SOLO NIGHT
JUNE 28, 19:00
NEW FEARS GALLERY
NEW FEARS GALLERY
NEW FEARS GALLERY, JUNE 28, 19:00
We’re thrilled to invite you for a night of solos that encounter each other in @new_fears_gallery
Through various personal perspectives Ekaterina Kaliuzhnaia, Katya Volkova, Polina Fenko and Masha Shalagina revive works originally conceived outside of Berlin and after the Russian full-scale invasion of Ukraine. Unexpected displacement - of bodies, landscapes, meanings - compel the artists to fumble material languages that are forced to exist outside-of-womb.
Collision of artistic methods - from deconstruction of a war song to mockumentary on choreographic and military scores, from collective imagination exercise to a poetic revival of feeling blue - unite four female voices in their desire to sound. The artists contemplate microcosm of personal stoiries and poetic languages, revealing how they shape our collective narratives and choreographies.
Line-Up
19:00 open doors
19:30 HOW TO LIVE IN THE HOUSE OF GAP? by Katya Volkova
20:10 TRADITIONAL PATTERNS by Ekaterina Kaliuzhnaia
half an hour break
20:50 (sans) ordre by Polina Fenko
21:40 🌀🦋 by Masha Shalagina
Tickets: sliding scale 10-15 euro at the entrance
7 euro friedly tickets (please, write to us)
NEW FEARS Gallery (Reichenberger Str. 114), Berlin
the entrance is directly at Reichenberger Str.,
not at the yard
+4915781070699
whiteblueelephant700@gmail.com
the entrance is directly at Reichenberger Str.,
not at the yard
+4915781070699
whiteblueelephant700@gmail.com
HOW TO LIVE IN THE HOUSE OF GAP?
by Katya Volkova
The artist describes this project as an attempt to discover her own body in exile in a new cultural and socio-political context that requires rapid integration, not allowing the emotional body to take hold and make sense of lived experience. She reflects on the process of blockage, the in-between space, the ruptures in perception and the hypersemiotic transference of this condition. One can visualize this situation as a liminal space in which the fragmented choreography of the emotional body often makes articulation difficult.
by Katya Volkova
The artist describes this project as an attempt to discover her own body in exile in a new cultural and socio-political context that requires rapid integration, not allowing the emotional body to take hold and make sense of lived experience. She reflects on the process of blockage, the in-between space, the ruptures in perception and the hypersemiotic transference of this condition. One can visualize this situation as a liminal space in which the fragmented choreography of the emotional body often makes articulation difficult.
TRADITIONAL PATTERNS
work in progress performed by Ekaterina Kaliuzhnaia
The project elucidates folk songs dedicated to wars. Traditionally such songs (as a ritual) helped people to process death, war and trauma, to move through it, to defend from it. How does the structure of the songs, its melody and vibration affect a listener? My interest is to embody the imprinted pattern with my movement and voice, to perceive the potential of ancient acts and to turn it back.
Project webpage
choreography & performance Ekaterina Kaliuzhnaia
dance dramaturgie Polina Fenko
sound editing Alexey Kokhanov
EKATERINA KALIUZHNAIA is a dance artist, a certificated somatic practitioner based in Berlin. She creates interdisciplinary projects (community art, musical and dance pieces), and collaborates with various artists as a dancer and a vocal performer. In her work she aims to reconnect with nature and to process the experience of the previous generations and the traumas of the past.
work in progress performed by Ekaterina Kaliuzhnaia
The project elucidates folk songs dedicated to wars. Traditionally such songs (as a ritual) helped people to process death, war and trauma, to move through it, to defend from it. How does the structure of the songs, its melody and vibration affect a listener? My interest is to embody the imprinted pattern with my movement and voice, to perceive the potential of ancient acts and to turn it back.
Project webpage
choreography & performance Ekaterina Kaliuzhnaia
dance dramaturgie Polina Fenko
sound editing Alexey Kokhanov
EKATERINA KALIUZHNAIA is a dance artist, a certificated somatic practitioner based in Berlin. She creates interdisciplinary projects (community art, musical and dance pieces), and collaborates with various artists as a dancer and a vocal performer. In her work she aims to reconnect with nature and to process the experience of the previous generations and the traumas of the past.
(sans) ordre
by Polina Fenko
This performance, participatory in parts, opens up a space for reflection on alternative history of choreography that originates from a practice of tracking a human body. Meandering through various types of documents that present different ways of notating movement, choreographic appears to be connected to the militaristic in its methodologies of capturing and disciplining the human body.
Which traces of the human body and its movement can be documented and what remains elusive in these notations? What do choreographic and military scores have in common? What is the role of interpretation when it comes to an encounter with a score?
