Projects

The projects by Federacija inject information into your being and mix with your feelings, so you get exquisite experience of life and self.

When I walked down the street right in the middle of Ljubljana a bunch of people and performers stopped me and invited me to share with them what do I see it is going on on the photo they took just an hour ago.

Last summer. June 2012. In a museum. And there were these people that offered me audioguides. And their magic presence. It was formidable Permanent Exhibition of Nowness. Elusive. Tangible.

I enjoy observing how the whole being starts to vibrate as it plunges into the sea, explores the islands (ie physical states) and space between them. The whole our of the prograM 1.7 was permeates with serene state of the doer (ie Marjeta). In the planned break of the prograM (around 3/4 of the whole length of exploring the sea) Marjeta tells me she was exploring the event where she almost drowned for real in the real sea. 

Just do it. We decided before this set of practice to have in Not.All.Ways. seven times seven minutes chunks of work. Between two chucks of work we have 1 minutes break, where we can decide what to change, if anything. Today we decided to do just 7 x 7 minutes without intermission.

The ground tool is mistranslation. Immediately I started to mistranslate the today discovered tool of channel appeared and I used it. Well, the movements coming were building up a channel to mistranslation of today's work. Once consistent and stable enough to sustain the passage (by mistranslating the building of chanel), I entered the channel and continued with mistranslating the today's work.

1. Mistranslation as the ground activity.
2. Trace and channel.
3. Mistranslated clowning.
4. Conscious the movement speed.
5. Sense of direction on the body, and on the stage.
6. Finding the task.

At the first trial.

1.taking a look the space including Gregor.With "Tame" going into active air basically gregor and the music forming.
2.Mistranslation of Gregor first performance.Wherever to spread the body and its movement
3. Internalizing Gregor's and express by filtering mine.
3.5. Mistranslation of myself.
4.Mistranslation of the crowning toward the audience and Gregor.
5. Shifting the place, to which consciousness directs.Skin and spine.
6.Spreading imaginary body to the space - mistranslation of myself (from no.2)
7.To look at left overs in myself.To concentrate Gregor's radiation. To respond, to be influenced, add, trace,catch...

What more to say? Maybe some more photo :-) Or maybe some more text.

Today's discoveries up till now were two tools. Already first day of practice in Cankarjev dom we understood that main tool of work is mistranslation. And that ground objective of work would be mistranslating previous day's work. We decided to still work one by one, meaning that one does the action for about seven minutes and the next one mistranslates the work done before, and without technology (video, photo, compupters). We did though use music and sound.

We have started off with the key idea, concept, method of work, relation to each other: mistranslation. On the first day of practice we have mistranslated previous 3-4 minutes study of each other. What for me was one of the first realizations was the fact that mistranslation makes any power-giving element relative. The relativity of what is "right", "correct", "just", "true" becomes tangible. And the next step is to mistranslate what I have just written. Yes, anything can be and it is mistranslated. How come we are still on same page?

Putting things, suggestions, ideas, propositions on the table was a challenge and fun.

If I had, but then really?, a dream, I would let it out there and now and all would crumble to flow. 



I am surprised how many people were interested in the basic idea of the installation version. Which is?

Well in 3d identity seems like fragmentary and in more-then-3d dimensions the identity is an entity that appears to 3d people as fragmentary. This is what I would like to offer as an experience through the system of videoprojections and cameras. Well and how the identity is connected to documentation? Basically it has to do with the fact that identity Nelson Valmor for example is not generated, orchestrated or managed by one physical entity like usual, that is to say, to human being. I share this with Gregor that identity is cross-single-human-being.

It is perfect space for experimentation and research. It is within a complesx of workshop of www.imperfettolab.com where is also huge space as gallery and smaller galery. This part includes kitchen and toilet and some other spaces. So it is transitory space, where people must and like to come to satisfiy basic needs. It is a space of mingling and by-the-way chitchat that can result in great discussions and sharing.

As we were working with Marjeta here in Gambettola, we came about a nice finding concerning the performing and performance, as Marjeta took the break while performing. It came from talking about message of the performance. Gregor has told Marjeta she should always think of the message of the particular performance beofre she starts the performance. What message you want to transmit today through performance/event? Marjeta always had problems with that and had hard time articulating it and integrate it in her doings.

I'm writing this after i have written in Slovenian for the blog. I aknowledge I should make entries shorter in order to balance out the quantity (and quality) of what I write when I decide to write for English and Slovenian verison.

Anway, here we are in Italy. Marjeta and I decided to come earlier to the festival Hotel Limbo then planned. What a good decision. This way we flow with rhythm of Italians which is slower only because it uses another way to come to results then in Slovenia for example. Here the pleasure is part of life more then in Slovenia where it might be more considered as reward and less an integral part of coming to the result. Sure, it is not black and white situation and also my experience of living in Italy is somewhat limited.

