jan rozman

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	<title>jan rozman</title>
	<link>https://janrozman.link</link>
	<description>jan rozman</description>
	<pubDate>Sun, 06 Jun 2021 16:56:27 +0000</pubDate>
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		<title>Works</title>
				
		<link>https://janrozman.link/Works</link>

		<pubDate>Thu, 01 Oct 2020 14:29:10 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

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WORKS</description>
		
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		<title>digital 1.5. (2021)</title>
				
		<link>https://janrozman.link/digital-1-5-2021</link>

		<pubDate>Sun, 06 Jun 2021 16:56:27 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

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		<description>digital 1.5.
study / installation

The project&#38;nbsp;is a series of five performative events
exploring touch. Each event is an attempt to read and experience the world haptically,
employing digital logic to approach the physicality and to practice intimacy
with each other.

 
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Photos from digital 1.5.1. by Marijo Županov

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Photos from digital 1.5.2. by Marijo Županov


The selected group of bodies establishes contact with other
bodies in space - bodies of performers, the body of the space, the sound body
and the bodies of technological objects. Using the latter, digital 1.5
questions the mediatization of closeness. By applying the solid digital logic
of the devices and their software to the soft organic bodies of people it speculates
about humans, who are not only a source of information but also a device for
processing and storing data.


Touch in digital 1.5 is a way of communicating and a tool
for meeting the other; it is digitized data and a medium of transmission at the
same time. The project builds on the idea of the medium as given by Y. Citton
in his book ‘The Ecology of Attention’. Citton describes the media as diffuse
ecosystems, which do not solely represent reality but actively shape it. Thus,
an ‘infrastructure of resonances that condition our attention’ is formed
according to the ideas that ‘surround and fill us’. In this respect digital 1.5
is not looking for a loud performative gesture but tends to establish a space
of visibility, or in Citton's language, an environment of resonance for the
increasingly marginalized and during the pandemic also transgressive practices
of closeness and touch.
digital 1.5. is is a part of the Ventilator series initiated by Sploh Institute.


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Photos from digital 1.5.3. by Nada Žgank


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Photos from digital 1.5.4. by Matija Lukić


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&#60;img width="4888" height="3259" width_o="4888" height_o="3259" data-src="https://freight.cargo.site/t/original/i/5300860eaed5415bf7e5323e1d3699c8437a464f93fa84a84cccd65b45d8faf5/24.jpg" data-mid="128809775" border="0"  src="https://freight.cargo.site/w/1000/i/5300860eaed5415bf7e5323e1d3699c8437a464f93fa84a84cccd65b45d8faf5/24.jpg" /&#62;


Photos from digital 1.5.5. by Nika Erjavec


Credits
Artistic direction: Jan RozmanMusic: Luka SeliškarCostume design: Tanja Pađan / Kiss the FutureVideo documentation: Juš Jeraj

Executive producer: Brigita GračnerProduction: Zavod Sploh


digital 1.5.1.


Performers: Beno Novak, Julija Pečnikar, Jan
Rozman, Liza Šimenc, Luka SeliškarPhoto documentation: Marijo Župan

digital 1.5.2.Performers: Maja Kalafatić, Leon Marič,&#38;nbsp;

Luka Seliškar

Photo documentation: Marijo Županov

digital 1.5.3.Performers: Leon Marič, Jan Rozman, Mojca Sovdat,&#38;nbsp;

Luka Seliškar

Photo documentation: Nada Žgank


digital 1.5.4.Performers: Jan Rozman,

Luka Seliškar

Photo documentation: Matija Lukić


digital 1.5.5.Performers: Beno Novak, Julija Pečnikar,&#38;nbsp;Jan Rozman, Jerca Rožnik Novak, Luka Seliškar, Mojca Sovdat, Liza ŠimencPhoto documentation: Nika Erjavec</description>
		
	</item>
		
		
	<item>
		<title>with Julia Keren Turbahn: Things Thing (2021)</title>
				
		<link>https://janrozman.link/with-Julia-Keren-Turbahn-Things-Thing-2021</link>

		<pubDate>Sun, 28 Feb 2021 19:31:37 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/with-Julia-Keren-Turbahn-Things-Thing-2021</guid>

		<description>THINGS THING
 

with Julia Keren Turbahn


 &#38;nbsp; 

age open performance, 5+ years (50’), 2021


I never knew a thing could do so much. I
never thought it was possible, but now I’m getting in touch. What can I do and
can the sponge do it too? There are so many things that make me feel yellow and
blue.


