| BLITZ 2017: IN THE OPEN SEA | PROGRAMME |
DRAGANA SAPANJOŠ (HR)
performance // ± 60’
7/6/2017 | H 20.00
Pietro Bobicchio Passage// free entry
with the participation of choirs Zbor Lavanda Novigrad, Cittanova Vocal Ensemble, Zbor Rubino Rovinj, Vokalna skupina Istravaganti Umag, Coro di Comunità di Momiano, Gruppo vocale Ad Libitum di Verteneglio, Gruppo vocale della Comunità degli Italiani di Crassiza
Dragana Sapanjoš, one of the most audacious and resolute Croatian visual artists, after a long time of living in Milan in 2012 returns to Croatia in her Novigrad where she currently lives and works. To the invitation for opening BLITZ 2017 In the open sea, which centre is ideally the organ of the heart, symbol of courage, the artist recalls an old dream, an action still to be accomplished, and responds with another invitation: she asks women (and some men) of seven Istrian choirs to sing a song together, a tender scream of anger and hope. She entitles the performance Malebolge, the circle reserved to the hypocrites and the corrupt. Sapanjoš, along with the author of the song, asks: How to excuse hyenas in stadiums and newspapers? Don’t you feel a bit of sorrow for those bodies on the ground without heat? It will not change, will not change, no it will change, will it change?
DAVIS FREEMAN / RANDOM SCREAM (USA/BE)
late night festival show // 60’
7/6/2017 | H 22.00
Aperitiv Bar Circolo, Square Campitelli 1// free entry
Concept and direction: Davis Freeman // video graphics: Sam Vanoverschelde // production: Random Scream // with the support of: the Flemish Government // co-production: Damaged Goods, Buda Kortrijk, Rotterdam Schouwburg, Beursschouwburg
Karaoke(ART) is a “late-night festival show” in which artists and spectators sing the karaoke classics based on unique video pieces made by acclaimed video-makers from around the world. Each artist (among which Antonia Baehr as well) was given 30 songs to choose from and asked to use their own personal style to re-contextualize their work in a karaoke format. In his curatorial project, Davis Freeman (American artist based in Brussels with his company Random Scream) mixes the contemporary art world with this pop culture phenomenon to create something unexpected for both sides.
PETER KUS (SLO)
performance for children over 5 years of age and adults // 50’
8/6/2017 | H 9.00 + 10.30
Theatre Gandusio // Square Valdibora 17 // free entry
Concept, direction, music and performance: Peter Kus // in collaboration with: Miha Arh // Krumpirova pjesma: Boštjan Gorenc – Pižama // production: Zavod Federacija Ljubljana // co-production: Hiša otrok in umetnosti // with the support of: The Ministry of Culture Republic of Slovenia and City of Ljubljana
Peter Kus – a composer, puppet theatre director, instrument builder and educator from Slovenia – in his latest projects explores the field where music and theatre meet. Sound Kitchen is an interactive sound performance: instead of cooking food, here sounds are cooked! The story is placed in a kitchen, where spectators become guests. But the chef has lost his sense of taste. How can he now prepare food and cook? He discovers that he could restore his sense of taste by creating and listening to the sounds. If he is creating music, it is as he would be preparing and tasting food. Therefore, he becomes musician and composer who now “cooks” sounds, tastes its infinite combinations and enjoys the delicious sound extravaganza. His mouth has become his ears.
SURPRISES Experimental Cinema Corner
THOR HEYERDAHL (NO-SWE)
documentary film // 77’
8/6/2017 | H 20.00
Theatre Gandusio // Square Valdibora 17 // free entry
Release date: 1950 // directed and written by: Thor Heyerdahl // sa Thor Heyerdahl, Herman Watzinger, Erik Hesselberg, Knut Haugland, Torstein Raaby, Bengt Danielsson, Ben Grauer // music: Sune Waldimir
To demonstrate the possibility of transoceanic voyages in ancient times, in 1970 Norwegian anthropologist and explorer Thor Heyerdahl, with a papyrus boat like those used by the ancient Egyptians, crossed the Atlantic Ocean from Morocco to the Antilles. To confirm the thesis that colonization of Polynesia could have taken place in pre-Columbian times by South American populations, Heyerdahl forms a team consisting of a navigator and artist, a cook and a sociologist, two radio experts, an engineer and a parrot. Under the teachings of the Aymara Indians, they build a balsa wood raft, according to an Inca deity they call it Kon-Tiki, and on April 28, 1947 they leave for Polynesia. This fantastic utopian journey was documented, and in 1952 the film won the Oscar as Best Documentary. The book Kon-Tiki written by Heyerdahl in 1948 became a best-seller and was translated into 67 languages.
