Maska - Volume 28, Issue 153-154, 2013

This talk on the strategy of (re)naming is based on the inquirer’s notion that breaking the rules is the condition of critical artwork, understood as a form of activist intervention through arts. Disidentification, a paradigmatic emancipatory operation, could therefore potentially be inscribed in an act of refusing the given name and inventing a new one – not only acting against the terror of identification in general, but also against art as a potentially dangerous identification toolTa pogovor o strategiji (pre)imenovanja temelji na izpraševalčevem prepričanju, da je kršenje pravil pogoj za kritično umetniško delo, ki je pojmovano kot oblika aktivistične intervencije s pomočjo umetnosti. Tako se kaže možnost, da dezidentifikacijo, ta paradigmatski emancipacijski postopek, vnesemo v dejanje zavrnitve danega in izumljanja novega imena – pri tem ne gre le za dejanje zoper grozljivost identifikacije na splošno, temveč tudi zoper umetnost kot potencialno nevarno orodje za identifikacijo

The article considers a number of outdoor “unplugged” performances in relation to questions of performative intimacy and spectatorial distance. Distance is examined in relation to structures of report from far away, or with respect to the “prospect” of landscape architecture. Intimacy is examined with regard to structures of hospitality and recent theory on ecological interdependence. The “unnatural horizons” of seventeenth-century landscape and theatrical architecture inform an argument on the place of “nature” in the imaginary of the performances discussedČlanek obravnava vrsto »izštekanih« predstav na prostem v luči vprašanj uprizoritvene intimnosti in gledalske distance. Slednje se loti v zvezi s strukturami porocanja na daljavo in v zvezi z »razgledom« krajinske arhitekture. Intimnost razišče z ozirom na strukture gostoljubnosti in novo teorijo ekološke medsebojne odvisnosti. »Nenaravna obzorja« krajinske in gledališke arhitekture sedemnajstega stoletja oblikujejo argument o mestu »narave« v imaginarijih obravnavanih performansov

This article aims at rethinking how the events making up two editions of the Up to Nature festival – in the woods above Vienna and Oslo – implicitly think the concept of “nature”, and hence considers whether we could think of these events as ecosophic and ethico-aesthetic (Félix Guattari) practices. What becomes crucial here is the problem of the (non) situatedness of the festival in the concrete (“natural”) environments in which it took place (the question of mesopolitics, as Isabelle Stengers might say), as well as the question of the eventfulness of the festival events themselvesPrispevek skuša premisliti, kako dogodki na edicijah festivala Up to Nature v gozdovih nad Dunajem in Oslom implicitno mislijo pojem »narave« ter posledično, ali jih lahko imamo za ekozofske in etično-estetske (Félix Guattari) prakse. Pri tem postane ključen problem (ne)umeščenosti v konkretna (»naravna«) okolja, v katerih se festival odvija (vprašanje mesopolitike, kot bi nemara dejala Isabelle Stengers), s tem pa tudi vprašanje dogodkovnosti samih festivalskih dogodkov

This paper attempts to overcome the simple polarisation between nature and culture. It deals with artistic events that took place in nature, outdoors, within the frame of the Up To Nature festival, at two of the festival’s four locations – Bristol and Kuopio. It comparatively also deals with the events that took place in the independent production of the In Between Time festival, which took place simultaneously at the Bristol location. The contribution critically evaluates the specifics of the outdoor art festival and analyses the way in which the individual events functioned in this contextPrispevek, ki je zasnovan kot preseganje preproste polarizacije med naravo in kulturo, obravnava umetniške dogodke, ki so se zgodili v naravi, na prostem, v okviru festivala Up to Nature na dveh od štirih lokacij – pri Bristolu in Kuopiu. Primerjalno obravnava tudi dogodke v samostojni produkciji festivala In Between Time, ki so se zgodili sočasno na bristolski lokaciji. Prispevek kritično vrednoti specifičnost umetniškega festivala na prostem in analizira, na kakšen nacin so v tem kontekstu ucinkovali posamezni dogodki

