AKC Medika, Pierottijeva 11, Zagreb, online
Nov 24th - 29th 2020
FAKI — Festival of Alternative Theatrical Expression, is, in its 23rd edition dedicated to the topic of social, political, personal, situational and artistic control.
Every year FAKI turns to a festival topic which could direct us onto dissecting the deeply rooted, rotten, mutating, narrow minded, conservative socio-political problems. Far before the COVID-19 health crisis, 23rd FAKI focused towards the subject of CONTROL – at the level of our society, inside our political boundaries, spanning our institutions, our collectives, building our paradigms, and finally gaining control over our methods of organizing diverse performance ecosystems. In 2020 we wanted to offer our alternative performance art festival stage at AKC Medika – to contemporary performance projects methodologically and emancipatory deviating from previously established standards or even fixed control over own results; e.g. artistic LARP practices, relational performance, guerilla theatre, instant composition, improvisational theatre, … Yet we lost our grip when an M5.5 earthquake hit our city and our venue, after which we haven’t managed to secure our own control over safe work conditions as of yet. In this ironic thematic twist, and enclosed by our shared world-wide crisis - we decided to install an online festival, to span the multiple temporary or permanent disasters which denied many of us of any control over our lives, love and safety.
23rd FAKI is open to participation of any and all artists via its open repo online call. Our program hosts and documents individuals and groups creating critical and reflexive performance art, realtional projects and participative concepts thematizing the problems imposed on by control, via a format of classical drama as well as post-dramatic, dance and artist performances and open workshops.
Thank you for being and bearing with us!
Festival of Alternative Theatrical Expression – FAKI is an international gathering of artist and theatrical groups that operate outside institutionalized commercial theatres and demonstrate a high artistic reach while encouraging young performers to create the most distinctive expressions. This very general conception practically means that FAKI is a festival of alternative theatre, street theatre, performance, off- and low-budget theatre. FAKI is a central place for an overview of innovative, critical and independent, international theatre and performance scenes, maintained by traveling artists and groups whose research on original, experimental and research models of art expression generates universal existential spectacles and performances. By its yearly thematic open calls FAKI aims to fuse artistic practices with socially relevant topics to co-create a public dialogue.
Between every performance there is an artist Q&A.
Nov 24th (Tuesday)
11:00 (ONLINE) – Yasen Vasilev (BG): NUTRICULA (60’) [workshop; 1/3]
19:00 (Film Studio, AKC Medika) — Robert Franciszty (HR): Antikorona hepening ili “Ako ne mogu plesati, ne želim biti dio vaše revolucije” (60’)
21:00 (ONLINE) – Hugo Baranger (FR): Les mots de recours (~10’)
22:00 (ONLINE) – Manuel Pessoa de Lima (BR/DE): Red Light Piano (~30-60’)
Nov 25th (Wednesday)
11:00 (ONLINE) – Yasen Vasilev (BG): NUTRICULA (60’) [workshop; 2/3]
21:00 (ONLINE) – LA TURBA (ES): Attached To My Flag (40’)
22:15 (ONLINE) – Iria (DE): Tortura Blanca (8’)
23:00 (ONLINE) – Teatr A Part (PL): Bonds (38’)
Nov 26th (Thursday)
11:00 (ONLINE) – Yasen Vasilev (BG): NUTRICULA (60’) [workshop; 3/3]
21:00 (ONLINE) – Marco Nektan (RS): Holy Martyr (45’)
22:15 (ONLINE) – Nebojša Vuković (HR/DE): Static simultaneity (1’)
23:00 (ONLINE) – Robert B. Lisek and Fundamental Research Lab (PL/HU): UNRENDERED JUNCTION (14’)
Nov 27th (Friday)
12:00 (ONLINE) – Marco Nektan (RS): Resonating dance (60’) [workshop]
21:00 (ONLINE) – Anja Ostojić (HR): Dijete od pijeska (60’)
22:30 (ONLINE) – Marje Hirvonen Choreography (DE): HANGXIETY (56’)
Nov 28th (Saturday)
12:00 (ONLINE) – Carlota Berzal (ES): LA BELLEZA EN LO DEFORME (BEAUTY IN DEFORMITY) (60’) [workshop]
21:00 (ONLINE) – Dora Popić i Mišo Komenda (HR): Sound & body (30’)
22:00 (ONLINE) – Bradipoteatar (SM): Drop (40’)
23:00 (ONLINE) – Manuel Pessoa de Lima (BR/DE) : Red Light Piano (~30-60’)
Nov 29th (Sunday)
19:00 (Film Studio, AKC Medika) — Želimir Schauer (HR): In progress (40’)
21:00 (ONLINE) – Paolo Avataneo (IT): " ! " (62’)
22:30 (ONLINE) – FAKI WORKSHOPS PRESENTATIONS (60’)
23:30 (ONLINE) – Manuel Pessoa de Lima (BR/DE) : Red Light Piano (~30-60’)
The online FAKI 23 facilitates open and free workshops, available to both artists and our audience, running every day around 12:00 noon CET. The sessions are available via application only, and would have a short WiP presentation towards the end of the festival. Please note the workshops are available both to performers and those without prior dance or performance training, but they might not be suitable for children.
To actively participate, you need to be available for an audible video conference during the scheduled time.
There is no admission/participation fee but pre-registration is required!
For any questions, please contact firstname.lastname@example.org
Yasen Vasilev (BG): NUTRICULA (3*60’)
ONLINE: Nov 24th (Tuesday), Nov 25th (Wednesday), Nov 26th (Thursday) // 11:00 CET
FOR WHOM: Both professional and non-professional actors, dancers and performers interested to go through a 3-day online introduction workshop of the working method and potentially make their own versions of the work.