 What
things surround us? What can you do with things? And more importantly: what can
things do with us? Can things actually think? Do thoughts have a thing? Do they
thing?


With
THINGS THING, Julia Keren Turbahn and Jan Rozman invite you into an overflowing
world of things. Into a world of possibilities, in which they encounter things
and things encounter them in different ways. Is that your thing? Then be part
of it: in a playful performance, Julia and Jan leave room for interpretation,
discovery and encounter, and invite everyone from the age of six to thing
together.


&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/166107069f779c6df5eeeeb58fe6cef5367e03d1558cf1c8e7335d8d11062ae6/Things_thing_129by.nada.zgank.jpg" data-mid="106064235" border="0"  src="https://freight.cargo.site/w/1000/i/166107069f779c6df5eeeeb58fe6cef5367e03d1558cf1c8e7335d8d11062ae6/Things_thing_129by.nada.zgank.jpg" /&#62;
&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/a9bc59af0cd352c58c9db5afd5bd8f786762e64a7183e3b3932cddd46774b4a2/Things_thing_186by.nada.zgank.jpg" data-mid="106064219" border="0"  src="https://freight.cargo.site/w/1000/i/a9bc59af0cd352c58c9db5afd5bd8f786762e64a7183e3b3932cddd46774b4a2/Things_thing_186by.nada.zgank.jpg" /&#62;
&#60;img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/c2f903577317626af89c583cb44578721cfae6818672badd80e9c1918e2cc51d/Things_thing_105by.nada.zgank.jpg" data-mid="106064234" border="0"  src="https://freight.cargo.site/w/1000/i/c2f903577317626af89c583cb44578721cfae6818672badd80e9c1918e2cc51d/Things_thing_105by.nada.zgank.jpg" /&#62;
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&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/b26652eb5d9775013c4a28e4c7937d0f535c30b846a5e0d966195fb31f0c7ac7/Things_thing_176by.nada.zgank.jpg" data-mid="106064218" border="0"  src="https://freight.cargo.site/w/1000/i/b26652eb5d9775013c4a28e4c7937d0f535c30b846a5e0d966195fb31f0c7ac7/Things_thing_176by.nada.zgank.jpg" /&#62;
&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/9af0f081bc1aaba7309ddc7fef36802c50d6823be6b00b4e02519eb042c9476e/Things_thing_199by.nada.zgank.jpg" data-mid="106064220" border="0"  src="https://freight.cargo.site/w/1000/i/9af0f081bc1aaba7309ddc7fef36802c50d6823be6b00b4e02519eb042c9476e/Things_thing_199by.nada.zgank.jpg" /&#62;
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Credits
Direction, choreography, performance: Jan Rozman, Julia Keren Turbahn
Performance DGS: Jan Kress
Artistic advice for DGS adaptation: Jan Kress


 Set design: Dan Pikalo, Jan RozmanLight design: Annegret Schalke Sound design: Andres Bucci/Future LegendCostume design: Tanja Pađan/Kiss the Future Outside eye: Sanja Tropp Frühwald Composition, Text, Vocal ‘Dinge Dingen’: Alexander Patzelt
Translation, Vocal ‘Reči, reči’: Manca TrampušIllustration: Matija MedvedMentoring: Gabi Dan Droste

Executive production: Sabrina
Železnik (Slovenia), 
Patricia Oldenhave/Alexander Schröder/Julia Keren Turbahn