Beginning as a mockumentary, this performance expands into speculative research methods, such as re-enactment, collective imagination exercise and listening session, this performance challenges our perception of choreographic and welcomes doubt, free movement of attention, irony and dreamer’s mind to collectively meditate on how to choreograph otherwise when thinking of choreography as a practice of world making.
by Polina Fenko
This performance, participatory in parts, opens up a space for reflection on alternative history of choreography that originates from a practice of tracking a human body. Meandering through various types of documents that present different ways of notating movement, choreographic appears to be connected to the militaristic in its methodologies of capturing and disciplining the human body.
Which traces of the human body and its movement can be documented and what remains elusive in these notations? What do choreographic and military scores have in common? What is the role of interpretation when it comes to an encounter with a score?
Beginning as a mockumentary, this performance expands into speculative research methods, such as re-enactment, collective imagination exercise and listening session, this performance challenges our perception of choreographic and welcomes doubt, free movement of attention, irony and dreamer’s mind to collectively meditate on how to choreograph otherwise when thinking of choreography as a practice of world making.
🌀🦋
by Masha Shalagina
Within this project I explore my own body, recently injured, balancing between definitions of professional, intimate and dysfunctional bodies. To do this, I turn to the phenomenon of blue in the context of art and pop culture history, attempting to grasp the landscape of blueness scattered over the last century. Inspired by Maggie Nelson's “Bluets”, this dance essay as a set of meanings can be collected by viewers in their own way. Video projections, music, body score develop simultaneously and independently, having their own dynamics and ways of reflecting on blueness, but meeting each other in the common time flow. Here I want to invite the audience to immerse themselves in this flux of time, offering the performance itself as a means to analyze their own time – time that they invested, time that is passing.
masha shalagina is a dance artist that perceives dance as an experience of relationships and interactions that are created and reassembled by its participants. In 2016 they entered the Academy of Russian Ballet to study art of choreography (BA). In 2019-2020 was a participant of a contemporary dance company “FIRST” (directed by Maya Selezneva). Finished “PAYDEIA” program in 2020 (school of contemporary art interpretation). In 2021 they left Russia due to unfolding political pressure in the country and since that moment they have been focusing on activist art and political action. In 2022 they shot an anti-war music video in collaboration with Bjorn Blomqvist; presented their work as part of Tbilisi Architecture Biennale; created a performance that reflects on Russian invasion of Ukraine, about the borders of countries and bodies in collaboration with Ukrainian artist Andrii Romanenko; participated in the re-production of "In C" by Sasha Waltz with an inclusive dance group. In 2023, they got a danceWEB Scholarship and started to develop a series of projects about body memory and gaze politics within the ImpulsTanz festival program.
by Masha Shalagina
Within this project I explore my own body, recently injured, balancing between definitions of professional, intimate and dysfunctional bodies. To do this, I turn to the phenomenon of blue in the context of art and pop culture history, attempting to grasp the landscape of blueness scattered over the last century. Inspired by Maggie Nelson's “Bluets”, this dance essay as a set of meanings can be collected by viewers in their own way. Video projections, music, body score develop simultaneously and independently, having their own dynamics and ways of reflecting on blueness, but meeting each other in the common time flow. Here I want to invite the audience to immerse themselves in this flux of time, offering the performance itself as a means to analyze their own time – time that they invested, time that is passing.
masha shalagina is a dance artist that perceives dance as an experience of relationships and interactions that are created and reassembled by its participants. In 2016 they entered the Academy of Russian Ballet to study art of choreography (BA). In 2019-2020 was a participant of a contemporary dance company “FIRST” (directed by Maya Selezneva). Finished “PAYDEIA” program in 2020 (school of contemporary art interpretation). In 2021 they left Russia due to unfolding political pressure in the country and since that moment they have been focusing on activist art and political action. In 2022 they shot an anti-war music video in collaboration with Bjorn Blomqvist; presented their work as part of Tbilisi Architecture Biennale; created a performance that reflects on Russian invasion of Ukraine, about the borders of countries and bodies in collaboration with Ukrainian artist Andrii Romanenko; participated in the re-production of "In C" by Sasha Waltz with an inclusive dance group. In 2023, they got a danceWEB Scholarship and started to develop a series of projects about body memory and gaze politics within the ImpulsTanz festival program.
NEW FEARS Gallery
(Reichenberger Str. 114)
the entrance is directly at Reichenberger Str., not at the yard
+4915781070699
whiteblueelephant700@gmail.com
(Reichenberger Str. 114)
the entrance is directly at Reichenberger Str., not at the yard
+4915781070699
whiteblueelephant700@gmail.com