WORKSHOP PARTICIPATION IS APPLICATION ONLY! REGISTER VIA: bit.ly/FAKI23-NUTRICULA
NUTRICULA is a growing archive which invites performers from different backgrounds to activate a structure for a physical solo. The work intends to bring performers to a specific state-of-mind by inviting them to follow simple rules – 1. explore the different body parts as objects separate from their function 2. test their limits.
Initially a collaboration with Kwame Boafo, a Ghanaian performance artist, the collaboration faced obstacles because of visa and passport issues in both China and EU.
More here: youtu.be/S3MqWQMEEYE
The continuation of the work with various performers in different contexts is to a large extent a reaction to the political and economic conditions artists face today.
More here: www.ednetwork.eu/activities/art-practice-in-times-of-uncertainty What interests me in the re-production of this work is the tension between global and local within the performer's body, the way the socio-political background and the biography inform the work, and the way the performer claims space within the strict concept. The resulting archive is a rejection of the capitalist imperative of constant production of new material instead replaced by recycling of the same form in a variety of versions, shaped by the identity of each collaborator. In the process we are uncovering how a global economic system shapes the way we live, produce and reproduce and how we react to it on a local level, limited by our own bodies.
Day 1 introduces a series of simple short exercises borrowed from different methods and the philosophy and theory behind the work.
Day 2 and Day 3 go step by step through the dramaturgy of the physical solo and offer space for each participant to propose new elements.
Readings/videos: Deleuze, Postscript on the societies of control cidadeinseguranca.files.wordpress.com/2012/02/deleuze_control.pdf>, youtu.be/6xb6mk7a_Kg
Marten Spangberg, Post-dance spangbergianism.wordpress.com/2017/04/09/post-dance-an-advocacy, vimeo.com/151532717
YASEN VASILEV – I work with text and performance and my practice is currently split in three: artistic research, critical writing and programming. Since 2018 I have been a regular contributor for Springback magazine, covering dance across Europe and reflecting on the working conditions of contemporary artists in a time of austerity. Since 2019 I'm co-artistic director of Small Season festival at Theatre Laboratory Sfumato, a 20-year old, 10-day summer festival that serves as an observatory of the local scene and that goes entirely non-profit. I am responsible for international programming, bringing artists with performances, workshops and lectures. In 2019 I also co-founded Radar Sofia, the first residency for playwrights and dramaturges, with a special focus on artists at risk, facing political persecution. As part of the local efforts of Radar Sofia, we established Drama Pact, a collective of writers and thinkers who get together to share resources instead of competing for them. My own artistic work deals with the connection between writing and the body, in the form of performances in visual art and theatre contexts, as well as a series of workshops that serve as an introduction to my working method. This work is always informed by the socio-political biographies of my collaborators as I explore the way we respond on a local level, limited by our own bodies, to a global economic system that shapes the way we live, produce and re-produce. My current interest is in working with large groups of people in order to create performative strategies for assembly and resistance.
Marco Nektan (RS): Resonating dance (60’)
ONLINE: Nov 27th (Friday) // 12:00 CET
WORKSHOP PARTICIPATION IS APPLICATION ONLY! REGISTER VIA: bit.ly/FAKI23-RESONATING-DANCE
A workshop based on Butoh dance.
We often use the term improvisation for free dancing, but in that improvisation, we very often use movements already known. Body resonance is a technique in which we improvise by exploring new movements, original and unique, from the depths of our subconscious. Through meditation, breathing techniques, presence exercises as a crucial factor in the art of performance, we enter the depths of the unconscious and dance with archetypes that teach us new and hidden dance techniques.
MARCO NEKTAN – The leader of the workshop, an international artist, currently based in Belgrade, Serbia; a performance artist, butoh dancer, choreographer and teacher. Marco has been involved in butoh dance for 15 years and has created over 300 original performances. He is considered a significant butoh artist outside of Japan; in March 2020, the Japanese Dance Archive published one of his works in the monograph "Something called Butoh". Due to the pandemic, he was forced to carry out his activities online, so he created Butoh correspondence training, the first of its kind in the world.
Carlota Berzal (ES): LA BELLEZA EN LO DEFORME (BEAUTY IN DEFORMITY) (60’)
ONLINE: Nov 28th (Saturday) // 12:00 CET
FOR WHOM: People without prior training in the artistic field with an interest in body work, as well as people from performing arts.
WORKSHOP PARTICIPATION IS APPLICATION ONLY! REGISTER VIA: bit.ly/FAKI23-BEAUTY-IN-DEFORMITY
Beauty is between vibrations, twisting and shaking.
Admire the purity of each expression and forget jumps with height, balance and harmony. In chaos and irrational resides the grace of movement.
The perfectly imperfect.
The rationally irrational.
This workshop is focused on the development of the expressive movement through creativity. To find the beauty of deformity in each one, we will constantly dialogue with the movement and the word. Tools such as repetition or body disarticulation to abandon the rational in a search for the instinctive. An incorrectly true body that distills life in each of its pores.