It was interesting to change the role. This was my experiment in Transfer4 and 5. I became an Observer with a camera in my hand.

In transfer 5 the tools-words where thrown into the space: observe, perform, expect, contribute/non, accept, acknowledge include, transfer.

I was staring at Maja's face. She was also staring at me. I stared at her without prejudice. I felt from her, she did not intend to give me anything and did not intend to take from me something. I was moved by this communication. It would be first time to have it. I was about burst to cry. I could not explain well why I felt crying. I thought that dance allows to have such a communication. We can not start "dance" from the beginning, because "dance" would appear from some action. "Dance" would be a certain kind of situation and /or condition.

It was quite funny start of the session. Symptomatic for communication. Maja told she wont be able to make it, Gregor misread that Kaja can come, Tina got ill, and so I thought only Ryuzo and I will stay. We met Kaja at the cafe and later on Zana phoned to check if we are coming. 

Anyway we got ourselves working. And what a session with Žana, Kaja, Ryuzo and Gregor.

Today at the Transfer Session 3 I had a glimpse of possibility of Interscore. Interscore would be time between one and other score. Interscore has no time-limit or theme (expect the one given by its consitution which is intermission, something inbetween).

This time Tina, Maja, Ryuzo and Gregor were present.

Since Maja new to the happening of Transfer Sessions, we used this fact to start with the similar score like on Session 2 when Tina was new to the Transfer Layer.

The second session Martina joined Tina, Ryuzo and Gregor. We seized the opportunity of having new member that actually already took part in Ecollectiv in Maribor, that is Martina, so we could test how does transfer function in the light of the discoveries of the first session.

Before going again to scores, I want to stress that these scores are not described in the way they can be of not so much use. They need a bit more context or more tasks/instructions. I hope they can trigger some imagination to further develop the scores.

We decided recently to dedicate the ateliers in May and June to the preparation for the third layer of Ecollectiv: Transfer. This preparation includes the exploration of social features of the work we did on the project up till now (layer Relation and layer Zeal).

TIna, Ryuzo and Gregor extracted on the first day (23rd May) the main tool of Relation layer which is "to relate"; and main tool from work with Peter Rauch which is "to observe". Better then extracted I would say adjusted to present situation. The Transfer layer adds a new tool which is obviously "to transfer" or modes of transfer.

39 exercises to die for, 36th exercise: Last Will
a dance performance

The 36th exercise will take place at Ministry of Culture of Republic of Slovenia, Wednesday 20th April at 5pm.

39 exercises to die for, 35th exercise: Movie
a dance performance

They say we see the movie of our whole life unroll just before dying.

You are welcome to join us at practicing 35th exercise for dying Tuesday 19th April at 6pm at platform/square at Slovenian Ethnographic Museum, where we will rehearse the unrolling of our lifes' movie.

39 exercises to die for, 34th exercise: Future
a dance presentation

We continue with exercises countdown Monday 18th April at 6pm in Celje at the private house and garden at Travniska 2. The last 9 exercises are all done in collaboration. At hippodorme was a collaboration with Ryuzo Fukuhara, in Graz with two artist from Zweite Liga fuer kunst und kultur and at tennis court with Bostja Jakoncic.

Score1. Get lots of photos from newspaper toegther. Ask everyone to pick eight images to make plausible narrative out of them.

You are kindly invited to join us at weekend with 39 – 4 performances in two days (Sat 2nd April, Sun 3rd April) which means 4 exercises for dying. Two on Saturday and two on Sunday. From Hrastovlje to Lake Bukovnica along the Southern border of Slovenia. This will cost you only 75 EUR (travel, accomodation, meals). We will stay over at one of the magical areas of Slovenia: Bizeljsko at Istenič's. The Istenič Company that produces excellent sparkling wine. And we will surely drink some.

Tomorrow, Fri 25 Mar 2011 at 5pm Spa Park at Terme Dobrna
After tomorrow, Sat 26 Mar 2011 at 5pm Spa Complex at Terme Dobrna

»to farmakon« means in ancient greek:
1. remedy, magic medicine, potion, drug.
2. medicament, poison,
3. colour
4. unusual, strange substance

Thursday, 24th March, 2011 at 7pm you are kindly invited to join us at Muzikafe in Ptuj, where a group of musician gather regularly on Thursdays to play some sweet jazz. Their preparation for a gig will be used to perform 20th exercise of the project to measure the size of impact of the preparation on their playing.

39 exercises to die for, 19th exercise: feel the wind
a dance project

Monday, 21st March 2011 at 5pm at crossing of Jurckova and Peruzzijeva in Ljubljana, you can join Gregor at practicing 19th exercise out of 39 exercises for dying. This time the practice includes riding a bike along the Path of Remembrance and Comradeship.

