Oct 10
Funda Özokçu: In Rising, your body becomes a vehicle, a locus for distinct aesthetic approaches and choreographic processes. Joining forces with three well-known contemporary choreographers, what questions are you exploring with this work? What did they demand of you and what did you demand of them? How was the process of working? Read more
an inteview with the artist by Aydın Silier and Gurur Ertem
Gurur Ertem: Your projects, along with those you’ve realized with Rimini Protokoll, could be considered as ventures into ‘histories of the present’, and as ‘sociology of everyday life’. Read more
Interview with Stefan Kaegi (director) by Ayşe Draz
Anna and Gurur’s e-nterview…
What made you interested in “climate change” as a departure point of your work?
Really my interest in the topic came from several different and almost unconnected starting points: Firstly I was interested in the format of the monologue and thinking about what this format could possibly be today. Read more
What is the story behind your interest in puppets? What kind of training did you receive?
I became interested in puppet after my stay in Bali, Indonesia, when I studied masked dance and shadow puppetry. In 1993 Martina Winkel and I founded a visual theatre company in Vienna called “Theatre without Boundaries”, which specialised on puppetry for adults. Read more
Nese Ceren Tosun
“Participatory” became the new catch qualification for most of today’s artistic productions. Be it a contemporary art piece or a performance, the audience –or the public is imagined and situated more and more as the co-maker of the work. Though the ultimate credits of authorship remain with the artists, the work is actualized with the active involvement of those who would conventionally come ‘to watch’ the piece. In such instances, hospitable acts are exchanged at varying degrees between the artist and participants, exposing both parties to different levels of risk and work. Read more
Nese Ceren Tosun
Inhabitant by Sello Pesa and Vaughn Sadie is a moving example of how hospitality can be a political act through the means of performative framing. The artists use the space of Dolapdere and its inhabitants as the object of their aesthetic-bodily and social research. The space, during the performance, becomes the site of a confused and shared guilt of spectatorship while at the same time involving everyone in the act of care for each other: the drivers who might get distracted, the performers rolling in the middle of the street, the kids who might take the performers as examples for courageous yet fatale acts all become concerns one feels the need “to do something about”. Read more
iDANS Blog 