It was around 10 P.M. when I arrived. I found her in one of her temporary apartments. A spacious living and dinning room, almost empty, with wooden floors and big windows, curtains wide open. It was in a small, three story building facing Westerpark, in Amsterdam. She made tea and at first looked willing to talk, but when she sat at the table she briefly glanced at the computer screen and then turned her head and looked towards the glass door of the balcony… I saw her withdrawing into herself like a candle in the dark… She sucked the whole energy of the room. Soon after that thought— or was it a feeling? — had arisen, I saw it leave me, and before it was immersed in the energy flow, the feeling-thought turned back, grabbed me by the hand and took me outside of myself. Now externalized, I was observing that wild woman with clear thoughts, who has been ready to abandon them whenever she was asked the right question. I hovered between her and myself. The screen lightened her profile. It didn’t say much. She was perfectly calm and only her eyes were moving rapidly as if she were reading or dreaming. I was under the impression she had forgotten that I was there, and it was not easy to break the silence in which she apparently felt comfortable. But I promised Mårten Spångberg that I would write 15 pages about post-dance and I knew I couldn’t do it without her. So… well, fuck it.
AV: It’s very late for an interview but I was told you wouldn’t mind.
AV: In fact, I prefer it this way. Now I’m a little tired after the whole day of teaching, and it’s similar to being drunk or drugged: borders dissolve.
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.