Choreographer Ingri Midgard Fiksdal, composer Ingvild Langgård and scenographer Signe Becker, all from Norway, produced with their performance Night Tripper a fairly serious Voodoo enchantment for total beginners. They guided their audience through the twilight of a mild summer night in the woody hills around Vienna to a glade, where two dancers were swinging into the black of night, leaning against each other as though they were one weird creature. A small orchestra played the score for this musical performance, accompanied by a choir of young ghostsKoreografinja Ingri Midgard Fiksdal, skladateljica Ingvild Langgård in scenografinja Signe Becker, vse tri z Norveške, so s predstavo Night Tripper ustvarile dokaj resno vudu uročenost za popolne začetnike. Občinstvo so v polmraku blage poletne noci vodile do jase sredi gozdnatih gricev v okolici Dunaja, kjer sta se dve plesalki pozibavali v temini noči. S hrbti uprti druga ob drugo sta bili videti kot ena sama, čudna prikazen. Partituro za to glasbeno predstavo je izvajal majhen orkester, ki ga je spremljal zbor mladih duhov

In her performance My Name is Ape or the Little Tree Theatre that took place in a birch, Austrian artist Johanna Kirsch changed position in a double sense: she used a tree as a stage scene, and played with the idea of degeneration, or, how it would be to behave like an ape. She was also posing three important questions: how to inhabit the world, how to get along with others and how to get beyond the neve-ending performance cultureV predstavi My Name is Ape or the Little Tree Theatre (Ime mi je opica ali Mali teater na drevesu), ki se je odvijala na brezi, je avstrijska umetnica Johanna Kirsch spremenila svoj položaj v dveh smislih: drevo je uporabila kot odrsko sceno in se hkrati poigrala z idejo o izrojenosti oziroma o tem, kako bi bilo biti opica. V njej je zastavila tri vprašanja: kako živeti v svetu, kako sobivati z drugimi in kako preseči večno kulturo performansa

The London-based artist duo FrenchMottershead realized a series of participatory microperformances, Understories, in three Up to Nature cities. The audience took part in the performances that were about traditional local skills, many of which are destined to disappear. The stress was put on the participatory aspect of the events as well as on the material interaction between nature and cultural activityUmetniška dvojica FrenchMottershead iz Londona je na obrobjih štirih mest, kjer se je odvijal festival Up to Nature, izvedla serijo participatornih mikroperformansov z naslovom Understories (Podrast ali Skrivne zgodbe). V performansih, ki predstavljajo tradicionalne krajevne veščine, od katerih so številne obsojene na izumrtje, so sodelovali tudi udeleženci. Poudarek je bil na participatornosti dogodkov in stvarni interakciji med naravo in kulturnim delovanjem

Nic Green invites us into her moon-shaped dwelling for a moment to slow down, to sharpen and to unveil the wild being. Through her hour-long performance, she shares her experiences from a year living in a remote place in south-west Scotland, far away from the busyness of the city. A place which, like the moon-shaped dwelling, should enable us to bring our surroundings into focus. The performance raises questions about self-realization and authenticity, but is most of all a reflection upon the value of changing perspectives, and of taking the time to appreciate the people around youNic Green nas za trenutek povabi v svoj bivak v obliki meseca, da se upočasnimo, izostrimo in razkrijemo svoje divje bitje. V enourni predstavi z nami deli izkušnjo enoletnega bivanja na izoliranem kraju na jugozahodnem Škotskem, daleč od mestnega vrveža. Na kraju, ki naj bi tako kot bivak v obliki meseca omogocil, da se osredotočimo na okolje, ki nas obdaja. Predstava sproža vprašanja o samorealizaciji in pristnosti, predvsem pa je razmišljanje o pomenu spreminjanja zornega kota in pomenu tega, da si vzamemo čas, da cenimo ljudi okoli sebe

As Antti Laitinen cuts down, chops up and assembles his tree, he is not only deconstructing and reconstructing it, but also literally following Gilles Deleuze and Félix Guattari’s request to stop believing in trees, roots and radicles. Laitinen breaks up the structure of the tree, but as he does not add or subtract anything apart from nails, it still remains a tree. A tree as an artwork. A deconstruction/reconstruction process as a performance. Parallel to an urge to adapt seamlessly to nature, Laitinen approaches nature with respect and care, hence adapting it to his own wishes and needsAntti Laitinen, ki drevo podre, razseka in sestavi, ga ne zgolj dekonstruira in rekonstruira, temveč tudi dobesedno sledi zahtevi Gillesa Deleuza in Félixa Guattarija, da prenehamo verjeti v drevesa, korenine in stranske korenine. Laitinen strukturo drevesa razstavi na dele, ker pa ne doda ali odvzame ničesar razen žebljev, drevo še vedno ostane drevo. Drevo kot umetniško delo. Proces dekonstrukcije/rekonstrukcije kot predstava. Vzporedno z nagonom, da bi se brezšivno uskladil z naravo, Laitinen k naravi pristopa s spoštovanjem in skrbjo ter jo tako prilagodi lastnim željam in potrebam – kot človek to pocne že od nekdaj.