 (Germany)


Translations: Katja Kosi (Slovene)

DIY instrument: SELBSTGEBAUTE MUSIK


Photos: Nada
Žgank,&#38;nbsp;

Philipp Weinrich


Video documentation: Luka
Prinčič, Marko Kumer Murč, Damjan Delak, Nikica Radenkoski


Technical director and sound designer (LGL): Aleš Erjavec


Light directors (LGL): Gregor
Kuhar, Maša Avsec


Stage technique (LGL): Kemala
Vrabac Kordiš, Slobodan Ilić


Workshop (LGL): Zoran
Srdić, Iztok Bobić


Production (LGL): Alja
Cerar Mihajlović


Production: EmanatCo-production: Ljubljana Puppet Theatre - LGLIn cooperation with: FELD Theater für junges PublikumSupported by: Fonds Darstellende Künste
 with funds from the Federal Government Commissioner for Culture and the
 Media, Ministry of Culture RS, City Municipality of Ljubljana


Things Thing is made possible by the 
residency at the FELD Theatre within the framework of the pilot project 
Residency Funding for Dance 2020/2021 of the Berlin Senate Department 
for Culture and Europe.


Development of the accompanying poster funded by the Federal 
Government Commissioner for Culture and the Media in the program 
NEUSTART KULTUR, Support Program DIS-TANZEN of the Dachverband Tanz 
Deutschland.
 

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</description>
		
	</item>
		
		
	<item>
		<title>MEMEMEME (2019)</title>
				
		<link>https://janrozman.link/MEMEMEME-2019</link>

		<pubDate>Thu, 01 Oct 2020 14:57:28 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/MEMEMEME-2019</guid>

		<description>MEMEMEME


ABOUT
MEMEMEME (2019) is the space of a community's flow of association, a clash of an infinite number of memes* and their reverberations. Through the performers' bodies, their mobile phones and digital video and sound references and associations, the performance layers gestures, movements, images and expressions. Its performative score plays with and around the mechanics and aesthetics of internet memes. As a living mimetic organism, the stage actions are multiplied and repeated, diversified and mutated to open up the potential semantic splits and gaps that reflect the fragmented and alienated nature of modern communication and the internet society.*A meme is any idea that is, despite its potential randomness or nonsense, repeated and multiplied through variation and selection. The term meme (from Ancient Greek mimeme, 'imitated thing') was coined by biologist Richard Dawkins as a cultural equivalent of a gene to designate language, stories, knowledges, habits, styles and behaviour that is transmitted through imitation. As a consequence of the near universal use of the internet in the digital age, the most widespread, flexible, resilient, and circulated are precisely (viral) internet memes.


&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/9fa4c55e5540daad76ee47ba8cb29a9e156750bfb9d8000cff5d25a2a96c7565/MEMEMEME_101by.nada.zgank.jpg" data-mid="84304926" border="0"  src="https://freight.cargo.site/w/1000/i/9fa4c55e5540daad76ee47ba8cb29a9e156750bfb9d8000cff5d25a2a96c7565/MEMEMEME_101by.nada.zgank.jpg" /&#62;
&#60;img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/fb925509e9f1f0a8599faa41015bd6e6d240a7e2ce690835795fe1062c9fd610/MEMEMEME_064by.nada.zgank.jpg" data-mid="84304924" border="0"  src="https://freight.cargo.site/w/1000/i/fb925509e9f1f0a8599faa41015bd6e6d240a7e2ce690835795fe1062c9fd610/MEMEMEME_064by.nada.zgank.jpg" /&#62;
&#60;img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/38302f4af897af08f5e412250150cdbb91d9535528a877bddfbb763ebba8ae43/MEMEMEME_224by.nada.zgank.jpg" data-mid="84304929" border="0"  src="https://freight.cargo.site/w/1000/i/38302f4af897af08f5e412250150cdbb91d9535528a877bddfbb763ebba8ae43/MEMEMEME_224by.nada.zgank.jpg" /&#62;
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&#60;img width="3500" height="2334" width_o="3500" height_o="2334" data-src="https://freight.cargo.site/t/original/i/eb2bd09d5f9989a8a136e6b7047fa6bcdcce87e6cbaccbb5abe9c82964f2a867/MEMEMEME_043by.nada.zgank.jpg" data-mid="84304923" border="0" data-marker-id="3" src="https://freight.cargo.site/w/1000/i/eb2bd09d5f9989a8a136e6b7047fa6bcdcce87e6cbaccbb5abe9c82964f2a867/MEMEMEME_043by.nada.zgank.jpg" /&#62;
photo: Nada Žgank

