Kata BALÁZS

Curator, research- acb Gallery, Budapest

The performance as social memory: databases, international research agencies, schools of performance; independent initiatives

 


 

Kata Balázs graduated in Art History and Hungarian Literature and Linguistics at Eötvös Loránd University in Budapest. She held various scholarships at the Jagellonian University (2002), the International Cultural Center in Krakow (2002) and the University of Florence (2004, 2010-2011). She worked at the Ludwig Museum Budapest as an assistant museologist (2007-2008) and held a junior researcher grant at the Research Institute for Art History of the Hungarian Academy of Sciences (2009-2012). Her extensive publishing activity mainly focuses on installation, performance art and photography of the 1980s; it includes monographs on Gábor Szörtsey (2008), Mária Chilf (2010), a series of interviews with the representatives of 1980s art published on artmagazin.hu and artportal.hu, a film compiling interviews with the creators of iconic movies of the 1980s presented at King St. Stephen Museum in Székesfehérvár (Intersections, co-curated with Eszter Ágnes Szabó in 2017). She authored two special issues on 1980s art of Artmagazin (2019 and 2020), and has recently examined the international relations of 1980s Hungarian performance art in a publication soon to be published by OKIS Wroclaw. She contributed to the monographic volume exploring the activity of the Substitute Thirsters artist group (2018), authored essays on the work of Tibor Várnagy (acbResearchLab, 2018) and Ágnes Eperjesi’s early photographic practice (acb ResearchLab, 2019). She conducted research on the performance group New Modern Acrobatics (Punctual as the Atomic Clock exhibition, Miskolc Gallery, 2020) while also participating in a documentary film on the group’s history. She taught art history at various institutions such as the University of Film and Theatre, Visart Art Academy / PSVA - Paris School of Visual Arts, Eszterházy Károly and Károli Gáspár Universities. She is currently developing the research program of acb ResearchLab where she has contributed to and co-edited a book on Sándor Pinczehelyi’s work in the 1980s. 


 

Ivana VASEVA

curator, researcher

The institutional turn of performance art from the 1960s to now

 

Ivana Vaseva is a curator and researcher of cross-disciplinary, collaborative and socially engaged works and programs. She curated several exhibitions and educational and discursive programs both in the country and abroad and was an editor of several publications. She won the prestigious Golden Triga Award at the 2019 Prague Quadrennial of Performance Design and Space for the project “This Building Talks Truly” (curator of the project). She won the “Ladislav Barishikj” Award of AICA – Macedonia for the research project “Collective actions as a political, and not organizational decision” (2015, co-author), and the Special Architecture Award from the Association of Architects of Macedonia (2014, co-participant). She is program director of the organization “Faculty of things that can’t be learned (FR~U)” and is co-curator of the AKTO Festival for Contemporary Arts, existing since 2006. Vaseva graduated from the Faculty of History of Art at the University “Ss. Cyril and Methodius” in Skopje, and specialized at the Curatorial Program (2011/2012) at de Appel Arts Centre in Amsterdam, the Netherlands.

 

Biljana TANUROVSKA - KJULAVKOVSKI

cultural producer, activist in culture, researcher, curator

 

The institutional turn of performance art from the 1960s to now

Biljana Tanurovska - Kjulavkovski is cultural producer, activist in culture, researcher and a curator. She is co-founder of NGO Lokomotiva, Nomad Dance Academy platform (NDA), Locomotion festival for contemporary dance and performance and Kino Kultura (KK) - project space for contemporary performing arts and culture in Skopje among other initiatives. Lately she is interested in research on models on institutions, labor rights, and critical curatorial approaches in performance, theatre and choreography. She is visiting lecturer on diverse academic programs, writes and publish articles dealing with cultural policy, art/cultural production and curating. She holds a BA in the History of Art and Archaeology, an MSc in Interculturalism, Cultural Management and Cultural Policy from the University of Arts in Belgrade, and PhD from the Faculty of Drama Arts in Belgrade. In 2019, she won ENCATC International Research Award on Cultural Policy and Cultural Management for her doctoral thesis. 