CARLOTA BERZAL – A stage artist, producer and Graduate in Dramatic Arts with specialization in Textual Interpretation. Her search revolves around the mixture between dance, theater and performance with a special emphasis on a constant language around the body and its possibilities, the limits between reality and fiction and the satirical. In 2014 she creates La Turba Company, with plays such as Filipo (Finalist Desencaja Contest 2015 Spain, Independent Theater Meeting La Plata 2017), Todo lo que no soy (Festival FAKI 2015 Croatia, Festival LOFT 2016 Chile, Festival Eccentric 2016 Argentina, Festival DELBORDE Flores 2018 Argentina, Festival Culture Minimum 2020 Seville), Ofelia Vegetariana (FAUNA 2017 Argentina, Festival Escénika Concepción 2018 Chile, Festival New Trends Mendoza 2018 Argentina, Festival Clasicoff 2019 Madrid, Festival International Theater, Circus and Dance 2020 Ciudad Real). carlotaberzal.es
You somehow missed to participate in this year’s FAKI, but still would love us to show your performance work documentation? Send us a high-res video of your performance and a short about+bio to: email@example.com attaching a proposal in which empty festival time slot you’d love us to show it. We will include your work in our online program and keep it in our open archive.
#stay_well #stay_home #stay_safe #stay_faki <3
This year’s FAKI is maintaining an open stage for discussions thematically complementing performances, groups and the festival topic of “CONTROL”, moderated by FAKI resident critics Jana Perković (DK/AU/HR) and Richard Pettifer (AU/DE).
Following every performance, there is a 30-minute Artist Talk, to extend our understanding of each performer’s practice and meet the artists. Please feel free to prepare questions - we might answer them!
JANA PERKOVIĆ - a widely published theatre and dance critic (The Guardian, Blouin Artinfo, The Age, Goethe Institut’s Tanzconnexions, RealTime, The Lifted Brow, Exeunt Magazine, The Conversation), specialising in the intersections between human movement and physical space. She has worked as a dramaturg in both dance and text-based theatre, including being the Literary Manager for MKA Theatre of New Writing (2012-2015), and in an advisory role with Malthouse Theatre, Playwriting Australia, Dancehouse Melbourne, and Green Room Awards. In 2014, she founded Audiostage, a podcast of in-depth conversations with performing artists. Before that, Jana wrote the influential theatre blog Guerrilla Semiotics (2005-2018). With Andrew Fuhrmann, she is currently preparing a book on the Melbourne independent performing arts scene in the period of 2005-2015. She lectures and researches both at the Theatre Department at the Victorian College of the Arts and in the Faculty of Architecture, Building and Planning at the University of Melbourne.
RICHARD PETTIFER – a director, critic and theorist based in Berlin. He is part of the collective Atelierhaus Australiasche Botschaft OST, which is housed in the former Australian Embassy in East Berlin. He writes criticism on his critical writing platform Theaterstück, as well as for publications such as ArTerritory (LAT), Samizdat (ROM), Sirp (EST) and occasionally in academia. The last 4 years he was writing criticism.
Robert Franciszty (HR): Anticorona happening or "If I can't dance, I don't want to be a part of your revolution" (60’)
FILM STUDIO, AKC MEDIKA: Nov 24th (Tuesday) // 19:00 CET
APPLY TO PERFORM * To participate in the performance as a dancer, please contact us by monday November 23rd via: firstname.lastname@example.org. The happening will be held in compliance with all epidemiological measures, and the number of participants is limited.
FREE ENTRY * Due to current health&safety regulations on physical distancing – participation is limited by the studio size, and the audience may be split in small groups to be able to enter the performance space temporarily. To ensure safety of all – everyone is obliged to bring and wear their own face masks without exception. If you feel ill prior to visiting, please #stay_home, #stay_kind and #stay_well.
By music and therapeutic dance, Anticorona happening ("Ako ne mogu plesati, ne želim biti dio vaše revolucije") seeks to neutralize a part of the negative energy that surrounds us. It's known that a positive change in the environment, in the humanistic manner of a Tea Party at the Mad Hatter's, can significantly contribute to quality of life. Finally, the Anticorona happening calls for a joint dance therapeutic relaxation in the dystopian state and the world.
Author Robert Franciszty calls for your voluntary participation in the free dance movements dance happening. Please announce your participation by e-mail by Monday, November 23rd, via: email@example.com
ROBERT FRANCISZTY – (Zagreb, 1969) has been engaged in poetry, painting, photography, performance since 1986. In his animalistic works, performances and actions he focuses on animal rights, nature protection, urban ecology, ecofeminism and ecoanarchism. He is an active member of the non-profit NGO Animal Friends (Croatia).
Želimir Schauer (HR): In progress (40’)
FILM STUDIO, AKC MEDIKA: Nov 29th (Sunday) // 19:00 CET
RESERVATIONS NECESSARY * To be a part of the performance audience, it’s obligatory to apply via email: firstname.lastname@example.org
LIMITED ENTRY * Due to current health & safety regulations on physical distancing – participation is limited by the studio size, and the audience may be split in small groups to be able to enter the performance space temporarily. To ensure safety of all – everyone is obliged to bring and wear their own face masks without exception. If you feel ill prior to visiting, please #stay_home, #stay_kind and #stay_well.
In progress is an antidrama toying with theatrical conventions in order to create a unique atmosphere and put the actors in the immediate attention of the audience. This play deals with existential questions of both the characters and the actors themselves, stripping naked (sometimes literally) in front of the audience in order to try to raise awareness of the actors' position in the theater system and the theater as such. The play features 2 characters, lost souls trying to succeed as people and as actors. Along the way, they encounter many obstacles and deal with them by experimenting in the hope of finding a way out of the madness called life. Reality and theater intertwine to such an extent that the audience does not know what is actually happening to the characters and what is happening to the people who play those characters.
The play is not suitable for children because of certain scenes of nudity and mild violence.
ŽELIMIR SCHAUER – born in 1990 in Zagreb, is an independent artist working in the field of theater, film and music. Since 2008 he has been acting, writing, producing, directing, recording and playing music. His work includes performing in theaters with various acting groups, writing screenplays, making experimental films and creating experimental music, both solo and in several ensembles.
