NEW UNFINISHED SOLO FOR SNEAKERS, A PAST TENSE AND A GROUP OF PEOPLE 2015
The main objective of the project is to explore possibilities of working with various available archival materials and documents, gathered around the work of New York’s avant-garde artists in the 60s, who at that time formed the Judson Dance Theatre. The way to put in action and use the access to these archival materials and documents was a base to develop a movement practice, in which the body accumulates quotations, appropriates choreographic strategies, embodies practices, enacts and redoes. These individual materials transform independently of their nature and materiality into objects that are never fixed, but always in the state of becoming. Therefore, in a real-time, the memory is transformed into remembering, the passive storage of the mind turns into an active, selective act of recombination and constellation that manifests itself through movement.
The project is presented in the form of an ephemeral installation, where through a moving body and a two-channel soundscape, the history is being rewritten before the audience’s eyes. The spectators are understood here as potentially partaking in a performance of the archive, by setting their respective contextual meaning in relational motion.
A Project by Przemek Kamiński and Mateusz Szymanówka
Special Thanks to Magda Garlińska, Niko Hallikainen, Joanna Leśnierowska, Ania Nowak, Julia Plawgo, Paweł Sakowicz, Xenia Taniko Dwertmann, Roberto Walcher, Melanie Jame Wolf, Kasia Wolińska and Marta Ziółek
Created in the Frame of Let’s Dance Exhibition at Art Stations Foundation by Grażyna Kulczyk
Support Institute of Music and Dance, HZT Berlin
Wrocław, 2017 BWA Awangarda
Łódź, 2017 Museum of Art
Lublin, 2017 Labirynt Gallery
Berlin, 2016 Un/Polished Festival, Dock11
Poznań, 2016 Malta Festival
Berlin, 2016 HZT at The Uferstudios
Warsaw, 2016 Studio Theatre
Berlin, 2015 HZT at The Uferstudios
Poznań, 2015 Art Stations Foundation
The performance (…) asks bitter questions about what to do with the history, in case its heroes are still alive and not congealed in monuments. (…) It asks: who decides on an objective grandness of the creator, for how long this decision remains its strength and how to remix a material, which first, actually, needs to be reconstructed.
- Hanna Raszewska taniecPOLSKA.pl
Kamiński’s body daringly questions the legacy of postmodern choreography, at the same time deconstructing binary oppositions between old and new, original and copy, significant and significance.
- Stanisław Godlewski taniecPOLSKA.pl
This performance should be regarded as a kind of generational statement.
- Karolina Plinta Magazyn SZUM