 

Malgorzata KAZMIERCZAK 

Curator, art critic

 

Critical audiences and censorship

 

Malgorzata Kazmierczak – Ph.D. in History. Since 2004 an independent curator of art projects in Poland and USA. Author of many essays and reviews. Between 2011-2014 – editor and translator of http:⫽livinggallery.info; 2006–2012 – president of the Foundation for the Promotion of Performance Art “Kesher” in Kraków; 2012–2014 – managing editor of the Art and Documentation journal; 2014–2016 – director of the City Art Gallery of Kalisz. Between 2016–2017 – editor-in-chief of the Publishing House and Assistant Professor at the Faculty of Painting and New Media of the Art Academy of Szczecin. Currently an Assistant Professor at the Pedagogical University of Krakow, a vice-president of AICA International and AICA Poland.

 

Jasmina TUMBAS

Assistant Professor - University at Buffalo

 

Historical approach: Ex-Yugoslavia

 

Jasmina Tumbas (PhD, Art History, Duke University) is an Assistant Professor of Contemporary Art History & Performance Studies in the Department of Global Gender and Sexuality Studies at the University at Buffalo. Her first book, “I Am Jugoslovenka!” Feminist Performance Politics During & After Yugoslav Socialism is forthcoming with Manchester University Press’s Rethinking Art's Histories series. Coining the term Jugoslovenka to designate the unique history of Yugoslav women’s resistance to patriarchy during socialism and after its demise in the 1990s ethnic wars, Tumbas shows how socialist Yugoslavia’s anti-fascist, transnational, and feminist legacies manifest in performance, conceptual, video and activist works during socialism until today. Tumbas is also working on a second manuscript, On Gender Violence and Nationalism In Europe: Feminist Art and Resistance Beyond Citizenship, which analyzes  feminist, queer, and anti-nationalist interventions against the erasure, racialization, and instrumentalization of immigrants in Europe in the arts (1990s to the present). She served as the guest-editor for the special issue of ArtLeaks Gazette #5:Patriarchy Over and Out: Discourse Made Manifest, which was launched during the 2019 Venice Biennale opening at S.a.L.E. Docks, and at Independent Curators International in New York. Her research has appeared in ArtMargins, Camera Obscura: Feminism, Culture, and Media Studies, Art Monthly, Art in America, ASAP Journal, and Art and Documentation, and in the anthologies Shifting Corporealities in Contemporary Performance, Performance Art in the Second Public Sphere, and Making Another World Possible - 10 Creative Time Summits. Tumbas presents her research nationally and internationally, including invited lectures at universities such as Goldsmiths, University of London (UK), the Estonian Academy of the Arts in Tallinn (Estonia), the Dubrovnik Feminist Summer School at Inter-University Centre Dubrovnik (Croatia), the University of Waterloo (Canada), Freie Universität Berlin (Germany), and University of Michigan.

 

Marko STAMENKOVIĆ

Freelance curator, art critic and lecturer

Historical approach : Albania, Kosovo, Bulgaria

 

Marko Stamenkovic is a non-orthodox researcher of cross-cultural phenomena with a strong interest in the decolonial politics of race, ethnicity, and sexuality. As a freelance curator, art critic and lecturer with almost two decades of international experience in the field of contemporary visual arts he has been mainly focused on the intersection of visual thinking with social theories, political philosophies, and cultural practices of the marginalized and the oppressed. He completed his PhD in 2014 at the Philosophy and Moral Sciences Department of the University of Gent (Belgium), where he worked on questions of sacrifice, self-sacrifice in protest, and suicide to explore the relationship between human mortality and politico-economic powers on the darker side of democracy. He is keen on exploring how visual data, within and outside of art history, relate to the production of different forms of knowledge (including histories of ethnic/racial/sexual minorities, often systematically excluded from public view) to highlight what is otherwise underrepresented and kept below the radar of normative visuality by dominant (masculine, patriarchal, white-minded, Euro-centric) epistemic powers.

 

 

Róna KOPECZKY

Curator- acb Gallery, Budapest

 

Performance today in the CEE region

 

Róna Kopeczky is a curator and art historian based in Budapest. She completed her PhD in Art History in 2013 at Sorbonne University, with a dissertation that examined the activity of a group of abstract artists in Hungary during the sixties which considered abstraction as an ethical attitude and a form of artistic protest against the communist regime and socialist realism. 