performing radio broadcast // 60’
8/6/2017 | H 22.00
Aperitiv Bar Circolo // Square Campitelli 1 // free entry
To celebrate the free communicative and diffusive power of radio waves, we have proposed to Topssy Raška (radio host at Radio Rovinj FM, and before at Radio 101, Pula, Maestral, 808) to create a live performance as if it were a Radio broadcasting. We asked him a monologue on BLITZ 2017 In the open sea themes, through music, stories and comments. Usually this work is done in the solitude of the studio, but in this occasion, it is staged in front of the audience. We will thus explore the theatrical and performative dimension of radio art. Topssy announces: “When you do a radio broadcast, it’s like doing a performance but as you have no real-time response, you never know if anyone is listening to you and what he or she thinks about it. It needs courage… all this story is like the sea you only see on the surface, but the status of the surface (calm, rippled, moved) doesn’t say anything about the real state, of the sea”. Raška likes to define his work as diving through the sounds.
Portraits of affinities in animal metaphors
ANTONIA BAEHR (DE)
theatre performance // 90’
9/6/2017 | H 22.00
MMC // Square brodogradilišta 5 // 70 kn
Concept and performance: Antonia Baehr // with compositions by: Frédéric Bigot (electronicat), Pauline Boudry, Valérie Castan, Lucile Desamory, Vinciane Despret, Sabine Ercklentz, Dodo Heidenreich, Christian Kesten, Keren Ida Nathan (Ida Wilde), Andrea Neumann, Stefan Pente, Isabell Spengler, Steffi Weismann, William Wheeler, a.o. // in collaboration with: Valérie Castan // production: make up productions (Berlin) // koprodukcija: Centre chorégraphique national de Montpellier Languedoc Roussillon (Montpellier), HAU Hebbel am Ufer (Berlin), Kunstenfestivaldesarts (Brussels), PACT Zollverein (Essen), steirischer herbst (Graz), Tanzquartier (Vienna), Les Subsistances (Lyon), NXTSTP with the support of the Culture Programme of the European Union
Antonia Baehr is Berlin-based choreographer and a filmmaker. Among other themes, her works examine the fiction in everyday life and the fiction in theatre. In Abecedarium Bestiarium – a playful act of veiling and unveiling full of poetic mimicry – Antonia has invited her friends to write short pieces for her, based on an ABC of extinct animals: D is for Dodo, T is for Tasmanian tiger, S is for Steller’s sea cow… The authors choose an extinct animal that they feel strongly about. This brings about heterogenous choreographic miniatures in which they reflect their respective affinity to the chosen animal as well as their friendship to Antonia Baehr.
CRISTINA KRISTAL RIZZO (IT)
H 21.30 > dance performance // 50’
H. 23.00 > Palm Wine dj set // 120’
Mulini Beach Bar // Promenade Lone // free entry
Concept and choreography: Cristina Kristal Rizzo // with: Annamaria Ajmone, Cristina Kristal Rizzo, Simone Bertuzzi // sound and Djing: Simone Bertuzzi aka Palm Wine // light design and technical direction: Giulia Pastore // production: CAB 008 // with the support of: Regione Toscana, MiBACT // koprodukcija: La Biennale Danza – Venezia // in collaboration with: Terni Festival
BoleroEffect by Cristina Kristal Rizzo – dance-maker active in the Italian dance contemporary scene since the early 1990s – is a choreography which, based on the idea that Ravel’s Bolero is the most popular orchestral score in the world, explores a body condition in its “maximum opening”, forcing the enchanting sinuosity of the trajectory of an excited mass. But what is actually a Bolero? It’s like a desert island, a place where to start all over, a sound track in which to practice erotics of the body attempting to break the composure and to push towards other dimensions. Ravel’s Bolero, this “exercise in compulsive behaviour” drags us in, without any allusion, without nostalgia, in a state of exaltation, in a collective involvement.
BoleroEffect’s captivating energy expands, surpassing its choreographic time to continue at the end of performance, in a post-global dance hall characterized by warm border-crossing tunes, curated by Palm Wine. As an archaeological race between tropical rhythms and melodious sounds, BoleroEffect Rapsodia_The long version gradually leads the audience in the night-time. This dance hall is open to everyone!