Transdisciplinary research project (2015-...) by Bojana Cvejić, Marta Popivoda and Ana Vujanović
After the twentieth century has been cast as the century of the self, the question arises of how the contemporary expressions of the self in the public and private domains of social life could be best accounted for. According to a prominent thesis of diverse approaches in social sciences throughout the twentieth century, the self is constructed through performances and technologies that rest on the metaphors of theatricality and choreography. Thus the notable analytical models of the self being constructed through performance include body techniques and habitus (Marcel Mauss, Norbert Elias, Pierre Bourdieu); act and gesture (Michael Bahktin), social roles and performance of the self (Erving Goffman), technologies of the self (Michel Foucault), man as actor (Richard Sennett), and performing identity (Judith Butler). The project investigates the contemporary practices of the self in search of a model that best describes and interprets their current form, basing itself on the contemporary theories of performance, dance and theater.
Artistic experiment on social choreography of democracies by Ana Vujanović
I set an experimental artistic process based on the premise of working together, in a group, on the issue of the democracy as a real-existing organization of social situation. The experiment takes as its point of departure the cinematic score by experimental filmmaker Heinz Emigholz for his movie Schenec-Tady I (1973).
Heinz Emingholz: score plan
Firstly, five performers interpret that score individually, creating artistic materials separated from each other and then they get together and negotiate how to create the group situation democratically, starting from the five solos.
This experiment can result in a presentation, performance or stay in a laboratory framework.
Every time the process is different, as well as its results, since the types, forms and principles of democracy which are examined and physically probed depend on the artists involved and their social contexts and concerns.
For that reason I’m especially interested in the contexts with fragile democracy, where we can see it weak and under the question.
Transdisciplinary research project by Bojana Cvejić, Marta Popivoda and Ana Vujanović
In the frame of TkH [Walking Theory] residency How To Do Things By Theory at Les Laboratoires d’Aubervilliers (2010-2012), we started a research about Performance and the Public. The main focus of Cvejić’s and Vujanović’s theoretical part of research are the concepts of “social choreography” and “social drama”, while Popivoda focuses on mass performances of ideology in former, socialist Yugoslavia.
Presentation of the research Performance and the Public at the symposium “Broken Performances: Time and (In)Completion”, March 21-23, 2013, Zagreb:
theoretical-artistic research and performance by Ana Vujanović and Saša Asentić
The domain of the project Examining communitas (Communitas na ispitu) is the performing arts, dance in particular, by means of which we are trying to understand our recent social history and its actual state of affairs in terms of body images, behaviour in public, and relations between human beings as social subjects.
sinisa ilic, katarina popovic: on trial together – an illustration
The project is context-based, as these images of the body are informed by two main social contexts of the twentieth century, both of which we have lived in – Eastern socialism and Western neoliberal capitalism. We start with our life-experienced limbo between them.
Research on critical discourses on the contemporary performing arts scene in Madrid, by Marta Popivoda and Ana Vujanović
The research on critical discourses on the contemporary performing arts scene in Madrid is organized within Matadero – El Ranchito, Madrid, and in collaboration with Artea.
Co-authors: Ana Vujanović, Marta Popivoda
“We are not the experts on cultural mapping who come to Madrid to ‘investigate’ its performing arts scene, nor we approach it as an exotic tribe. We define ourselves as ‘aliens’ to the scene, who are theoretically-politically laden. Thus, with our theoretical-artistic research we could hopefully give a challenging insight into the scene, being outside its circles, clans, and doxa. On the other hand, we see this research as a tool to re-think our own context and scene, as well as the concepts with which we operate.