The HISTeRIA Festival, launched and organised by Matija Solce, is an event of wider importance, as it brings together in one spot different art disciplines (music, theatre, puppetry, dance, workshops). The festival intertwines nature and art in a very singular way and attempts to present them as equivalent, inseparable and co-dependent life elements. The contribution discusses the festival from two different aspects: on the one hand, the reflection supports the artistic view on the event; on the other, the festival is described through the aesthetic evaluation of nature and its inherent creative potentials and archetypal-anthropological componentsFestival HISTeRIA, ki deluje pod idejnim vodstvom Matije Solceta, je dogodek širšega pomena, saj na enem mestu združuje različne umetniške panoge (glasba, gledališče, lutke, ples, delavnice), hkrati pa na sebi lasten nacin medsebojno prepleta naravo in umetnost ter ju poskuša prikazati kot enakovreden, nelocljiv in soodvisen bivanjski element. Festival je v prispevku obravnavan z dveh različnih aspektov; njegovo refleksijo na eni strani podpira umetniški pogled na dogodek, na drugi strani pa je festival orisan tudi skozi estetsko vrednotenje narave in njenih vsebujocih kreativnih potencialov ter arhetipsko-antropoloških komponent

Since its very beginning, puppetry has been defined by a special relationship between the puppet, the puppeteer and the audience in the sense of a fluid communication triangle that transpires between the three. The 2012 Lutke Festival offered three ‘miniatures’, that is, three performances that each construct their own special communication relationship, which both in terms of structure as well as in terms of content belongs totally to the field of performance art; they are Go! performed by Polina Borisova, Little Suicides by Gyula Molnár and adapted/performed by Carles Canell, and Happy Bones by Matija Solce. In this article, the link with the level of performativity is fleshed out through a comparison with Pure Performance by Jaka Lah, which was conceived as part of the project Via Negativa. The text emphasizes the dual mode of viewing, which requires a simultaneous reading of individual parts and of the whole and which (despite the exactitude of performance) is based on a special dynamic with an implicit possibility(ability) of improvisation and a constant inclusion of the spectatorLutkarstvo vse od začetkov opredeljuje poseben odnos med lutko, lutkarjem in občinstvom v smislu pretočnega komunikacijskega trikotnika, ki poteka na tej relaciji. Festival Lutke 2012 je v letošnjem letu ponudil tri »miniaturke«, tri predstave, ki gradijo vsaka svoje posebno komunikacijsko razmerje, ki tako po strukturi kot vsebini sega že povsem na podrocje performansa; gre za predstave Pojdi! v izvedbi Poline Borisove, Mali Samomori Gyule Molnarja ter priredbi in izvedbi Carlesa Canella in Srečne kosti Matije Solceta. Povezava z ravnjo performativnosti je v članku izpeljana preko primerjave s Čistim performansom Jake Laha, ki je nastal v okviru projekta Via Negativa. Poudarek je dualnem načinu gledanja, ki zahteva »hkratno« branje dela in celote, in ki (kljub natančnosti izvedbe) temelji na posebni dinamiki, v katero je implicitno vgrajena (z)možnost improvizacije in nenehno vključevanju gledalca

The article addresses the questions of artistic hyper-production and anti-production through a theoretical and political contextualisation of the performance entitled The Performance is Cancelled Due to Conceptual Reasons. To this purpose, the article itself is cancelled due to conceptual reasons; yet what is published is precisely this very gesture of self-cancellation. In this way, the article consciously inhabits the paradoxical position of contemporary critical artistic production: in order to speak about the paradoxical demand for hyper-production dictated by the economy, on one side, and on the other, about the disabling of any normal functioning of the artistic sphere by governmental austerity measures carried out in the name of this very same economy, something must, again, be producedČlanek naslavlja vprašanje umetniške hiperprodukcije in antiprodukcije prek teoretske in aktualnopolitične kontekstualizacije predstave z naslovom Predstava zaradi koncepta odpade. Tako tudi članek zaradi koncepta odpade: kar je objavljeno, je natanko gesta samoukinitve, S tem se clanek zavestno umešča na paradoksalno pozicijo sodobne kritične umetniške produkcije: da bi spregovorili o paradoksalni dvojnosti ekonomske zahteve po umetniški hiperprodukciji na eni strani in nemožnosti normalnega delovanja umetniške sfere zaradi vladnih varčevalnih ukrepov v imenu te iste ekonomije na drugi strani, moramo ponovno nekaj – producirati