She worked as a curator for international art in Ludwig Museum Budapest between 2006 and 2015, where she mostly focussed on the site- and situation specific practices of young and mid-career artists from the Central Eastern European region, such as Katarzyna Kozyra, Société Réaliste or Jasmina Cibic, and on conceptual practices of the older generation with retrospective exhibitions of Braco Dimitrijević and Agnes Denes. In February 2015, she joined acb Gallery in Budapest as artistic director, and also actively contributes to the publishing activity of acb Research Lab, with a focus on forgotten, neglected or ignored oeuvres of the Hungarian neo-avant-garde. She participated in the organization of the first OFF-Biennále Budapest that took place in 2015 and was member of the curatorial team for its second edition held in Fall 2017. She is the co-founder of Easttopics, a platform and hub dedicated to contemporary art of Central Eastern Europe that is based in Budapest. She is also the curator of the next edition of the Tallinn Print Triennial, scheduled to open in early 2022 in Tallinn, Estonia. As a Serbian citizen of Hungarian origins born and educated in France, she has a deep and natural interest in the historical, political and cultural dichotomies between Eastern and Western, Northern and Southern Europe, and how they appear in contemporary art practices.


 

Katalin LADIK 

Artist

 

Three generations of performance artists

 

Katalin Ladik is a Hungarian poet, actress and performance artist, one of the most prominent representatives of experimental art in former Yugoslavia and Hungary and one of the most influential female artists of the last decades. She graduated from the High School of Economics of Novi Sad in 1961 and continued her studies at the College of Economics in 1960-1962. She studied theatre at the Drama Studio in Novi Sad in 1964-1966. She started her literary career in 1962 while working as a bank assistant. From 1963 to 1977 she worked at Radio Novi Sad and joined the Novi Sad Theatre in 1972. She extended her acting activity to cinema and television as well. She acted as the editor of poetry to Élet és Irodalom (1993-94) and Cigányfúró (1994-99) literary magazines and served as a professor at Hangár musical and theatrical education center (1993-98). She moved to Budapest in 1992 and in the last 20 years she has lived and worked alternately in Novi Sad, Budapest and on Hvar Island. Parallel to her written poems she also engages in sound poetry and visual poetry, experimental music and audio plays, actions, performances, mail art and collage. She has been performing and exhibiting her work at prominent international venues and art events including the documenta 14 in 2017.

Katalin Ladik received numerous awards, such as the Kassák Lajos Award (1991), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), the Laurel Wreath Award of Hungary (2012) and the prestigious Lennon Ono Grant for Peace in 2016, together with Olafur Eliasson, Anish Kapoor and Ai Weiwei.


 

Katarzyna KOZYRA

Artist

 

Three generations of performance artists

 

Katarzyna Kozyra is a sculptor, photographer, performance artist, filmmaker, author of video installations and artistic actions. She graduated from the Sculpture Department of the Warsaw Academy of Fine Arts in 1993. In 1998 she was a visiting student at the Hochschule für Graphik und Buchkunst in Leipzig, in the New Media workshop of prof. Helmut Mark. She received the Paszport Polityki award in 1997 and the Award of the Minister of Culture and National Heritage in 2011. In 1999, her video installation Men’s Bathhouse for the Polish Pavilion received the 48th Venice Biennale’s honorable mention. Her practice touches upon important issues as identity and transience, life and death, religion and sex. She manoeuvres in spheres of cultural taboos and behaviour stereotypes ingrained in society. Her works were featured in major festivals and exhibitions in Poland and abroad: Venice Biennale; São Paulo Biennale; Sidney Biennale; Busen Biennale; Kunstsammlung Nordrhein Westfalen, Dusseldorf; Kulturhuset, Stockholm; Museum Arnhem; MUMOK Vienna; Brooklyn Museum, New York; Kiasma, Helsinki and more. Since 2010 she has been working on her autobiographical feature film. In 2012 she established the Katarzyna Kozyra Foundation to help female artists and women cultural workers in Central-Eastern Europe promote their work.

