner described […] issues with contemporary choreography and sculpture: relationality – to the space, the audience, the material (body, object, matter) and context. […] Was it a critical work towards established by her [Simone Forti] and the Judson Dance Theatre tradition? If so, it relied on minimum shifts and subtle doubts about development directions set by postmodern dance and issues of memory and reconstruction. In the end, the title of Kamiński’s work focuses not on dance constructions, but precisely on “some other things”.
Magdalena Kownacka, Methodologies of work and display strategies. Relations between contemporary sculpture and choreography, Back to the Future Publication