Residency will take place between 8th and 21st of August 2016 in Studio Słodownia +3, Stary Browar in Poznań.
Participants of the residency: Agata Siniarska, Mădălina Dan and Mila Pavicevic.
Residency is a part of a project cofinanced by Art Stations Foundation by Grażyna Kulczyk, Konfrontacje Teatralne (Lublin), Fabrik Potsdam and
Alfred ve Dvore (Prague).
This project is an investigation into the phenomenology of tears that touches upon many themes - memory, history, death, happiness, fragility, innocence, strength, futuristic ontologies, etc. It puts into questions the social and cultural mechanisms related to public and private display of emotions. Contrasting personal statements with iconic scenes of crying in Eastern European context, it examines how emotions are manifested in different situations, and why we ( or we do not ) express them publicly. Within narratives concerning our biopolitics – cultural/nationalem/otional identities - the project approaches todays post-bodies/technological paradigms and it is an attempt to entangle the personal with the artificial.
We are two new heroines - cyborgs 04, artificial emotionalities, artificial affects as well as artificial intelligences.
We do not have anthropomorphic limitations.
We can live in other bodies and minds.
We have feminist and pacifist approaches and we will save the world! From whom – we have to figure it out.
We get strength and nutritions from the grief and sacrifice of our own mothers – models of communist regime.
We want true feelings towards our countries and we can easily represent our personal mythologies in a pathetic way.
Crying is our language to create radical synthesis.
Voicing fear makes us release fluids, sweat, blood, saliva and tears.
Our memory exorcises history together with biopolitical pain.
We feel nostalgia while watching sport victories.
„Don’t make an issue of my womanhood” - could be our slogan taken from a stoic point of view.
The repercussions of our crying changes state of matter and commodifies fluids under the name of secret number 4.
We want to give freedom to the children of the decree from Romania.
Our identity is like an alchemical journey, bringing physical and emotional balance/dis-balance, comfort/ discomfort.
Muscle soreness led us to perfection, but also disfigured our childhood.
Propaganda came into question and we started to have abject thoughts about it.
State of matter, doesn’t matter!
Total ego, youtube!
Mothers, wives, workers, they all dance polonaise.
It is neither shout nor whisper, neither personal nor political, we just need coal.
Identity is yet to come.
Mădălina Dan, maker and facilitator, studied at the Choreography Highschool in Bucharest and in the choreography department of the National University of Theatre and Film, where she also received her Masters in Play- Writing. She was a member of Oleg Danovski Ballet Company from 1998 till 2003. She was invited artist to the Herberger Institute, School of Dance (Arizona State University) in 2009 and in 2008 she received the danceWEB scholarship in Vienna. She studied at HZT in the MA program “Solo/Dance/Authorship” (2014-2016). Along the years, she has been an active member in the contemporary dance community in Romania, at the National Dance Centre in Bucharest, teaching and developing educational and social programs. . In 2015 she received a CNDB award for her contribution brought to the development in contemporary art in Romania. Works by Madalina Dan have been shown at Springdance Festival Utrecht, Tanzquartier Wien, Balkan Dance Platform-Novi Sad, eXplore Dance Festival- Bukarest, Temps d’Images- Cluj, SouthBank Center & Chisenhale Dance Space- London, Fabrik Potsdam, Hebbel am Uffer- Berlin, TanzFabrik Berlin, Dance Theater Workshop- New York, Firkin Crane-Cork, Alta Theater- Prague and others. Latest collaborations together with: Sergiu Matis, Agata Siniarska, Tahni Holt, Mihaela Dancs, Alexandra Pirici.
Agata Siniarska makes works within formats of performances, events, practices, lectures, videos, others. Having given a chance to different kinds of theatrical forms, having studied choreography, currently she devises feminist fun studies and cultivates her yearnings for language and writing, cinema and animation in the scope of her practices. She is a founding member of female trouble - a friendship based collective revolving around identity, body, feminisms, pleasure, affirmation and love. Addicted to fiction, she conducts her investigations, fashioning herself as a tool of rhetoric, through the cultural structures inscribed to her. Every action she makes, fueled by the energy of profound theoretical hesitancy, she approaches with passion and intense fascination, acting many times not alone but in the company of many exquisite adventures.