Although being classified as a new media artist, her use of multiple techniques makes it difficult to label her art. Her wide-ranging and diverse oeuvre includes works as her graduation piece Pyramid of Animals (1993), The Rite of Spring video installation considered one of the most important artworks of the 20th century, or the long-term project In Art Dreams Come True (2003- 2008). Since 2012 she is working on her new project Looking for Jesus, where she takes the position of a researcher and explores existential questions, presenting ways and means of carrying out one’s faith, its place and role in today’s world, and values on which we build our reality.

 

Jasmina CIBIC

Artist

 

Three generations of performance artists

 

Jasmina Cibic is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Her work draws a parallel between the construction of national culture and its use value for political aims, addressing the timelessness of psychological and soft power mechanisms that authoritarian structures utilise in their own reinsertion and reinvention. Gathering together symbols and iconographies, Cibic’s projects present a synthesis of gesture, stagecraft and re-enactment. Realised in films and installations, her on-going performative practice is an ‘enacted’ exercise in the dissection of statecraft. Her multi-layered approach draws together primary sources and falsified narratives. This wilful overwriting creates shifting meanings and highlights historical uncertainties and untruths, especially in the gendering of the past. Cibic plays a double-game, at once decoding mechanisms of power whilst building her own allegorical structures. Jasmina Cibic represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at MSUM Ljubljana, CCA Glasgow, Phi Foundation Montreal, BALTIC Centre for Contemporary Art Gateshead, Kunstmuseen Krefeld, Esker Foundation Calgary, MSU Zagreb, MSU Belgrade, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at Steirischer Herbst ‘19, MOMA NY, Guangdong Museum of Art China, Pera Museum Istanbul, MSUM Ljubljana and MNHA Luxembourg. Cibic was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016) and B3 Biennial of the Moving Image Award (2020). Her upcoming solo shows include macLyon, Museum Sztuki Lodz and the Museum der Moderne Salzburg. Cibic’s recent monograph Spielraum is published by BALTIC and Distanz and NADA by Kerber Verlag and Kunstmuseen Krefeld.


 

Rose LEJEUNE

Curator and art consultant

 

Contemporary performance art market (art fairs, galleries, museums, interdisciplinary festivals, biennials and others)

Rose Lejeune is an experienced curator and consultant with particular expertise in working with multi-disciplinary, performative, digital and social, process-based practices. Primarily working on artist’s commissions, collection research and development, as well as acquisition and logistical support, Rose is committed to working across the public and private art worlds to create more sustainable cultural ecosystems. She has built a reputation for strategic overview and curatorial innovation and in 2020 was named in ArtNet's Intelligence Report as a “global innovator” for her work on expanding collections. In 2019 she launched Performance Exchange - a dispersed live programme across commercial galleries in London. Highlighting the work done by commercial galleries to support performance and multi-disciplinary practices, Performance Exchange will create new forms of support for performance through a programme of presentation, detailed acquisition information, and an acquisitions fund for three museums to purchase work. Rose also has substantial experience of institutional strategic planning, programme curation, public art and pedagogical course design. She is also frequently invited to share her expertise through teaching, panels, interviews and writing both in the UK and internationally and has worked with arts organisations including Abu Dhabi Art, British Council, Delfina Foundation, Art on the Underground and Serpentine Gallery.

 

Sebastian CICHOCKI 

Chief Curator - Museum of Modern Art in Warsaw

 

Institutionalizing performance: from exhibitions to acquisition

 