CREDITS
Concept, direction &#38;amp; choreography: Jan RozmanPerformers and co-creators: Peter Frankl, Kaja Janjic, Julija Pecnikar, Daniel PetkovicDramaturgy: Varja HrvatinSound and video: Vid MerlakCostume design: Tanja Pađan (Kiss The Future)Light design: Urska VoharSet design advice: Dan PikaloGraphic design: Matija MedvedVideo documentation: Hana VodebPhoto documentation: Nada ZgankExecutive producer: Sabina PotockiProducer: EmanatPartners: Bunker / Old Power Station, Ljubljana, Mediterranean Dance Center, Svetvincenat, CroatiaIn collaboration with: CoFestival 2019, Ljubljana

“THE INTERNET IS A STAGE AND THE PEOPLE MERELY MEMES”“When Jan invited me to work with himon this performance, I literally gasped for air when I saw its working title *gasps* in the application. The concept seemed topical both in terms of subject matter as well as methodology, while delineating a certain contemporary mode of performing I foundquite interesting, so I quickly warmed up to the idea of collaboration. But soon I had to ask myself “how the hell” do you make a performance about memes. With living bodies. Using movement. Aiming beyond some basic illustration of the format or listing astring of references and associations. How to address a relevant theme through the problematisation of memes in a way that it doesn't end up totally banal and random? This radically bold idea, which at the time had me wondering how it would develop, was a real thrill and, as it happens, still is a source of excitement, two weeks prior to the premiere as I am typing these words.” Varja Hrvatin (You can find the whole essay here!)

REVIEWS“Are memes our modus operandi? Are memes the pinnacle of our generation's creativity? Are memes our rebellion? Are memes an expression of our egoistic engagement with ourselves? Are memes the communication codes of our generation? Also, Jan Rozman doesn't deal with that (too much). And (luckily) he does not moralize. He simply imitates. He chooses mimesis as the main driver / method and makes a show where the half the audience under 35 laughs out loud and the other half wonders what they are really looking at and what is the point of all of this. And what does HALP mean.”

Decber 2019, Kriterij.si, Memememe mememe meme me m e, Klara Drnovsek Solina


  “The performance manages to establish the stage as a space sui generis and through this capturing the alienation of social media. It doesn’t try to articulate something in a discursive way and in this way ease the problem, making it less painful and therefore more acceptable. It doesn’t hide the hysteria of the current situation. (…) Stage, this most obvious civilizational place of observation becomes a space of intimacy into which we can voyeuristically peek while the screen becomes the new surface of observation.”
27.11.2019, Kriterij.si, You don’t hate Mondays, you hate capitalism, Muanis Sinanovic  "The millennial generation might be the first one with the software already woven into their synapses, therefore it could say something about that. Perhaps to the boomers, who still think that the young generation itself is responsible for their attention disorders, narcissistic tendencies and world-weariness and that they can simply shut down their computers and smart phones.”
 3.12.2019, Neodvisni, Dance of the Millenials, Pia Brezavscek

“With a humorous statement in a diverse set of performers, MEMEMEME brings a fresh breeze to the Slovenian contemporary dance scene. Choreographer Jan Rozman's project is pleasantly ambitious both in terms of the theme and the production scope, even though it may crumble here and there under the weight of ambition. (…) Yet, like written here, these cracks between the social, the personal in the corporeal are productive, opening up questions of our incorporation of the social.”
 21.2.2020, Radio Študent, Where is my self?, Samo Oleami