39 exercises to die for, 18th exercise: stroll
an improvisational dance project

Sunday, 20th March 2011 at 5pm at Gregor Kamnikar's home (to be more precise in his bedroom), Partizanska 45, Škofja loka.

39 exercises to die for, 17th exercise: independence

Thursday, 17th March 2011 at 9pm at Sokolski dom in Novo mesto (Sokolska 3)

You are kindly invited to witness the presentation of the 17th exercise for dying. Gregor Kamnikar will present an exercise that helps us understand how to function independently of given circumstances of life and still be connected to them and use them for our activity.

This the video of premiere of A.Void. performance at Wakayama Modern Art Museum.

This video was taken in Yokohama Dance Collection EX in February 2011

This time my stage fright was not as big as the first time when we had workshop at Yokohama Ouyou High School. The school looked quite similar to the one in Ouyou. Interesting is why I expected the schools to look different.

Anyway the structure of workshop was actually the same, we just adjusted with Ryuzo few things to the fact that this is a theatre class rather then dance class.

The workshop turned up ok and functional for the needs of the girls, teacher and school. Both workshops sparkled ideas to develop and widen such collaboration. To me came the idea that actually we could develop similar thing in high schools with the project Ecollectiv. We could give workshops in couples in different schools the whole season through. This of course requires quite an organization and lobbying. Nonetheless it is an idea.

Major difference between Ouyou and Tsurumi high school workshop is that at Ouyou girls do this as extra curriculum and girls at Tsurumi do this course as obligatory curriculum. The atmosphere is accordingly different in that girls at Tsurumi were waiting for us to impress them and then they would be willing to collaborate more actively.

The surprise that was waiting for us was that a (female) ambassador of Slovenia her excellency Helena Drnovšek Zorko payed a visit to the high school to meet girls and us at the workshop. She expressed an admiration that a Japanese artist (ok to be correct an artist with Japanese citizenship) living in Slovenia and  Slovenian artist have a workshop at Japanese High School. This is quite a peculiar thing and sure I will meet with to find out more about Embassy's interest into such Slovenian endeavour.

Slowly a wish is growing in me to know the language. Ryuzo does excellent job in translating, but there are situations that require a personal approach. So I bought myself a book to learn some Japanese. Of course not for now to learn Japanese fluently, but for the next time since there will be next time for Japan.

Everything counts. That would be yesterdays sum-up for me. I enjoy the fluid and playful communication we have with Ryuzo. That is an important corner stone of the work we do, ie A.Void. To say the least, I feel weird in this project. We did it three times (Wakayama once, Yokohama twice). Describe weird, Gregor. I enjoy performing it and I enjoy performing it with Ryuzo. I reckon tasks we have given to ourselves. And I do go into practice mode.

Why should one write about what happened? Especially of the event that roots in practice? And it takes performance as a one way to practice dance. So better write about practice. Practice of what? Practice of dance. Practice is not an opposite of theorizing. In includes theorizing. This way it enables one to practice also theory, their supposed complimentation and opposition.

Improvisation is exploration came to me in the workshop we had in Yokohama Ouyou High School and you can read about it more here.

I find term improvisation more and more important to work on since its amazing aura. More you are involved into what is improvisation, less you want to use the term. I find that extremely good way to keep improvisation or any term alive. To have in its usage already a paradoxical, controversial elements. It always propels me to define it for me in the moment, it shoots me right into the heart of the improvisation which is still unfathomable, and best articulated by doing.

Improvisation is exploration came to me in the workshop we had in Yokohama Ouyou High School and you can read about it more here.

I had quite stage fright while preparing the workshop for Yokohama Ouyou High School with Ryuzo yesterday. And as I entered the room, it was gone. I was present. And off we went.

There were 12 girls aged 16 to 18 part of theatre and dance club that mostly work on their own in style of hip-hop.

So we are in Yokohama. I just learned a new thing about blogging: not to write text online. I just deleted the whole thing. I am sure it is still somewhere in the comp, but alas I have no approach to it.

The fervour of previous writing is gone, so here I go anew.

world premiere of the performance
by Ryuzo Fukuhara and Gregor Kamnikar

February 3rd 2011 at 2pm
Wakayama Modern Art Museum, Wakayama, Japan

Conceived, choreographed, performed and produced by Ryuzo Fukuhara and Gregor Kamnikar
Accompanied by Samuel Beckett’s text “Worstward Ho” in mistranslation
Coproduction: NPO Wakayama Arts and Culture Support Society (Japan), Federacija (Slovenia)

The moment of Leja’s and Jurij’s antidote the other day was an amazing expeience to me. It felt like the space moved them. Something like a bubbling sensation creaped from underneath them and lifted/moved/disturbed their bodies. And when it happened it almost seamed as if I felt it arriving.