Sebastian Cichocki is the chief curator and head of research at the Museum of Modern Art in Warsaw. He also curates The Bródno Sculpture Park, a long-term public art program initiated in 2009, and has presented projects and published texts extensively in Poland and around the world. Selected exhibitions curated and co-curated by Cichocki at the Museum of Modern Art in Warsaw include ‘The Penumbral Age. Art in the Time of Planetary Change’ (2020), ‘Never Again. Art against War and Fascism in the 20th and 21st centuries’ (2019), ‘Making Use: Life in Postartistic Times’ (2016), “New National Art. The National Realism in the XXIst Century in Poland” and ‘Zofia Rydet, Record 1978–1990’ (2015). Other recent curatorial projects include ‘The Resistance of the Form. A Non-exhibition’, Powszechny Theatre, Warsaw (2017), and ‘Rainbow in the Dark. On the Joy and Torment of Faith’ at SALT in Istanbul and Malmö Konstmuseum (2015). Cichocki also curated the Polish Pavilion at the 52nd and 54th Venice Biennales of Art (in 2007 with Monika Sosnowska, in 2011 with Yael Bartana). He has curated exhibitions in the form of books (the most recent is “Wonders in the Heavens and on the Earth”, 2020, an adaptation of Seth Siegelaub’s “June July August 1969”), radio dramas, librettos, residency programmes, and performance lectures. Cichocki is one of the founding members of The Consortium for Postatrtistic Practices, an informal and interdisciplinary alliance of art people who engage in anti-fascist, feminist and ecological coalitions. 

 

Selma SELMAN

Artist

 

Politics and Minority

 

Selma Selman is one of the youngest and most exciting flag-bearers of a long tradition of critical and political performance from the ex-Yugoslav area, who works with performance, video, photography, drawing and painting. Her practice both embraces and blasts the stereotypes about Roma people by referring to her personal experience, life situations and stories, but also focusses on her own specific condition as a young woman artist of Roma origins from Bosnia. In her art works, the ultimate aim is to protect and enable female bodies and enact a cross-scalar approach to collective self-emancipation of oppressed women. Selma’s search for functional, contemporary political resistance stems from her personal experience with oppression from various directions and scales. Selman is also the founder of the organization ”Get The Heck To School” which aims to empower Roma girls all around the world who face poverty and social ostracization. 

In 2014 Selman was the recipient of the “Zvono Award” for young artist in Bosnia. In 2017 she was awarded “Trieste Contemporanea Award”, and nominated for Forbes 30 under 30, Art and Style in 2018. In 2019 she was the winner of the White Aphroid Award, Maribor. Selman’s works have been exhibited at: Kunsthalle Wien (2020), L'Onde Center for Art, Paris (2020), 58th Venice Biennale (2019), Queens Museum, New York (2019), Villa Romana, Firenze (2019), The Creative Time Summit, Miami (2018), 3. Berlin Herbstsalon, Maxim Gorki Theatre, Berlin (2017), Kunstquartier Bethanien (2016), Berlin, Museum of Contemporary Art, Banja Luka (2014). Selma Selman earned her Bachelor of Fine Arts in 2014 from Banja Luka University’s Department of Painting. In 2018 she graduated from Syracuse University with a Master of Fine Arts in Transmedia, Visual and Performing Arts. She currently lives and works between Bosnia and the United States.


 

Tatiana FIODOROVA

Artist

 

Politics and Minority

 

Tatiana Fiodorova works as a performer and multimedia artist, creating artist’s books, working with questions of social and political history, particularly in relation to the post-Soviet transition. She was born and raised in Soviet Moldova but her formation as an artist happened in the 2000s. Her artistic exploration focuses on the lost, not yet formed Soviet identity and formation of a new hybrid identity facing social, political, and economic problems. Positioning herself as a post-socialist (post-soviet) subject, the artist creates a critical discourse for understanding her identity through post-soviet experience in the frame of the everyday global coloniality, as an integral feature of modernity. According to the artist this subject is placed in the 90s of the 20th century in the context of the rapidly changing global capitalist world, experiencing colossal contradictory and complex transformations lasting three decades. Critically assessing the situation when everyone is assigned a certain place in the existing hierarchy of the world, the artist asks the question of her role as an artist and human in this new global architecture of the world. Tatiana’s performances which will be mentioned at the artist's presentation are I go! Are you afraid of me” (2009), “Something about toilet paper” (2012), “European clothing”(2010),”Artist without pavilion”(2011), Steaua/Star(2012), “The world is dirty, the artist must be dirty” (2012), “I am not toilet paper “(2012-2019), “Moldova is the best building in the world!” 2019.