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		<title>Thinging (2018)</title>
				
		<link>https://janrozman.link/Thinging-2018</link>

		<pubDate>Fri, 02 Oct 2020 10:00:32 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/Thinging-2018</guid>

		<description>THINGING
	

Thinging (2018) is a visceral reaction to the world of things we are living in. It thinks and it sings. The stage becomes a space of contact for the living and non-living matter; an environment where things can relate, communicate and coexist, perhaps revealing a different side. 

The piece works with spaces of being in-between – between objects and subjects, between existence, speculative existence and non-existence, inaction and activity, saturation, calmness and emptiness, light, dusk and darkness, quotidian, mysterious and poetic, as well as between individual present bodies.

Thinging is challenging anthropocentric thinking by searching for alternative modes of cohabitation of things in a time of threatening global ecological catastrophe and oversaturation with objects in contemporary Western life.

The creative process is rooted in a performative research on materiality, started during Jan’s study at Solo/Dance/Authorship master study program at the Inter-University Centre for Dance in Berlin. Conceptually, it leans on the ideas developed by philosophers of speculative realism and object-oriented ontology (OOO) and their understanding of things. Considered as a non-instrumental entity, things are enabled to expose their poetic potential and uncover their own choreographic force alongside and in relationship to the performer on stage.


CREDITS
Concept and Performance: Jan RozmanDramaturgy: Julia Keren TurbahnLight Design: Urška VoharCostume: Kiss the FutureScenography Advisor: Dan AdlesicStage assistance: Dan PikaloGraphic Design: Matija MedvedVideo Documentation: Gregor GobecPhoto Documentation: Nada ŽgankTranslation and Editing: Urban Belina

Produced by: EmanatExecutive producer: Sabina PotočkiCoproduction: Plesni Teater LjubljanaSupported by: City Municipality of Ljubljana


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photo: Nada Žgank
REVIEWS“And the end, when performer in his mischievous clearing treats audience members as objects, is completely outlandish. When he opens the curtains, he opens together with the window also our heads to the broad object universe and turns us into small irrelevant things. In the ecosystems, humans are just one of many components and in some we are not even present at all.”
Review of Performance Thinging: Choreography Of Objects, Pia Brezavscek, Dnevnik, 26.10.2018


“(…) At HAU, for example, the rather promising artist Jan Rozman, staged a great moment of futility in the fight with water bottles, hoses and stagnant sentences in his performance ‘Thinging’.
Performing Arts Festival Von Pilzen und Pornos, Patrick Wildermann, Der Tagesspiegel, 05.06.2019

... AND MORE THINGS

Find out more about the notion of the thing and the context of the creation process in the essay On How To Let ‘It’ Be written in September 2018 by a dancer and dramaturge Julia Keren Turbahn. The essay is available here.

Or you can read more about things and questions of materiality in Jan’s artistic practice from an ecological perspective in an essay Questions of Ecological Artistic Practices: The Living Things, written in March 2017 in the frame of MA SODA at HZT Berlin. The essay is available here. 


background illustration: Matija Medved</description>
		
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		<title>Mean Meanings (2017)</title>
				
		<link>https://janrozman.link/Mean-Meanings-2017</link>

		<pubDate>Sat, 03 Oct 2020 09:02:16 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/Mean-Meanings-2017</guid>

		<description>MEAN
MEANINGS lecture performance, 2017 


Is what I say what you hear?Do you know what I mean?Where is the meaning?How can the meaning dance?


ABOUT
Mean Meanings is a lecture performance investigating performative situations through the perspective of language. It concerns itself with understanding the properties of language and the principles behind its functioning by examining the differences between word and movement languages and their influences on each other. As a result of a research semster this is an opportunity to open up the creative process, share the insights and the questions of the practice with the public.