ANA TAKAČ – is a Croatian theatre, film and television actress, known for "Pravo čudo" (2007), "Ljubav u ofsajdu" (2005) and "Čista ljubav" (2017).
Hugo Baranger (FR): Les mots de recours (~10’)
Nov 24th (Tuesday) // 21:00 CET
// As artistic mobility and in situ work was/is impossible, the work was adapted to the online format of FAKI, and is currently an open Work in Progress.
Relational and participatory, this sound piece would allow the public to interact with text (dialogues, sentences) within an evolving sound environment, through any digital device connected to WIFI (smartphones, tablets).
Les mots de recours is a WiP, documentation of the WIFI devices (smartphones, tablets) in the artist’s near surroundings. To achieve this, the artist designed Sniffy - a digital instrument that composes polyphonies in real time from WIFI signals. It gives a unique sound identity to each phone, tablet or computer connected to WIFI in a nearby radius.
Some devices connected to WIFI came into a dialogue with each other, like characters in a play. Another part of the devices produce the sound environment that evolves during the performance: changes in sounds, scales, moods (suspense, calm, joy, nostalgia, etc.). The composition plays with the poetic potentialities generated by the random reading of sentences, verses, words. The writing of this textual base was inspired by several alchemical works (The Emerald Tablet, Atalanta Fugens).
The work (after its completion) will approach the notion of digital spirituality, sharing, doing together (in concert) between humans and digital entities.
HUGO BARANGER – Born in 1992 in Niort (France), I grew up in the heart of « Green Venice », in the Marais Poitevin. Its colors, the mist of winter and its varied landscapes where you can get lost without meeting human beings founded my iconography. Having been diagnosed late with poor vision combined with a strong astigmatism and hyperopia, at the age of 5 years, my eyes were forged by the blurring, vibration and focusing issues. My practice is a non-verbal, intimate language, shown through painting and given to hear by music. By a common vocabulary (tone, harmony, resonance, vibration, composition) I build spaces and times of relationships. These relationships can be a sharing of an experience, a memory, a feeling, a reflection, a look at the world, a dream. The notions of blurring and perception play (auditory and visual) are central elements of my work.
Through this language, I search (spiritual and formal) for understanding the world, like an alchemist apprentice.
Manuel Pessoa de Lima (BR/DE) : Red Light Piano (~30-60’ * 3)
ONLINE: Nov 24th (Tuesday) // 22:00 CET
// As artistic mobility and in situ work was/is impossible, the work was adapted to the online format of FAKI, and is currently an open-ended Work in Progress which will be created in real time during the festival.
For a number of days I live in a public space with a piano, a bed and some red light bulbs. I rest on the bed and I play the piano. I can also sleep in the performance space (or go to another place to sleep at night). I install a profile in a hookup apps stating: "I am a pianist, looking for someone to perform for, in exchange for your audio messages about open relationships, which I will broadcast during my performance." I remain in the performance space, collecting the audio messages and playing them back through the speakers, while I play a sort of "lounge piano" for extended periods of time. The performance carries a slight irony upon the commodification of love, as the pianist resembles a "hotel lobby pianist", at the same time opening for a dialogue about less-conventional relationships and the problems it encompasses. This is not an endurance performance, it's just a way of crossing art and life. (...)
MANUEL PESSOA DE LIMA – a Brazilian performer-composer. Works with the color red, is interested in the theme of failure and creates site-specific performances with confessional elements.
Currently based in Berlin, develops solo performances with speech, sound, video and red light. Themes in his work often include creating irony around the notion of high culture, destabilizing the traditional concert setting. Exploring failure is a theme of great interest developed in his most recent solo "The Failed Pianist", featured at the Send-Receive Festival (Canada) and at the Schloss Solitude Summerfest (Germany).
Lima has a digital release through Cafe Oto with his work 36 English to Portuguese Lessons, and his latest album Realejo (Organ, whistles and electronics) was released by Black Truffle in January 2020. Featured at the Tectonics Festival 2020 with The Red Light Piano. Holds a doctoral degree in the Performer-Composer program by CalArts (California Institute of the Arts) and has performed his solo work in Antwerp, Berlin, Brussels, Melbourne, London, Los Angeles, Tel-Aviv, Stuttgart, Winnipeg and São Paulo. Awarded by Vitae Foundation and by the São Paulo Culture Secretary of State. Has composed for cinema, contemporary dance, theater and television.
LA TURBA (ES): Attached To My Flag (40’)
Iria (DE): Tortura Blanca (8’)
ONLINE: Nov 25th (Wednesday) // 22:15 CET
The word "torture" often makes us think of Middle Age practices or punishment methods used in far-away countries. The truth is, however, we don't have to go that far to face it. The term "white torture" refers to those methods of torture whose signs are more difficult to detect but also cause psychological and physical damage to those who suffer from them. And its aim, as well as any other torture practice, is not just to punish, but also to teach the one suffering it a lesson: do as you're told to. Mass control through fear and pain.
It's not a secret that both psychologists and physicians have helped the prison system to develop strategies in order to domesticate the prisoners who don't follow their rules. By breaking their personalities and depriving them of themselves it's easier to gain control. One of these strategies is solitary confinement. Few people would mention it if they were asked to make a list of methods of torture, but isn't it torture to force a person to be completely isolated for 22 hours a day, not allowing him to talk to anyone, exposing him to police impunity? Isn't it torture to force someone to gradually and irreversibly lose her sight, to develop depression or anxiety or even commit suicide by forcing her to live in these conditions?