 

Lukas HOFMANN

Artist

 

Politics and Minority

           

Although Lukas Hofmann works mainly in the field of performance, his artistic practice reaches out to various other fields and media: he relates to the artistic milieu as well as the world of fashion, where he is occasionally active as a stylist and model, and he is also busy as a curator. As an artist who grew up in Prague during the 90s and who is now staging performances across the countries of an increasingly unstable European Union, contingency and informality are reoccurring elements in the narrative of his life. He spends his time moving from place to place, leaving behind drops of lavender oil on the bedsheets he sleeps in. A nature child living within urban surroundings, he uses performance as a means to create archipelagos of increased presence that block out the feelings of desensation and dissociation awaiting outside the gallery door. Hofmann’s works involve a carefully curated group of actants chosen from his immediate social surroundings. While he does take a leading role during the preparation of the pieces, he blends in with the crowd as soon as the performance starts. Along with his peers, he slides down museum handrails, deforms his face by pressing it against panes of glass and forms a red line between his body and theirs using thread and a sewing needle. At some point, the group stands still in formation as if posing for a fashion editorial, pretty and unbothered faces clad in deconstructed garments.

 

Andrea FAJGERNÉ DUDÁS

Artist

 

Political Body   

 

Andrea Fajgerné Dudás stands as one of the most original representatives of the young generation of Hungarian artists who have been voice various topics related to women's existence and condition in their practice. She defines herself as a female artist who examines the role of women in society through her personal experiences. In her figurative paintings, performances, and collaborative projects, she confronts the taboos of corporeality, sexuality and motherhood with embarrassing immediacy. Andrea Fajgerné Dudás graduated from the Hungarian University of Fine Arts with a degree in painting, her master was Orsolya Drozdik. Female painters and oeuvres that were pushed aside or excluded from the canon of art history canon have been playing an important role in her art since 2009. In her DLA dissertation, she has mostly focused on feminist art practices that thematise housework and kitchen chores performed by women. As an integral part of her practice, Eat Art allows her to formulate experiences and feelings that cannot be expressed in her paintings. In her performative projects, she considers essential to involve the audience and push the viewers out of their comfort zone, while she herself becomes part of an improvisational, unplanned situation. After her marriage, according to the traditional Hungarian naming conventions, she took her husband's name as a radical artistic gesture (Mrs. Fajger, in which the suffix -né denotes belonging to a man), which she has used as an artist's name ever since.


 

Tanja OSTOJIĆ

Artist

 

Political Body

 

Berlin-based artist Tanja Ostojić is internationally renowned as a pioneer of institutional gendered critique and for her work in the field of socially and politically engaged and public art. Her performances, installations, videos, and research projects have dealt with issues of gender and migration politics, gender identity, labor, and racisms between others. Working collaboratively within traditions of fine art performance and community organising, Ostojić has realised several large-scale projects in the region of former Yugoslavia, in Berlin and globally including Belgrade, London, and Innsbruck exploring local reactions and notions of variety of public spaces. In 2017 she had “Lexicon of Tanjas Ostojić” solo show in the museums of Contemporary Art Belgrade Salon and at MMSU Rijeka, The project has been shown in the full length at Herbst Salon in Berlin in 2019. Her work has been reviewed in Art in America, Art Monthly, Flash Art, Art Margins, ArtPresse, Arti, Camera Austria, Kunstforum, Springerin, Parkett, n.paradoxa, An.schläge, Dérive, Profemina, Feminist Review, Public Culture, Calle 14, Nordic Art Review, Taide, Jurnal Sociologija, Passepartout, Remont Review, Beorama, Vlna and Umelec beetween others, while The Guardian has chosen her with her “Looking for a Husband with EU Passport” project as one of the 25 best artists of the 21st century. Ostojić’s work maintains a high level of theoretical reference and has been analysed and included in numerous books, periodicals and anthologies. She has exhibited at Brooklyn Museum in New York, at Venice Biennale in 2001 and 2011, in MUMOK in Vienna, Ludwig Museum in Budapest, Museum of Contemporary Art in Zagreb, etc. She has received fellowships from Berlin Senate, the Schering Foundation in Berlin, Research Fellowship of the Graduate School for arts and sciences in Berlin, Art in Public space Tyrol commission, and most recently the Tarabya Cultural Academy in Istanbul and Falkenrot Prize 2020.

