The dance performance by author and performer Kristina Aleksova in collaboration with Loup Abramovici and Tomaž Grom is based on the premise: “But a kiss is more than just the meeting of lips. A kiss is risky. A kiss is dangerous. A kiss is a death sentence. Kiss me.” “The title also indicates the central motif addressed by Kristina Aleksova and her dancing partner Loup Abramovici during the performance. Slovenian language defines a kiss as a touch with the lips as a sign of love and devotion, from where it also derives its etymological origin. But as the short but telling playbill warns us, it can also be risky and dangerous. But a kiss can also be a death sentence [Slov. poljubiti = “to kiss”;ubiti = “to kill”]” (Metod Zupan, Radio Študent, 4 February 2022).
Choreographers and authors: Kristina Aleksova
Co‑creator: Loup Abramovici
Performed by: Kristina Aleksova, Loup Abramovici, Tomaž Grom
Music: Tomaž Grom
Lighting: Špela Škulj
Producer: Via Negativa
Supported by: Ministry of Culture of the Republic of Slovenia, City of Ljubljana
Duration of the performance: 45 minutes
Kristina Aleksova graduated from the High School of Music and Ballet in 2002 and joined the SNG Opera in Balet Ljubljana Ballet Ensemble, where she also created some original performances, including Children from the Edge of Reality and How Deep is Your (W)hole. In 2017, she left the institutional sphere and delved into performance and contemporary dance to performance and contemporary dance. Among other things, she created the original solo Heart under the auspices of Via Negativa, which she originally performed in the form of a 72-hour performance and is constantly reproducing it. She also teaches dance and is a member of the art collective Hupa Brajdič.
Loup Abramovici grew up between Portugal and France, and has been living and creating in Slovenia since 2010. He studied at CNDC d’Angers and ICI CCN de Montpellier. As a versatile dancer and performer, he has collaborated with Meg Stuart, Vera Mantera, Loic Touzé, Mustapha Kaplan & Fillis Sizanli, Antonia Livingstone, Remy Heritier, Maja Delak, Bara Kolenc, Mala Kline, Matija Ferlin and many others. Between 2010 and 2015, he was developing his author’s work with Teja Reba, with whom they co-created several installations, performances and events. He is a regular collaborator with the theatre collective Via Negativa and Bojan Jablanovec, as well as the musician Tomaž Grom. He takes part in several productions of the Emanat Institute and is a regular member of the Feminalz group, where he has performed since 2013 as the stage character H.P.D. in the technoburlesque Image Snatchers.
Tomaž Grom understands music as a medium of communication rather than an aesthetic pleasure. He is looking for reasons to make music. He uncompromisingly stirs up the current social space. For him, music means searching, unexplained questions, the flow of ideas, uncertain situations. Composition is improvisation. Improvisation enables him to go crazy, make mistakes, get lost, and come up with intriguing solutions. In improvisation, problems give birth to reflections and open new paths. He has written original music for theatre and film for more than 60 projects in Slovenia, Croatia, Serbia and Italy.