1. Nafta otvorila festival Perforacije u Rijeci

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    The performance is the first international production of acclaimed Brazilian choreographers Ângelo Madureira and Ana Catarina Vieira with six Croatian dancers and has been developed during their residency in Rijeka in September and October 2011. Inspiration for the show came from Rijeka’s oil refinery, a very visible landmark in the city. Questions of survival are set in an economic, social and political context, using oil as a metaphorical suggestion.

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    • TBA:12 Noontime Conversation: Zvonimir Dobrovic

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      Eastern Borders September 10, 2012 2012 Time-Based Art Festival Portland Institute for Contemporary Art, Portland, Oregon

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      • Room 100 - C8H11NO2 trailer

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        Authors: Room 100 Perforations Festival 2011 [see note at the bottom] New circus is a demanding but very rewarding art form. In contrast with traditional circus, it is closer to theatre because, instead of just mere skill, it contains a form, a story, drama… New cricus is a possibility on the border of dance, drama and the fascinating skills of juggling, balancing, contortion, and all that ‘ordinary people’ are unable to do. This performance from the Split group Room 100 does not, however, talk about ordinary people. Behind the enigmatic title C8H11NO2 lies a dedication to those who function differently, and whose awareness is governed by different processes. The code of the title is the chemical formula for the neurotransmitter dopamine, which is responsible for the psychotic states that are spoken of, and faithfully reproduced in this show. The bodies of the performers and their acrobatics, together with water scenery and the props necessary for new circus magic, make a series of images that observe the notion of the hybridity of this performance genre from a different side. One that the majority does not want to be on, but which they will, through this production, become familiar with anyway. New circus is a seed that was first sown in this region with appearances at Eurokaz, and later at the Festival of New Circus. It found fertile soil, as confirmed by the example of the Split group Room 100. Although somewhat in a media shadow, as new circus is not yet equal to other forms of performance, Jakov Labrović and Antonia Kuzmanić are almost more successful outside the borders of Croatia. In the French new circus scene, they are recognised as talents that should be invested in, and so even this performance was born of international cooperation. [NOTE] This video was not taken at the Perforations Festival 2011, but C8H11NO2 was a part of the Festival.

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        • Room 100 - C8H11NO2 extract

          07:00

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          Authors: Room 100 Perforations Festival 2011 [see note at the bottom] New circus is a demanding but very rewarding art form. In contrast with traditional circus, it is closer to theatre because, instead of just mere skill, it contains a form, a story, drama… New cricus is a possibility on the border of dance, drama and the fascinating skills of juggling, balancing, contortion, and all that ‘ordinary people’ are unable to do. This performance from the Split group Room 100 does not, however, talk about ordinary people. Behind the enigmatic title C8H11NO2 lies a dedication to those who function differently, and whose awareness is governed by different processes. The code of the title is the chemical formula for the neurotransmitter dopamine, which is responsible for the psychotic states that are spoken of, and faithfully reproduced in this show. The bodies of the performers and their acrobatics, together with water scenery and the props necessary for new circus magic, make a series of images that observe the notion of the hybridity of this performance genre from a different side. One that the majority does not want to be on, but which they will, through this production, become familiar with anyway. New circus is a seed that was first sown in this region with appearances at Eurokaz, and later at the Festival of New Circus. It found fertile soil, as confirmed by the example of the Split group Room 100. Although somewhat in a media shadow, as new circus is not yet equal to other forms of performance, Jakov Labrović and Antonia Kuzmanić are almost more successful outside the borders of Croatia. In the French new circus scene, they are recognised as talents that should be invested in, and so even this performance was born of international cooperation. [NOTE] This video was not taken at the Perforations Festival 2011, but C8H11NO2 was a part of the Festival.

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          • Perforations Zagreb: Organically Grown

            12:05

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            19 Plays / / 1 Comment

            Organically grown refers to organic and biodynamic food cultivation, the certification of it, proclaimed high ecological standards of merchants and producers and marketing. Are these certificates just marketing? Who is responsible for the disaccord between the proclaimed ecological standards and marketing practices? Ekološki uzgoj tematizira ekološki i biodinamički uzgoj hrane, njeno certificiranje, proklamirane visoke ekološke standarde trgovaca i proizvođača i njihov marketing. Dali su ti certifikati samo marketinški trik? Tko je odgovoran za proturječnost proklamiranih ekoloških standarada i marketinških praksi? Author: Daniel Bede (Šurjan) Assistent: Danijel Jušinski

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            • Tonight I Celebrate

              48:18

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              Artists: Via Negativa Perforations Festival 2011 “Dear audience, I love you!” is likely to be heard at a concert, but not in a theatre. Theatre actors do it more subtly, or, more specifically, they did do it more subtly, until a young actor with the Slovenian Youth Theatre, Uroš Kaurin, decided to devote his every performance to the audience. His involvement with the Via Negativa platform adds to its less negative aspect, while to Kaurin himself, it gives the opportunity, in a game with the default and preferred/desired identities, to perform in according to his musical taste and his own narcissism, from his own bathroom. A winning combination of a piercing voice, impeccable song and a devoted performance makes Tonight I Celebrate a first class attraction on any festival program. But Kaurin is not to be trusted… His celebration has a grotesque note that can come back to slap the viewer in the face.