Tortura Blanca, deals with solitary confinement in prison. Through the testimonies of both prisoners and psychologists and turning the silks into an isolation cell, I try to make the audience aware of the living conditions of those people who end up neglected in a hole in an attempt of the system to get total control over them.
IRIA – After finishing my studies and kind of tired of sitting on the couch, I started training aerial acrobatics in 2011. At the beginning it was just for fun, but it turned out to be the starting point of much more than I expected.
After two summers on the road with the group Zirkrobajka, with whom I developed street as well as fire shows combining acrobatics and juggling, I decided to jump in the deep end and start developing solos on the aerials, focusing on rather subversive topics. The result of this decision was Mordaza (Gag), a show in which I talk about repression in Spain and which I performed in Germany, Spain, Ukraine, Slovenia and Mexico.
After that came Tortura Blanca, which is actually quite new.
I'm one of those aerialists who find typical aerial shows with pretty, slim girls or topless strong guys doing one trick after another terribly boring. The way I see it, art is much more than beauty: it can be a weapon. Let's use it.
Teatr A Part (PL): Bonds (38’)
“Bonds” is a wordless solo show by Marlena Niestrój, combination of theater, dance and performance art motifs with bondage aesthetics. The performance is a personal reflection on life entanglements and forces involved: existential and social as well as an unique strength of an individual experience – of empiricism, which tore every human life. The “Bonds” viewers together with the protagonist of the story take part in a metaphorical initiation journey. During the journey, as in life, extremes – seemingly opposing forces: pleasure and suffering, freedom and shackles, vitality and memento of death complement each other, and, literally, intertwine and entangle.
TEATR A PART – an independent visual and physical theatre company, formed and led by director Marcin Herich. Teatr A Part realizes its author’s spectacles, created by method of visual narration. In the area of essence, spectacles of A Part enter deep into human instincts, emotions and secrets of existence, into things that are imponderable.
Teatr A Part was established in Katowice in 2004, where it creates its art until the present day. The company’s performances were presented in 28 countries on five continents (Belarus, Brazil, Croatia, Czech Republic, Denmark, Dominican Republic, Egypt, France, Germany, Great Britain, Hungary, Italy, Montenegro, Netherlands, Poland, Romania, Russia, San Marino, Serbia, Slovakia, South Korea, Spain, Turkey, Lithuania, Iran, Ireland, Israel and USA).
Teatr A Part is also producer and organizer of International Performing Arts Festival A Part – annual event of experimental and innovative performing arts.
Marco Nektan (RS): Holy Martyr (45’)
ONLINE: Nov 26th (Thursday) // 21:00 CET
A Butoh performance - semi-choreographed, adapted to the space, time and the audience that accompanies it. Nihilism. Creation comes in a moment, inexplicably, for no reason. This performance deals with the essence of nothingness that is the mother of creation. To create we must empty ourselves, kill the ego, and allow creation to emerge from the sea of emptiness, led by examples of holy martyrs from various spiritual practices. A field of terrifying terror on a journey through the dark depths of the abyss, each martyr is rewarded in the end. And what if there is no end, but we are stuck in a whirlwind of constant terror? A great nothing at the beginning and the end. Holy Martyr represents an emanation of that creative nothingness, a grotesque journey, without condemnation, without judgement, resonating with emotion and the situation as is.
MARCO NEKTAN – Performance artist, contemporary dancer, Butoh dancer / choreographer / teacher. In his fifteen-year career, he has created over 300 works in Serbia and Europe. He is currently completing a master's degree in Creative Productions. He learned Butoh as his most important media of work - from the great masters of which the most prominent are Yoshito Ohno, Charlotte Ikeda, Ko Moribushi, Julie Becton, Tebby W.T. Ramasike, Ken Mai ... He started his career in the Belgrade performance group "Corpus Artisticum" under the mentorship of Gabriel Hammond Savić Ra in V.I.P. Art gallery, SKC. In 2018, the Japanese Dance Archive declares him a relevant international Butoh artist. He is the founder and artistic director of the "Nektan Art" Cultural Center, which counts over 100 artist performances productions in its 5 years of existence. He has collaborated with several alternative theaters, dance and art groups from Serbia and various European countries. He is a member of the World Mime Organization. Most important works: "Post apocalyptical humans" aprilski susreti 2007 (Corpus artisticum); "Spining triskelion" DK Studentski Grad, Belgrade 2008 (UN-Ltd art); "Journey in deepest darkness of heart II" Patosofiranje Festival, Smederevo, 2009; "Rune Dance" Shale, Bile, Switzerland (Mystery Theater) 2012; "Rhythm moves" Theater Night (Novi Studio) 2013; "Lost at the edge" Morphos festival (with Martina Vakarelova), Venice, 2014; 2015. “Verloren gotter”, Berlin Wall, Berlin (Nektan art theater) 2015; "Sapphire steps" Pantomime and Movement Theater Festival, Skopje 2016; "Alchemical Stories" Berlin 2016; "365. performance" Project, Serbia 2017, "After the fear" with VestAndPage, KPGT, Belgrade 2017, "Mandragora", MNT, Skopje, Macedonia 2018, "Patient 418", JSFF - Japanese-Serbian Film Festival, Yugoslav Cinematheque, Belgrade 2019, …
Nebojša Vuković (HR/DE): S\tanding O\n S\take (2’)
ONLINE: Nov 26th (Thursday) // 22:15 CET
In a modified standing meditation posture, I stood in the middle of the Savska - Jukićeva streets crossroad. During our student days, for most of us, this intersection was like an energy-metaphysical center of the city. Alternative cultural centers such as AKC Medika and the Student Centre have been formed around this frequent crossing, and the last minute hangout options have almost been Medika or Krivi put. I acquired the skill of standing still (a crucial element of Eastern internal martial arts) through many years of taiji skills training. In this work I combine several ideas in parallel; I correlate my dantien with the dantien of the city, because the primary property of this meditation is healing - something Zagreb currently needs, because in addition to the global catastrophe of the pandemic, the city was hit by earthquakes, floods and poor political guidance. Most of cultural facilities are now fighting to survive, one of them being AKC Medika, a venue representing independent culture and in need of renovation to continue being a productive cultural centre. I build on my previous work "Šetač", performed at the Osijek Bus Station where I imitated the sculpture of the same name ("Šetač", August Cesarec, Stjepan Gračan), problematizing the constant issue of frequent migrations. One of the titles of my standing meditation performance is Standing On Stake and it stands for SOS; an anti-concept in which I have combined many dichotomies and tell the story by not telling it. I present one key to our survival in this situation through a unique technique and a free way of self-renewing energy and regulating stress. As the dichotomies of yin-yang, animus-anima, the energy-physical body in my video is juxtaposed to my other body simultaneously overlapped as a mirrored translucent silhouette. My Zen posture is immersed into the chaotic traffic at the main intersection of the metropolis, as the monotony of my pose to the timelapse of the sunset, so I compressed an hour of performance into a two-minute video.
