15.9 2014 at 9 PM; Kino Šiška - Urban Culture, Ljubljana, Slovenia
VLADO R. GOTVAN concept and directing
DAVID CVELBAR automatisation
IGOR ŠTROMAJER intimate mobile communicator
MARTINA RUHSAM collaboration
SIMON KARDUM supervisor
PRIMOŽ JESENKO: The automatic performance Luftballett (Traffic of Lights without Story and History) blows away the dust from the experimental verve in our theatrical arena, which obsessively capitalises the “new and original” but at the same time produces performances which are gradually becoming passionlessly the same – it overcomes this with an emancipated dance of guided lights.
JELA KREČIČ: Exactly because of that, as Luftballett works well insofar as it gives the central role to the lights – to this new subject of art –, it seems that the scenes which are introducing human elements: especially the watermelon and the act of pulling chairs through the hall, are too much.
POLONA BALANTIČ: When Repnik is sending live performers in an utterly unstilized manner or like the most common earthlings on the stage (actors without any special role and without any costumes), he is actually eliminating them from a time, to which mechanized, automatic machines belong.
PIA BREZAVŠČEK: The spectator looses the head, his/her priviledged position is smashed like a watermelon.
PRIMOŽ JESENKO: The author initiates the inanimate matter, releases the playful potential of the automaton, and waits for it to come to life, to even sing and shows that utopian ideas are completely realisable.
PIA BREZAVŠČEK: The alienation of technique from its primary minor role to the state of subject is terrifying – it namely detracts our privileged position of a subject and leaving us without ground under our feet. But on the ground there is a big dog lumbering, sniffing the surfaces and walking around calmly.
PRIMOŽ JESENKO: Technologic leviathans imitate nothing, as rotating bodies they move on their own (as it should be in an “automatic performance”), they dance the light, creating sounds with their hushed grumbling which similarly mean nothing more than what they are.
PIA BREZAVŠČEK: The dog as the last relic of a theatre of meat and bones.
PRIMOŽ JESENKO: This project similarly does not force ambition or pretense of being groundbreaking; it is a starting point, a gesture which indicates a certain direction and appears to be close to Schlemmer, announcing the arrival of the perfect engineer, who will conduct the spectacle for the eye from a distance. In the spirit of the times.
VALERIJA ZABRET: I am still curious why ''A CAMEL'' is written above the melon :). I am asking myself why
exactly a camel and not a cow for example?
JEDRT JEŽ FURLAN: Also sprach Repnik.
Video postproduction: MATJAŽ MRAK kamera in montaža | camera and montage
MARKO CAFNIK kamera | camera
The project was co-financed by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana.
Produced by: GVRbabaLAN & Kino Šiška, 2013-2014