At the Martinc Farm a dozen of people gathered. Together with dogs, cows and other smaller creatures. Like spider and plentiful of bacteria.

I have started rehearsal for “Duhec med ljudmi”(2,3 Nov) at Premik with Nina, Katja, Tea, Tina, and Gregor.
I would like to call this work for “Duhec” – “The movement editing” instead of “choregraphy” in general.

Gilles and Felix told me they wrote the book that forms a rhizome with the world. That there is an aparallel evolution of the book and the world. That the book assures the deterritorialization of the world, but the world effects a reterritorialization of the book, which in turn deterritorializes itself in the world (if it is capable, if it can).

We gave ourselves a task to report, what really happened in the Odnos-Celje project, a 4-day work that we made, both in Ljubljana and in Celje. What happened in Ljubljana?

Jaka told me that word “no” is somewhat attractive.

In Celje (Plesni Forum Celje) we were joined by young dancers (age 10 to 15) on our invitation. We introduced briefly the context of the project, the aim of this project and this particular session. This was third day of work for core members. We decided to research the list of tools for improvosation, this time of course with youngsters. Each impro lasted 3min and last one 6min. One of us introduced the word, everyone decided weather they will be observing or dancing. At the last impro we suggested that you can go from dancing to observing while the impro. After each impro there was short feedback.

This day we activated the role of observer while continuing the work from yesterday. It turned out that at this point observer is observer the whole span of improvisation. First with each improvisation another person of the group was observer. Later Jurij arrived and enjoyed the role of observer.

Gregor told me to tell this is another recording of what Ryuzo wrote here

Actually it was the first day of the 5th session of Odnos.
However, this blog post started from last day discussion.
So, it is the second day.

This is a training to summarize the other’s talking. I have no implicit meaning under this title of post. Actually it is even not be the summarization so much I am writing below. It is merely some fragments of their talking from my bad memory. I am confronting how difficult to remember the other’s talking. Actually “Maja told us” is right. However, I would like to personalize this text more, that’s why I chose such a title.

To write about weakness is much more difficult than to write about “strong”.

Is it because weakness is that which should be gotten over?
Or does my intention inclines toward being strong?

Just got the news that we will be performing M 25th 26th and 27th Sep in Stara mestna elektrarna in Ljubljana. Great! The same day I get the sensation and idea that M can be expanded to more people on stage in newer versions of M2.

Last time, I posted some words as the tools. Actually it is tricky. Because I interpreted my sensation and action in the improvisations into those words. But not opposite. My sensation and action are stimulated by the condition, the environment and the situation, not by the words. I do not want to be conscious those tools/words as a purpose of the improvisation. I let the origin of the sensation and action as transcendent.

In this text, I define the word “strategy”, “how to keep the group improvisation”.
I am listing up the tools for the improvisation.
However, not all the tools fully support the strategy.
I hope you can add more in this list.
Here we go.

http://bit.ly/hpSSvd A kind of slogan of this year for me.

Pushing the air by parts of the body, which are likely to be forgotten in the daily life. These pushing movements are able to activate the sense of your skin. The interaction between people by these pushing movements forms a membrane, which can be recognized as a border of the active territory of your body and sense. In other word, this action activates the inert air surrounding your body.

Maja offered us today a new universe to work with. Though Andreja has already clearly proposed the exploration between words and movement, the fact that Maja comes from another field then dance, has coloured her propositions differently. I discovered what i called laziness in my naming of things.

Some thoughts from Meta Hočevar on space (i hope i can translate them well).

After some consideration of today’s Atelier i discovered I could summerize my aspirations in performance, improvisation, exploration, research in the following. Basically my question is: is it possible and how it is possible to work through inclusion. A lots of methodology in arts follows the exclusion principle.

Somehow I am drawn to not reporting about today’s event that took place as part of “Atelje 2″. Not that I don’t want to. Something similar happened to me while we were there (ain’t it so Andreja , doing the task. The task / suggestion given to us (Andreja, Ryuzo, Snježana and Gregor) by Snježana.

During the atelier, I had an intention to feel an origin of the movement in the body of Andreja.It seemed like “a spark” in the body. I somehow could feel the spark in her, and the same time, I noticed that a border of the recognition that distinguishes her movement and my movement was getting ambiguous. It was becoming blur, when I was focusing on these sparks. This was a kind of ecstatic sensation, but a difference from sexual one is that that ecstatic sensation has multi-directions into the body.

I am using the ability of hearing to figure the space, where I am moving without site. I have a sphere around me like a transparent egg shell, it reminds of me a figure in a triptych paints of Hieronymus Bosch. I try to dissolve that shell to others shell by giving a specific vibration on the shell of mine.

slo / eng