 

Alexander MANUILOFF

Artist

 

Performance and its community and audience

Theatre based approach

 

Alexander Manuiloff works with text and performance and his practice is currently split in two: artistic creation and programming/curating.  As a writer, he is interested in what dramaturgy can achieve outside of the conventional kitchen-drama/well-made-play setting. Apart from being a century-long polished way of entertainment, theatre, he believes, can be a platform to form up communities, help build a sense of solidarity as well as trigger discussions in society on topics of urgent importance for our failing democracies. New forms of dramaturgy can be used to create situations, including ones that involve the audience itself. However, all approaches to dramaturgy can be fitting for certain contexts and purposes Manuiloff likes to explore all their potential. When it comes to the more traditional character-based plays, he is particularly interested in the marginal voices who rarely have their views heard in society and on stage. Although as an artist he comes from text and writing, the gist of the dramaturgical work in his view consists primarily of organizing elements in space and time. These elements do not necessarily have to be words, they can be bodies, images or sound, for example. That is why he has also been involved in working on performances that completely depart from the spoken word. Manuiloff has created solo and in various artistic configurations on four continents, performed at 50+ theatre festivals and his dramaturgical pieces have so far been translated into 13 languages, some of which studied in university programmes.

In 2018, he founded Radar Sofia, the first residency for playwrights and dramaturges in Bulgaria, with a special focus on artists at risk, facing political persecution, but also inviting important foreign creators, in order to enrich and stir a bit the local scene. Many of his guests have had joint projects with local creators or have formed lasting connections after their stay in Sofia. As part of the local efforts of Radar Sofia, he established Drama Pact, a collective of writers and thinkers who get together to share resources instead of competing for them. 


 

SOHARÓZA

Performers Collective

 

Performance and its community and audience

Theatre based approach

 

Soharóza – founded in 2008 – is an experimental choir led by Dóra Halas. As a collective we have been playing and working with the human voice, different tones and timbres, sounds of the human body and of the surrounding space, creating unique, uncategorizable performances. Our ars poetica is collective composing where the members are not only performers, but co-creators of each performance. The common interest for us all involves the formation and perception of sounds in an extraordinary manner, be it choral improvisation or sound-choreography, resulting in unusual performances. (Check out the project archive page.) The repertoire is constantly growing as we often think and create together with artists from a wide range of fields: a performance inspired by desserts by Hungarian gastro-blogger Zsófi Mautner, Spanish civil war marches at a Robert Capa exhibition, collaboration with bands of different styles, reciting poems collectively in tuxedos on the stage of the Franz Liszt Music Academy, just to mention a few examples. As a result of experiments with cross-disciplinary forms, our first catwalk-concert, ‘Taboo Collection’, was created in 2016 as a joint project with costume designer Fruzsina Nagy, followed by ‘The Issue’ in 2018. We are also attracted to extreme venues. We have sung in caves, abandoned factory buildings, old Turkish baths and courts of apartment blocks in Budapest. We have performed at the biggest theatre and music festivals in Hungary, the Budapest State Opera House, at the Hungarian Embassy in Berlin and at an international choir competition in Macedonia. The choir was named after a 9-month-old baby girl – Róza Soha –, who is still our conductor’s neighbour to this day.


 

Mladen MILJANOVIĆ

Artist

 

Performance and its community and audience

The community / audience as a creator


 

Mladen Miljanović is an artist based in Banja Luka, Bosnia and Herzegovina.

His conceptual and provocative approach is questioning its own surrounding and living conditions: on one hand his work is influenced by the experience of growing up during the war and its aftermath in the destroyed, impoverished, ethnically and territorially divided, and externally isolated country. On the other hand, his practice is also determined by his formal education; he attended the Reserve Officer Military School and worked at a tombstones workshop before enrolling in the Academy of Arts in Banja Luka in 2002 where he graduated from the Painting Department. The consequences of the war as well as the knowledge he gained in military school constitute the basic field of reference of his artistic practice. In his approach, he combines performative and conceptual art strategies into pluralistic, socially engaged and subversive contemporary art approach. In that approach art is not a goal, but more a tool.

