Prijava na novice

E-novice pošiljamo vsak mesec. Če želiš prejemati obvestila o tem, kje in kdaj nastopamo in kaj pripravljamo, nam pošlji svoj e-poštni naslov.

OD TUKAJ NEDAJ BOG KEJ SPREMINJAT 🙂

Kontakt

 

VIA NEGATIVA

Društvo za sodobne scenske umetnosti
info@vntheatre.com

umetniški vodja
Bojan Jablanovec
bojan@vntheatre.com
telefon: +386 41 389 284

producentka
Špela Trošt
spela@vntheatre.com
telefon: +386 51 360 735

Naslov
Via Negativa
Na Peči 12
1000 Ljubljana
Slovenija


Matična številka: 1677314
Davčna številka: SI71858253
TRR: 05100-8010573865
Banka: Abanka d.d., Ljubljana

 

Sto zdravic

ANITA WACH
solo performans

 

 

INFO

kritika


NAZDRAVLJAMO NA SVOBODO IZRAŽANJA MISLI, GOVORA IN JAVNEGA NASTOPANJA. IN NA JEZIK, V KATEREM TO  POČNEMO.


Nazdravljamo na sedanjik brez dlake na jeziku. Na preteklik brez čustveno zaznamovanih besed. Na prihodnjik brez pogojnikov. Na pogojnik z jasnimi pogoji uresničitve. Na tvornik, iz katerega je razvidno, kdo je vršilec dejanja ali povzročitelj stanja. In na vse nas, prisotne in odsotne. Na vse, ki so že na smrt zdolgočaseni, še zmeraj neskončno zmedeni, dokončno razočarani in brez pravega razloga žalostni. Konec bo za vse enak; nihče ne bo ostal trezen.

Sto zdravic je praznovanje. Poslavljamo se od romantične ideje umetnika producenta in nazdravljamo umetniku konzumetnu. Umetnik kot utelešenje “resnične, avtentične, pristne človeške produkcije” ne obstaja več. Danes umetnik lahko samo še izumlja različne oblike potrošnje. “Umetnost danes ne stoji več na izvoru umetniškega dela, temveč na njegovem koncu. Podpis umetnika ne pomeni več, da je umetnik ustvaril nek poseben objekt, temveč da je z določeno uporabo tega objekta dosegel, da je postal zanimiv.” (Boris Groys, The Artist as Consumer, 2008)

Performans je bil prvič izveden na Poljskem, kjer je bil posvečen praznovanju rojstva poljskega gledališkega režiserja in vizualnega umetnika Tadeusza Kantorja, v Sloveniji pa je bil premierno izveden na slovenski kulturni praznik  8. februarja in posvečen Francetu Prešernu in kulturi, ki se razrašča na njegovem grobu.

USTVARJALCI

Zamisel: Anita Wach, Bojan Jablanovec
Koreografija in izvedba: Anita Wach
Koncept in režija: Bojan Jablanovec
Glasba: Glenn Miller, Michael Nyman, The Stooges, Alfred Schnittke
Producentka: Špela Trošt

Produkcija: Via Negativa s podporo Mestne občine Ljubljana
Koprodukcija: Maat Festival Lublin, Ja Ja Ja Ne Ne Ne Association Warsaw
Premiere: 4 DEC 2015, Maat Festival Lublin / 8 FEBR 2016, MSUM Ljubljana
Dolžina performansa: 50 min


Dancers cross borders and surprise
Gazeta Wyborcza / 14 May 2017 / Monika Żmijewska

Anita Wach from Via Negativa based her performance on interaction with the audience. In this piece she invites us to join a celebration and asks us to raise toasts, precisely one hundred toasts. Each viewer receives a plastic cup with wine and a card with written toast- all read at loud by each member of the audience. There is plenty of them mostly dedicated to a figure of an Artist: for eccentric life, for unique ideas, for extraordinary personality, and also for the artists which should be gone to make a room for new generations. Each toasts either makes the audience laugh either transforms laughter into silence. In the meantime the artist on the stage presents specific kind of inbred dance: she carefully walks among dozens of plastic cups displaced on the floor, repeatedly dressing up and undressing, making aerobatics with cups doing her best not to spill the wine or opposite, to spectacularly pour out the liquid on her body. By building contrast between her gestures and meaning of toasts she creates unusual performance, full of surprising twists. Performer acts-dances in the way which makes some viewers confused, some of them amused. She breaks generally accepted rules how performance “vernissage” party should look like, she is ironic about artistic ambitions and expectations, she pulls audience into a game in which she proves that an artist can put her*himself in various situations for the sake of creation.Its a very interesting performance, constantly shifting meanings and perspectives. And it puts all the guests in delicious mood.


100 Toasts for the Dead Artist
teatrmaat.pl, Poznan / Marta Seredyńska

At first glance, the title led me to think I was going to see a pompous, mythical and presumptuous piece. Nothing further from the truth. Anita Wach is way too creative to limit herself to extolling the virtues of the Master and grieving his loss (…) We raise the toast for the Master, for the  artists,  for ourselves. For the art we wish to embrace, engage in, soak in, allow to resonate, argue against. To one of the walls, Wach sticks a minuscule image of  Tadeusz Kantor (later on she turns it backwards, leaving only a blank sheet of paper to be seen). This is dedicated to you Master, we raise the empty bottoms up, it is you we wish to pay tribute to.


Kantor as a ready-made?
taniecPOLSKA.pl / 30 Dec. 2015 / Alicja Müller

In one of the scenes she places empty cups over her exposed naked breasts. A clear reference to both renowned feminist performances and to Kantor’s assemblages. As opposed to Kantor, Wach is much more literal in her approach. She is searching for physics in metaphysics. 100 Toasts for the Dead Artist permeated with corporeality and sensuality to an extent where it seems like the whole performance is on the one hand an attempt to demystify the myth of the artist-metaphysic and on the other an ironic commentary on the authentic idea, the total presence.


Bildanje dobrega, a vendar družbeno odgovornega potrošnika
Slovenska premiera v +MSUM-u
MMC RTV SLO Ljubljana /10 Febr 2016 / Tadej Čater

Praznik, kakršnemu je nazdravljala država, se je izrodil in postal politični protest. Umetnica pa se je iz performerja, plesalke in koreografinje, prelevila v konzumenta (v konkretnem primeru vina in tortic) ter z uživanjem teh sprva scenskih elementov in rekvizitov, nato pa le še uporabnih živil, po Borisu Groysu, filozofu in umetnostnem kritiku, na katerega se sklicujeta tudi Jablanovec in Wachova, postala zanimiva in sprejemljiva. Tako nekako, kot so zanimivi in sprejemljivi postali muzeji in galerije, ki v svojih prostorih poleg umetniških del “razstavljajo” tudi slaščičarne in vinarje. Vse za to, da si resda izumirajoči in vse bolj obubožani ter do konca razgaljeni srednji razred bilda identiteto dobrega potrošnika, pa vendar vsaj malce tudi družbeno odgovornega.