Special attention is dedicated to the process of meaning (production). Strategies of meaning (de)con-struct-ion and trans(forma)-ti-on are tested with an aim to disrupt common language configurations and destabilize the perception of meaning.


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photos: MinusPlusForward


CREDITS
Collaborators: Julia Keren Turbahn and Michiyasu FurutaniLanguage Lab Mice: Simone Gisela Weber, Frederike DoffinMentors: Eva Mayer-Keller, Litó Walkey &#38;amp; Janez Janša


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		<title>Festival Performansa: Right Left (2019)</title>
				
		<link>https://janrozman.link/Festival-Performansa-Right-Left-2019</link>

		<pubDate>Fri, 02 Oct 2020 22:23:43 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/Festival-Performansa-Right-Left-2019</guid>

		<description> RIGHT LEFT

A traveling choreographic action, the marching performance Right Left (2019)&#38;nbsp;appropriates marching, one of the oldest types of organized military formations closely tied to the display of military and state power, transforming it into an artistic act. We are declaring the march to be a form of art and should be understood as such. Orderly marching&#38;nbsp; belongs in a gallery, along with other archefacts of imperial and colonial violence and abouse in personal relationships and politics.&#38;nbsp;Right Left against intimidation!&#38;nbsp;Right Left for demilitarization!


SEE VIDEO


The performance has two parts – in the first part the author of the project marches through the pedestrian zone of Ljubljana in a balaklava alone, ending the march in the Modern Gallery Ljubljana. On the next day he is joined by a group of masked marchers. They walk the same route together, heading for the Modern Gallery, where they line up. The performance ends with a hand over of the art work in progress to the Modern Gallery Ljubljana.


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ABOUT THE FESTIVAL
The Performance Festival is an artistic gesture that takes stereotypical, witch-hunting and negative attitudes towards modern art that emerge from the anonymous internet environment quite literally. Its starting point are ideas about the kind of performance that would earn the author social value (award), as articulated by anonymous commentators on the internet. We approached the ideas literally, without prior ironic distance, but rather with all the available artistic procedures and dimensions that can lead to the realization of what is written in the comments. 


CAST &#38;amp; CREWCreators &#38;amp; performers: The Miha Artnak, Katja Gorecan &#38;amp; Nika Svab, Rok Kravanja, Jan Rozman, Katarina Stegnar
Curators: Urska Brodar and Janez Janša
Technical support: Igor RemetaPublic relations: Urska Comino and Mladinsko TheatreExecutive producer: Tina DobnikProduction: The New Post Office (Maska + Mladinsko Theatre)


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photos: Miha Fras
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		<title>Anna Aristarkhova: Lust (2018)</title>
				
		<link>https://janrozman.link/Anna-Aristarkhova-Lust-2018</link>

		<pubDate>Sat, 03 Oct 2020 15:10:41 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/Anna-Aristarkhova-Lust-2018</guid>

		<description>Anna Aristarkhova:
LUST
ABOUT
LUST transforms the Sophiensæle into a mysterious garden where five performers - fluctuating between being humans, animals and mythical creatures - explore an attempt of achieving an individual as well as a collective experience of lust. Therefore they perform various repetitive rituals to come closer to this state. They are constantly looking for various pleasures, sometimes innocently and full of joy, sometimes driven by an impulse to possess each other and sometimes the feeling of pleasure is a purpose itself. From time to time the process of looking for lust becomes exhausting but they seem driven and after a short rest they renew their search. Their whole presence claims that lust is the most precious commodity but what exactly are they craving for?