In 2010, the MUMOK in Vienna hosted Mladen Miljanović’s solo exhibition entitled Museum Service, and in 2013 he represented Bosnia-Herzegovina at the 55th Venice Biennale with an acclaimed project entitled The Garden of Delights. He participated in international events as the 15th Busan Video biennale and recently the 13th Cairo Biennale among others. In parallel with his artistic practice and research, he is teaching New Media Art at the Painting and Intermedia Department of the Fine Arts Academy in Banja Luka. 


 

Kateřina ŠEDÁ

Artist

 

Performance and its community and audience

The community / audience as a creator

 

Kateřina Šedá is a Czech artist whose work is close to social architecture. In her work, Kateřina Šedá focuses on socially-conceived events, often employing dozens or hundreds of people who have nothing to do with art. The events mostly take place right in villages or city streets. The purpose of experimenting with interpersonal relationships is to bring those involved out of their stereotypes or social isolation. She tries to induce a lasting change in their behaviour by means of their own (provoked) activity and a new usage of everyday resources. She is the author of a number of socially conceived projects that she realised in the Czech Republic and abroad. She was invited to make individual projects by LIAF, Norway (2019), Ikon gallery, Birmingham (2019), IHME, Helsinki (2016), SF Moma, San Francisco (2013–2014), Tate Modern, London (2011), and many others. She exhibited at 16th International Architecture Exhibition in Venice (2018), the MMOMA, Moscow (2016), the Echigo-Tsumari Art Triennale 2015 in Japan, the Venice Biennale (2013), Kunstmuseum Luzern (2012), the Mori Museum, Tokyo (2010), the New Museum, New York (2009), Manifesta 7, Bolzano (2008), the 5th Berlin Biennale (2008), the Renaissance Society, Chicago (2008) and Documenta 12, Kassel (2007), among others. She was awarded the prizes of Architect of the Year 2017 (Czech republic), Magnesia Litera for journalism (Czech Republic), TAKU Production Prize (Finland), The Most Beautiful Czech Books (Czech Republic), Contemporary Art Society Award (Great Britain), Jindřich Chalupecký Award (Czech Republic), Fluxus Award (Germany), Essl Award (Austria), among others. She has published more than thirty books and publications, mapping her individual projects in detail. She lectures about her work at schools, in cultural centres and galleries, but also in villages and small towns, trying to give an idea about her work to large audiences, and thus prompt them to their own activity.

Katarina ŠEVIC

Artist

Performance and its community and audience

The community / audience as a creator

Katarina Šević was born and raised in Novi Sad, Yugoslavia. She graduated from the Intermedia Department of the Hungarian University of Fine Arts, and currently lives in Berlin. In her work, she thematises and examines the design and behavioural patterns that prevail in and determine society. Her creative practice includes working with objects, costumes, performances, archives, and texts, in an attempt to unravel the layers of the past, explore intersections of parallel and contradictory historical events, and merge them with contemporary social processes. Her work is often based on long-term community cooperation, mainly with Tehnica Schweiz. She was involved in various independent projects and initiatives: between 2003 and 2006 she was the co-founder and operator of DINAMO artist run space together with Hajnalka Somogyi, and between 2006 and 2008 the co-founder and operator of IMPEX - Contemporary Art provider. Her practice also extends to various publication projects, typically edited in a community form, such as the book We Are Not Ducks on a Lake, but Ships at Sea. Her work has been exhibited in numerous international solo and group exhibitions, including: Martin Gropius Bau, Berlin; Archive Kabinett, Berlin; OFF-Biennále Budapest; Contemporary Art Museum of Vojvodina, Novi Sad; Le 19 CRAC, Monbelliard; acb Gallery, Budapest; Rennes Biennale, Rennes; New Museum, New York; Secession, Vienna; 21Haus, Vienna; Künstlerhaus Bethanien, Berlin; Muzeum Sztuki, Łódź; Kunsthalle, Budapest, Jeleni Gallery, Prague; and Remont Gallery, Belgrade.