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Events 2013

February 21 2013
3 pm ► Atrium ZRC
(Round table moderated by Rok Vevar)

In the history of contemporary dance, the artworks, aesthetics and cultural contexts have been, since the end of 19th century, accompanied by different autonomous practices (physical and therapeutic techniques, practices of dance recording, taking notes and archiving, different functions of dance in various social groups, etc.) that are usually left out in the historisation, reflection and thinking of dance. Despite their strong influence on the artistic creativity and production as well as on the tempering of cultural contexts, these practices lack visibility, recognition and affirmation.

February 22 2013
3 pm ► Atrium ZRC
(Round table moderated by Andreja Kopač)

Presentation of publishing programmes in the field of contemporary dance and an insight into the Slovenian context: inventory, directions and requirements
To Move a Moment – To Write Dance is a round table event that will, in addition to the presentation of the publishing programmes, also include a discussion about current issues in this field. The goal of the discussion is to invite all the key heads of the publishing programmes in the field of contemporary dance in Slovenia who work within the Maska and Emanat Institutes, the Ljubljana City Theatre Library and the Republic of Slovenia Public Fund for Cultural Activities, as well as an author who recently published his own book on the subject of contemporary dance. In the discussion following the presentation of the publishing programmes, projects and their specific editorial-publishing politics, we will try to define what texts are missing in the local dance context and why, in what way they have influenced the thinking and creativity of contemporary dance or why they haven’t. The critical reviewing by periodicals will also be addressed in order to determine what “shape” it’s currently in.

February 23 2013
3 pm ► Atrium ZRC
(Round table moderated by Rok Vevar)

In the history of the contemporary dance and performing arts of the last century, art collectives had different reasons and functions, organisations of time and place as well as methods and conditions of work. The cultural contexts produced very different thinking about common work, whereby the artists were brought together in the collectives by either spontaneous forms of meeting, well-thought-out and methodical art codes, totally ideological or world view grounds, or (insufficient) production conditions and specific organisation of work hours. What is happening with art collectives today? How are they organised? What do they want to accomplish? How do they perceive the common as opposed to the singular or individual? In what ways are they visible? Do they generate particular identities and how do these communicate with audiences? How is art collectiveness reflected in its audiences?

February 22 2013, and February 23 2013
from 10 am to 1 pm
(Workshop with Klaus Ludwig)

A producer as a reactive agent who is efficient in any situation. How can the established mode of communication between artists and producers be productively changed considering the fact that the contracts don’t have any non-competition clauses and that the artists in the field of contemporary dance in Slovenia are as a rule self-employed? At the workshop, Klaus Ludwig will respond to these questions with the model of flexible services adapted to the needs of an individual artist and the articulation of the following categories: open dialogue, shared responsibility, flexibility, exchange of roles, articulation of the artist’s needs and requirements, responsibility of decision-makers in the production, dialogue with partners, co-producers and venue managers on different modes of collaboration and the seven magic words.
The versatility and multi-functionality of workers in the field of contemporary dance have increased in Slovenia to a drastic extent. Creativity has been occupied by production. The result: the producers don’t contact the artists but vice-versa. Is this characteristic of a lack of art direction? At the workshop, the Belgium “cultural workaholic” Klaus Ludwig will share his experience of the founding of the Belgium agency Caravan Production, which services artists in the field of performing and hybrid contemporary arts and offers flexible services.
Focusing on the real cases, Klaus Ludwig will try to answer the question as to how the unpredictable and immeasurable process of art intertwines with the calculable and strategic process of a cultural production that wants to open new fields for art and its audiences? The following day, workshop participants will have the opportunity to upgrade and optimise, together with Klaus, their actual projects and solve production and content issues they are confronted with.
Organised by: Contemporary Dance Association of Slovenia within the Gibanica and Contemporary Dance NetworkSlovenia

From February 21 to February 23 2013
► Stara mestna elektrarna – Elektro Ljubljana
Photo Exhibition

Miha Fras has been a photographer for over twenty years. He entered the stage of the performing arts’ world through his lenses, and focused in particular on the documentation of dance performances by the majority of Slovenian contemporary dance performers and on dance photography. Fras has been a regular contributor in Mladina magazine for twenty years. He is currently a freelance photographer and presents his works at solo and group exhibitions.

From February 21 2013 to Saturday, February 23

► Atrium ZRC

Being a dance theoretician and historian, I have started to create over the recent years my own audio-visual archive containing dance movies, recordings of performances, documentaries on choreographers and dance phenomena as well as a series of materials related to contemporary dance in quite various ways: histories of architecture and visual arts, performance, etc. In addition to my archive being available to the visitors of the Moving Cake festival, I will also be there to present the archive and to facilitate access to the specific topics.
The histories of the 20th century dance and film arts can also be considered flip sides of the same phenomenon or the same source. Indeed, both art practices were facilitated by the technological developments of the industrial revolution and the changes in 19th century society. For this particular reason, a part of contemporary dance was relatively well-documented on film. At a certain point, the idea of such an audio-visual archive struck me as a reasonable and useful one because it allowed me the research and clarification of certain dilemmas related to dance history. I made myself a promise to share it with interested parties until such time that Slovenia has an institution that will provide users access to such materials.
Rok Vevar