I transformed myself into a living sculpture that neutralizes the traffic saturation of the metropolis and transforms a crossroad into a desert through a meditative experience.
Artist: Nebojša Vuković / Agens111
Sound: F U Ξ G O
Camera: Igor Bogdanović
NEBOJŠA VUKOVIĆ – born in 1985 in Osijek, where he graduated from the School of Textile, Design and Applied Arts, majoring in graphics. He graduated in 2011 from the Academy of Fine Arts in Zagreb, majoring in graphics in 2007 in the class of Robert Šimrak and I.L. Galeta as a co-mentor. He is a recipient of the Ceepus Scholarship and has spent a study year at the Interfaculty Department of Intermedia AFA, Krakow, Poland. His work varies in media - drawings, collages (digital and analog), ready-made and various audiovisual (VJ, video editing, music video) and performance projects. Since 2017, he has been a co-founder and a member of the Format C art organization. He is an active member of the Resilience electronic music and multimedia team, based in Berlin, under the alias of Agens111 (@agens111). He draws inspiration from various alternative media, sociological situations, esotericism and nature. He works in Osijek - Zagreb - Berlin.
Robert B. Lisek and Fundamental Research Lab (PL/HU): UNRENDERED JUNCTION (30’)
ONLINE: Nov 26th (Thursday) // 23:00 CET
The project is an open event, in which structures and actions of the performers are subjected to destruction and randomization. The project examines the dynamic relation between randomness and order, entropy and concentration of energy. It is a real time system, which encompasses movement of bodies, performative cycles of transmission/reception and programming through modulation of electric and magnetic energies and light, allowing for modification of the dynamics of space.
The performers and participants are forced to change identity and become a part of operational space in real time. Transformation and transmutation of performers' activity occurs through redefinition of visual-movement-space systems and logic-computational structures. The event destroys and dislocates representation [language, software], time [rhythm, performers' movement] and physical space [intensity of light and sound].
ROBERT B. LISEK and FUNDAMENTAL RESEARCH LAB – Robert B. Lisek is an artist, mathematician and director who focuses on systems, networks and processes (computational, biological, social). He is involved in a number of projects focused on media art, creative storytelling and interactive art. Drawing upon post-conceptual art, software art and meta-media, his work intentionally defies categorization. Lisek is a pioneer of art based on Artificial Intelligence and Machine Learning. Lisek is also a composer of contemporary music, author of many projects and scores on the intersection of spectral, stochastic, concret music, musica futurista and noise. Lisek is also a scientist who conducts research in the area of foundations of science (mathematics and computer science). His research interests are category theory and high-order algebra in relation to artificial general intelligence. Lisek is a founder of Fundamental Research Lab and ACCESS Art Symposium. He is the author of 300 exhibitions and presentations, among others: SIBYL - ZKM Karlsruhe; SIBYL II - IRCAM Center Pompidou; QUANTUM ENIGMA - Harvestworks Center New York and STEIM Amsterdam; TERROR ENGINES - WORM Center Rotterdam, Secure Insecurity - ISEA Istanbul; DEMONS - Venice Biennale (accompanying events); Manifesto vs. Manifesto - Ujazdowski Castle of Contemporary Art, Warsaw; NEST - ARCO Art Fair, Madrid; Float - Lower Manhattan Cultural Council, NYC; WWAI - Siggraph, Los Angeles.
Anja Ostojić (HR): Dijete od pijeska (60’)
ONLINE: Nov 27th (Friday) // 21:00 CET
"The Sand Child" is a physical play by Anja Ostojić based on the novel of the same name by the Moroccan writer Tahar Ben Jelloun, nominated for the Nobel Prize for Literature. The play is an art project created as a graduate exam production at the Academy of Arts in Split, at the Department of Theatre Arts, Acting direction.
The dramaturgically adapted text follows the deepest inner emotions and thoughts of a woman to whom fate has imposed the life of a man. The basic motive of the play is freedom and the path that a woman must go through in Islamic culture in order to be free. Using acting techniques and combining them with circus techniques - acrobatic silk, contortionism - Anja Ostojić shows the inner state of a character who throughout the play tries to get to know himself/herself and figure out who he/she really is?
As the book, this play deals with the position of women in Islamic culture, in critique of traditional Islam and Moroccan morals. "The Sand Child" is a play that talks about women's traditional gender role, human rights, and LGBTIQ rights.