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              • Nafta / Oil

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                Artists: Ana Catarina Vieira / Angelo Madureira Perforations Festival 2011 In times of economic crisis such as this, in which the brokers in human destiny and votes, while the sentries of catastrophe predict that not even a double dip can help the world, ‘economy’ is the second most important ‘it’ word. The first is, of course, ‘oil’. It is a global issue and this performance, a co-production from Perforations and the organization Drugo More from Rijeka, deserves that attractive name. This project from Brazilian choreographers Ana Catarina Vieira and Angela Madureira is based on historical references, such as the already forgotten story of the Rijeka refinery, through which they deal with issues of economy and ecology, at the crossroads of which sometimes stands basic survival. Immersion in this context, on which this co-production insists, links experienced Brazilian artists with a group of five contemporary dancers from Rijeka. As, despite Rijeka’s quite lively – at least for this country – cultural scene, contemporary dance is rarely, or never, on offer. This collaboration is a great opportunity that benefits everyone, so the economies of knowledge and of dance can demonstrate power over an economy of transition. With this, the double dip of Drugo More and Perforations will show that fossils as a driving fuel still need to have — an alternative. Ana Catarina Vieira and Angelo Madureira are Brazilian dancer-choreographers whose collaboration has lasted more than a decade. The proof of their success and efficiency is thirteen productions, of which some have received numerous awards, both in Latin America and Europe. The guarantee of the quality of this exceptional duo lies in the blend of classical ballet and modern techniques, which supplements their auteur and educational profile.

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                • Evolucija Revolucija / Evolution Revolution

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                  Artist: Martina Nevistić (O.N.E.) Perforations Festival 2011 Nature has always been an inspiration. Unfortunately, more often when dead, as ‘still life’. Instead of flowers in a vase, or a dead fish in newspaper, the performance Evolution Revolution takes nature as a living substance, and deals not only with it, but also with the human relationship to/with it. The ecological theme of this piece assumes that the viewer is conscious of and willing to see what significant effects human action or inaction can have on nature. Along with the common questions about the relationship between man and the environment, this work deals with man himself, and his aspirations, because the relationship to nature often very accurately reflects the relationship of man to people. It is said that the person who doesn’t like dogs does not like people. What about amoebas? Martina Nevistić perhaps wants to show that, in evolutionary terms, those without environmental consciousness are amoebas. Martina Nevistić is a dancer and choreographer, and a member of the Zagreb Dance ensemble. In recent years she has appeared in auteur projects away from the dance world, but always in some way connected to it. In frequent collaboration with the performer and artist Iva Korenčić, she produces works on the borders of their ‘primary’ disciplines.

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                  • Is-Land

                    13:45

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                    Authors: Dance Lab Collective Perforations Festival 2011 Which is more important: experience or knowledge? Is it necessary to see a piece, even a dance piece, or is it possible to learn everything about it indirectly? Is personal reconstruction worth more, even when put together from different sources of collected parts, than the single act of presence at a specific performance? These and similar questions are raised in this group work by concept from Petra Hrašćanec Herceg, called is_land. It is a site-specific piece in which the choreography is only the beginning, as the traces and reflections of this one-time performance become the piece with all of her multimedia modifications. The choreographer was inspired by the uniqueness of the small island of Taljurić, a flat, round slab, small in diameter and without any vegetation, on the the edge of the Kornati archipelago. The uniqueness of this architecture without an architect, and its lonely position, makes its exploitation impossible, and therefore, in this piece, the ambient performed choreography is transferred by image and sound into the gallery or theatre context. Once re-assembled, the traces of choreography make her performance once again possible. These traces contribute to different artistic personalities, and this confirms that no man is an is_land. Previously a production platform, rather than a dance ensemble, dance-lab collective has been present on the Croatian contemporary dance scene for over ten years. Petra Hrašćanec Herceg is a member of the Zagreb Studio for Contemporary Dance, and has worked as a choreographer in the last few seasons with projects that give dance other dimensions. is_land is such a project, achieved with the help of a whole team of collaborators, including prominent local and international drama, film, music and visual artists: Saša Božić, Zdravka Ivandija, Danko Stjepanović, Nenad Sinkauz, Josip Visković, Bruno Pocheron.

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                    • Igra objektima / Game with Objects

                      02:10

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                      Artists: Petra Zanki and Tea Tupajić Perforations Festival 2011 In order to reverse the perspective and put the focus on those who are always outside of it, Petra Zanki and Tea Tupajić started the specific project called simple The Curators’ Piece, to erode the matrix of mechanisms that function in the contemporary art scene. It is not that no one has before dealt with those who program, select, decide, judge and suggest, but no one before hoped for this kind of cooperation. In coordination with many European and worldwide cultural institutions, as well as the non-institutional scene, they gathered a series of curators, mainly in the field of performing arts, who agreed to be ‘on this side of the mirror’. Part of The Curators’ Piece is also the video The Game with Objects, a kind of psychological test and a simple game in which, imagining and presenting stories exercises fancy, rhetoric, accessibility, and the ordinariness of those who, sometimes, create the destiny of art. An auteur duo on the border of the possible, performance artist and author Petra Zanki and film maker Tea Tupajić, are the perfect match for what they intend: to draw closer to those who have defined but also theoretically undefined power and attempt, not to strip them of it, but to tame them. In this project the joke becomes that truth and parody of art – art itself.

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