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photos: Philipp Wenrich


www.aristarkhova.de


CREDITS
concept &#38;amp; choreography: Anna Aristarkhovaperformance &#38;amp; co-creation: Matthew Rogers, Lyllie Rouvière, Jan Rozman, Grete Šmitaite, Simone Weberdramaturgy: Isabel Gatzkestage design: Jonas Maria Drostelighting design: Annegret Schalkecostume: Malena Modéer

production management: M.I.C.A - Movement in Contemporary Artdocumentation: Philipp Weinrich

LUST is a production by Anna Aristarkhova. In co-production with Sophiensaele. Funded by the Senate Department for Culture and Europe. Media partner: taz.die tageszeitung


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	<item>
		<title>Yvon Chabrowski: We Have a Body (2019)</title>
				
		<link>https://janrozman.link/Yvon-Chabrowski-We-Have-a-Body-2019</link>

		<pubDate>Sat, 03 Oct 2020 09:20:21 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

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		<description>
	

Yvon Chabrowski:WE HAVE A BODY video sculpture, 2019
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Together with the five performers Renen Itzhaki, Jan Rozman, Kareth Schaffer, Martina Garbelli and Nasheeka Nedsreal visual artist Yvon Chabrowski restages postures and movement patterns collected from media images. In the performance concretely recognizable poses intertwine with new abstract moments. Recapitulating traditional gender roles and stripping them of their essential significance, Chabrowski creates a performative space for thought and action.

Shown in Uferstudios, Heizhaus, Uferstraße&#38;nbsp;23,&#38;nbsp;13347&#38;nbsp;Berlin in the frame of „AUSUFERN 2019 Transformationen“. Produced by Uferstudios GmbH/Programmreihe AUSUFERN, funded by the Berliner Senatsverwaltung für Kultur und Europa.


www.chabrowski.info


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		<title>Milan Tomásik: Hunting Season (2014)</title>
				
		<link>https://janrozman.link/Milan-Tomasik-Hunting-Season-2014</link>

		<pubDate>Sat, 03 Oct 2020 19:37:48 +0000</pubDate>

		<dc:creator>jan rozman</dc:creator>

		<guid isPermaLink="true">https://janrozman.link/Milan-Tomasik-Hunting-Season-2014</guid>

		<description>Milan Tomásik:
HUNTING SEASONdance performance in two acts without intermissions, 2014


ABOUT
"Inhale-exhale-freeze-action-reaction are the connective tissues of the performance The Hunting Season. Seemingly meditative signatures appear throughout the performance in various scenes with escalation, thickening and, above all, release of tension. Each hunting action demands concentration, attention, self-nullification, blending into the environment and listening to internal (bodily) and external impulses. All it takes to quickly release the tension, which triggers a swift act of catching. Thus, the principle of hunting is being internalized, outwards it serves the »clashing« among the dancers. That by all means gives an insight into the body structure, one’s perception of oneself, others and the group. It leads to a story that exceeds the psychology of an individual, of hunting, and of a group. It is not merely a story about (inter)relationships, about the catch if you like. It is the story about the world and mankind. It is a process showing us images of our insanity, egoism, vulnerability, moments of beauty. Here the performance with individual scenes relaxes and concentrates, it concretizes itself. Welcome home, in the world of tension, relaxation, catch and (non)sense. Also of humour, irony, competition and heartbreaking duets, solos. C’est la vie."&#38;nbsp;
JJR


CREDITS

Concept, choreography: Milan TomášikCo-created and performed by: Jan Rozman, Alessandro Sollima, Milan Tomášik, Tina Valentan, Špela Vodeb, Aja ZupanecMusic: Vladimír GodárLighting design: Luka CurkCostumes: Jasna VastlOutside eye: Suzana KoncutProduction: MTTour manager: Bram SmeyersPublic relation: Jedrt Jež FurlanCo-production:
 EN-KNAP (Slovenia), Ljubljana Dance Theater (Slovenia), 
NorrlandsOperans (Sweeden),&#38;nbsp; Stanica Žilina-Záriečie (Slovakia)Partners:
 Mediterranean Dance Centre Svetvinčenat (Croatia), The 
Old Power Station (Ljubljana, Slovenia), Španski Borci Cultural Centre 
(Slovenia)


www.milantomasik.com


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photos: Stanislav Dobak

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