'This rebirth and reverting an identity stolen - by a simple sentence "I am only a woman" at the end of the play - effectively merges all experiences, both personal and political, socially conditioned, into the person of a woman whose identity has been denied to since birth, and her managing to rebuild it after tearing herself out from her family.' (Kristina Tešija, gledam.org, 02/2019)
The play was co-produced by the Academy of Arts in Split and the internationally awarded contemporary circus collective ROOM 100. The play premiered in February 2019 at the Amphitheater of the Youth Center in Split, and was awarded as the best play by the audience at the 14th International Student Theatre Festival in Belgrade, May 2019.
ANJA OSTOJIĆ – (Otočac, 1995) graduated Drama at the Academy of Arts in Split under the mentorship of Bruna Bebić, Associate Professor of Art, in September 2019. In 2016, she completed her undergraduate studies (mentor Goran Golovko). Nowadays she is an expert associate on Stage Movement at UMAS, to Assistant Professor Elena Nikolajevna, and she previously worked as a demonstrator in the Stage Movement class by Professor Alen Čelić.
She acted in "Le Malade imaginaire" by the Croatian National Theatre in Split (2020-2019), "Tales of Long Ago" by the City Youth Theatre (2019), "Goodbye, Natalija Petrovna" by the Playdrama Theatre (2018-2017), and "The Enemy of the People" (2017) and "Melodrama" (2016) by the Croatian National Theatre in Split.
She is a member of the contemporary circus collective ROOM 100 based in Split.
Marje Hirvonen Choreography (DE): HANGXIETY (56’)
The heart is beating faster, breathing is flat, you start to sweat - Flight? The muscles are tensed up, the pupils are wide, you cannot see nor hear anymore - Fight? Swindle, tremble, breathlessness, nausea - freeze?
Nearly every sixth adult is suffering from a morbid fear. In the USA is Xanax, an anxiolytic, the most prescribed medicine among the psychotropic drugs. Psychiatrics and therapies are crowded with people, whose lives are extremely affected by fear. Constantly speeding images are raining down on us and turning the world into a threatening place, everything becomes faster and bigger, the way of the world deprives any kind of control, collective fears arise.
Freeze? The fear is paralysing whole societies, one is hiding, the other doesn't leave the house. Fight? From the fear comes the rage. Xenophobia, we against the others, me against you, we are going to build a wall! Flight? Working and consuming nonstop, TV, Internet, Alcohol. And then we wake up. Hangover. All the Dopamine is used and the fear overcomes us. Anxiety.
What does fear, the oldest of all the emotions, want from us? Is it just a relic that is useless for a modern individual? Is it rather a warning body signal to come to rest in times of fast pace and hectic? Maybe fear is a path that will lead us somewhere better and we should just follow it? Therefore yoga or a revolution?
After all fear is energy. It is the motor of collective history, as well as one’s individuality. It drives us; either into a professional success, extraordinary artworks, hatred of strangers, fights of freedom or dictatorships, into extreme personal achievements or the most imaginative avoidance strategies.
The approach to the topic in the form of a physical performance, in analogy to an image and text, allows a decontextualization of the theatrical. An image is an evidence. An image, a photograph, of a depicted scene can potentially be an evidence for a real incident in the eyes of the beholder, which in the context of the performance never could be. Photography represents the "other" as a distant glimpse of a temporary option. “The other” is something we don’t know and therefore often are afraid of. A picture may be disturbing, because it suggests the possibility that what is shown, is the pure reality. In the research process we will look at the issue of fear and its representation in the media (both in India and Germany) in the form of an image. We will try to construct scenes, including our own experiences formulated in text and sound, that could be seen as sections of reality. In a matter of fact the scenes will become reality just for the fleeing moment. We are interested in research and trying out different methods manifesting the topics that make us fear -and the physical expression of fear, inspired by the medium of image and text. These will be constructed as mise-en-scène in the consciousness of the viewer into temporary reality. The images should appall, and in that terribilitá lies a challenging kind of beauty.
Hardly any other comprehensive topic is so seldom discussed than our fear. It is still a taboo to say out loud “I am afraid.”. “Hangxiety” is about this ubiquitous emotion. The work researches via contemporary dance and martial arts the bodily experience, which is so primal, that it turns us into animals. Via text and image in “Hangxiety” we portray thoughts, which arise from fear - or let the fear arise. These will be constructed as mise-en-scène in the consciousness of the viewer into temporary reality. The images should appall, and in that terribilitá lies a challenging kind of beauty. We are not afraid to say we are afraid.
MARJE HIRVONEN and KELVIN KILONZO – Cologne-based artists. They have been working on various projects together. The both are active members of the Cologne dance-scene and well-known as artists. Hangxiety had a great reception in Cologne, and since then Kilonzo and Hirvonen are planning to expand their artistic collaboration.
Dora Popić & Mišo Komenda (HR): Sound & body (30’)
ONLINE: Nov 28th (Saturday) // 21:00 CET
The show is combining circus techniques on aerial hoop with sound improvisations to tell the story about specifics of human interaction. The show is relevant to the topic of control because it's about letting go of one's ego to achieve balance in professional, romantic or other types of relationships. It's also about our constant psychological struggle as human beings to have control over all aspects of our existence. This interaction and exchange of who controls whom in which moment is depicted using improvisation between two elements - a body and sound. Body is moving because of sound, and sound changes because of movement. They are alone in this universe, focused only on each other and reacting only to impulses of the other. In the broadest sense, the narrative can be described as an interaction between two characters starting as exchange of domination and submissiveness, growing into cooperation and coexistence in which one can't exist without the other.
Every movement of hoop and the body is illustrated or dictated by music which is being performed live. The soundscape of the show is also an improvisation of the sound signal distorted through guitar effects and oscillators.
DORA POPIĆ – an architect and a circus artist born in 1989 in Split. Parallel to her degree at the Faculty of Architecture, she discovered circus practices in 2015, and very quickly entered all spheres of circus - teaching, creating a circus program through the Association "Hram" as well as own artistic development by producing performances and plays. Since 2017, she has been the co-leader of the residency and distribution program by the "Hram" Association, in addition to continuous active practice in her architectural profession, she conducts various circus and interdisciplinary projects with visual artists, animators and musicians.
MIŠO KOMENDA – a designer and musician born in 1982 in Split. He has played and still plays in several renowned Split instrumental ensembles (Lažni brkovi, Leut Magnetik, Discopath, Studio Frendo, ROLO) with which he performs in Croatia and abroad. He has also collaborated on multimedia live projects such as a live track for the silent film “La jetée” at the “-3” club. In collaboration with Karlo Kazinoti, he has been professionally engaged in visual communications design since 2011. He has won many awards in the field of graphic design and electronic media design, among which a special recognition at the HDD 0910 (Croatian Society of Designers) exhibition, the Porin award for best CD design in 2012, international recognition by the Institute of Information Design in Vienna for the signalization project at the St. Mihovil Fortress in Šibenik 2017, and a first place in the competition for the design of the visual identity of the Vukovar Water Tower 2017.
Bradipoteatar (SM): Drop (40’)
ONLINE: Nov 28th (Saturday) // 22:00 CET
DROP is an experimental physical theater performance created from the simplest possible ingredients: a body, made up of muscles and voice, and an audience. Movements, not words. Sounds, music, not words. The tools of the performer are reduced to the essence of human expression. The pure concreteness of the physical expression of the actress and the few props in the scene that she meets, find out the spirit of the world we live in.
The story of DROP is about a particular moment that one woman lives, and her view of love, breath and death, melting Klimt painting Medicine, and his philosophy that it’s no happy ending. It tells the story of a journey, that can happen from all over the world, and many different journeys at the same time: both physical and spiritual, through water, blood and gold.
BRADIPOTEATAR – uses a mixture between research and instinct. Our performances are oriented toward a theater of gesture and word: the movement and the text analysis departs from physical and vocal improvisations that formalize after a careful expressive search by the actors and the directing approach aims to integrate rigorous study, feelings and passion. Our preferred interpretative key is the grotesque one, that allows us to move from the comic to the dramatic following the complexity of the different points of view. Bradipoteatar performed in San Marino, all over Italy, Croatia (FAKI 2008), Greece, Armenia, Poland, Serbia, Turkey
Paolo Avataneo (IT): " ! " (62’)
ONLINE: Nov 29th (Sunday) // 21:00 CET
Surreal visual comedy show with various kinds of characters and totally different styles (mime with music and noises, gibberish, body percussion and eccentric buffoonish theater). The show is spoken everywhere in the local language. Written and interpreted by Paolo Avataneo.
A surreal pantomime talkative harassed by a mischievous elf; his history is silent, but in the end he becomes enchanted and able to work towards even bold talkative neologisms, trilling sounds perfectly as well, albeit without any tool. A colorful fantasy, surprises galore, effluvia of nonsense, abstract languages, are the delicious ingredients in this slurpous vinaigrette.
PAOLO AVATANEO – graduated at the Philip Radice's Physical Theater Atelier, from 2009 he proposes shows including mime, cabaret, buffoon, clown and eccentric theatre. He plays bass guitar in various rock bands too (5 albums total), as well as small parts in the Italian national TV programme.
The author's main target is to focus on experimenting with new methods of acting trying to make them comical and to develop methods of different drama languages more accessible to everyone, focusing on international realization.
Festivals in: Armenia, Bosnia, Croatia, Macedonia, Hungary, Finland, Moldova, Polska, Austria, Serbia, Turkey, France, Scotland, Bulgaria, Switzerland, Romania, Slovenia, Russia, Spain, Tunisy, Morocco, South Korea, Iran.
Paolo Avataneo presents you a geezing and slurpous, colourful vinaigrette phantasmagoria based on mimicry unvoiced sometimes long-winded sometimes topped with mouth-watering cocktail of music comics, as well as idyllic really dancing, however, embellished with a psychedelic body percussion. Solace teens, and seduces ancient retireds, promotes diuresis and stimulates the appetite. Attention, prolonged use could create a sweet sense of universal harmony.
FAKI WORKSHOPS WiP PRESENTATIONS (30’)
ONLINE: Nov 29th (Sunday) // 22:30 CET
An open session to present what was created in the festival workshops.
More info TBA!
Organizers: Autonomous Cultural Centre
Critics & Moderators: Jana Perković, Richard Pettifer
Technical direction: Dina Karadžić
Coordination: Sanja Burlović, Dina Karadžić
Tech: Tomislav Crnković, Maja Weisglass
Video & photography: Pavle Kocanjer, Karla Budišćak
Assistants: Dino & Nives
Design: Dejan Dragosavac – Ruta
Web & documentation: Vedran Gligo
Print: Printaonica kod Bijelog Čarobnjaka
Financial support: The project is realized with financial support of the Ministry of Culture and Media of the Republic of Croatia and the City of Zagreb.
Thank you: FAKI Artists, past/current/future volunteers and our tech/admin/artist team, our visitors and friends, Ruta, AKC Attack, AKC Medika, and everyone else enduring 2020! <3