CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana. 7(100)-055.2(067) 061.7(497.4Ljubljana) 2008

Transcription

1 CIP Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7(100)055.2(067) 061.7(497.4Ljubljana) 2008 MEDNARODNI festival sodobnih umetnosti (14 ; 2008 ; Ljubljana) Surova simbioza : živali, narava, kultura = Raw symbiosis : animals, nature, culture / 14. mednarodni festival sodobnih umetnosti [tudi] Mesto žensk, oktober 2008 = 14th International Festival of Contemporary Arts [also] City of women, 9th 17th October 2008 ; [besedila Milijana BabiÊ... [et al.] ; prevod, urednica Maša PeËe]. Ljubljana : Mesto žensk društvo za promocijo žensk v kulturi, 2008 ISBN Gl. stv. nasl. 2. Vzp. stv. nasl. 3. BabiÊ, Miljana 4. PeËe, Maša

2 Urnik / Timetable 02:03

3 Kazalo / Contents 04:05

4 KDO JE KDO / WHO S WHO Prireditelj / Organized by: Mesto žensk Društvo za promocijo žensk v kulturi City of Women Association for the Promotion of Women in Culture Kersnikova 4, 1000 Ljubljana, Slovenija Pisarna / Office: Metelkova 6, 1000 Ljubljana, Slovenija T: +386 (0) / +386 (0) E: info@cityofwomen.org W: cityofwomen.org W: cityofwomengoesweb.org Častna predsednica društva / Honorary President of the Association / Mag. Mateja Jesenek Programski vodji / Artistic directors / Katja Kobolt, Dunja Kukovec Gostujoči kuratorji / Guest curators / Koen Van Daele, Jurij Meden, Petra Slatinšek, Miha Zadnikar Administracija, finance in koordinacija gostov / Administration, finances and guest coordination / Urška Jež, Pija Bodlaj Produkcija / Production / Jasmina Založnik Odnosi z javnostmi / Public relations / Irena Plešivčnik Tehnična direktorica / Technical director / Karmen Klučar (Cankarjev Dom) Produkcijska ekipa / Production team / Milijana Babić, Pija Bodlaj, Ana Grobler, Urška Jež, Katja Kobolt, Dunja Kukovec, Tina Perić, Alenka Pirman, Luka Prinčič, Tina Smrekar, Milan Vračar, Jasmina Založnik COWeb koordinacija / COWeb coordination / Samo Gosarič Celostna podoba festivala 08 / Festival visual identity 08 / Saša Kerkoš & Neja Engelsberger Spletna stran / Home page / Saša Kerkoš, Neja Engelsberger (oblikovanje / design), Gabrijela Ivanov (administracija / joomla expert) COWeb programiranje in spletna podpora / COWeb programming and web assistance / Roer Foto dokumentacija / Photo documentation / Nada Žgank Video documentacija / Video documentation / Urša Potokar, Robertina Šebjanič, Tina Smrekar Sodelavci in sodelavke iz Cankarjevega doma Ljubljana / Colleagues from Cankarjev dom Ljubljana: Jazz, etno in drugi glasbeni programi / Jazz, ethno and popular music manager / Bogdan Benigar Gledališki in plesni program / Theatre and dance programme manager / Alja Predan Služba za trženje programa in odnose z javnostmi/marketing and public relations department manager / Saša Globačnik Informacijski center Cankarjevega doma / Information centre and ticket sales manager / Andreja Šteblaj Katalog / Catalogue: Urednica / Editor / Maša Peče Uredniški odbor / Editorial board / Katja Kobolt, Dunja Kukovec, Maša Peče Besedila / Texts / Milijana Babić, Igor Bašin, Helena Božič, Mateja Jesenek, Leja Jurišić, Katja Kobolt, Bara Kolenc, Dunja Kukovec, Hanna Sybille Müller, Maša Ogrizek, Maša Peče, Pila Rusjan, Petra Slatinšek, Jasmina Založnik, Koen Van Daele, Lidija Živčič Prevod / Translation / Maša Peče Lektura slovenskega jezika/slovene language editing / Mojca Hudolin Lektura angleškega jezika/english language editing / Dean DeVos, Petra Zaranšek Oblika / Design / Saša Kerkoš & Neja Engelsberger Tisk / Print / Tiskarna Emona Naklada/Printrun / 4000 Posebna zahvala / Special thanks to: Héctor Aguilar, aktivistke Fondacije Cure/ Foundation Cure Activists in/and Starke, Tarek Atoui, Danica Baiee, Martin Bricelj, Rada Borić, Članice in člani Društva Mesto žensk/ City of Women Association members, Zvonimir Dobrović, Sibel Erkan, Neca Falk, Festival Rdeče zore, Stanka Gačnik, Eva Geršak in Milena Lebar, Natascha Grilj, Bojana Humar, Nataša Japelj in Janko Oven, Leena Jerončič, Bojana Leskovar, Vida Ogorelec Wagner, Maša Ogrizek, Eva Pacher, Sandra Peršak, Jelena Petrović, Antoine Pickels, Janina Pintar, Teja Piškur, Senja Pollak, Sabina Potočki, Mitja Rotovnik, Zlata Sašek, Astrid Schwarz, Anamarija Slabe, Tone Stojko, Ömür Ünsay, Mara Vujić VSTOPNICE & FESTIVALSKE LOKACIJE Vstopnice za vse plačljive prireditve (razen filmskega programa in predstave Julie Bardsley) bodo v predprodaji pri blagajni Cankarjevega doma. Za vse dogodke izven Cankarjevega doma bodo vstopnice na voljo tudi uro pred začetkom prireditve pri blagajnah posameznih prizorišč. Vstopnice za filmski program v Kinodvoru bo mogoče kupiti pri blagajni Kinodvora. Na voljo je tudi komplet vseh vstopnic za Polotok žensk filmski program za, ceno 20. POPUSTI: Pri posameznih dogodkih nudimo študentom in upokojencem poseben popust! (Glej program) Cankarjev dom Prešernova 10, 1000 Ljubljana, Slovenija Informacijsko središče (blagajna) / Information Centre (Box Office) Odprto vsak delavnik / Open workdays: , Ob sobotah / Saturdays: in uro pred začetkom prireditve / and an hour before the event T: +386 (0) E: tickets@cdcc.si W: cdcc.si Vstopnice lahko kupite tudi po telefonu / Tickets can be purchased by telephone: T: +386 (0) Vsak delavnik / Workdays: Ob sobotah / Saturdays: Galerija Alkatraz Alkatraz Gallery Masarykova 24, 1000 Ljubljana, Slovenija T: +386 (0) Odprto / Open: pon / Mon tor / Tue: sre / Wed per / Fri: Galerija Kapelica Kapelica Gallery Kersnikova 4, 1000 Ljubljana, Slovenija T: +386 (0) W: kapelica.org Galerija Škuc Škuc Gallery Stari trg 21, 1000 Ljubljana, Slovenija T: +386 (0) W: galerija.skucdrustvo.si Gledališče Glej Glej Theatre Gregorčičeva 3, 1000 Ljubljana, Slovenija T: +386 (0) W: glej.si BOX OFFICE & FESTIVAL VENUES Tickets for all payable events (except for the film programme and performance by Julia Bardsley) can be purchased at the Cankarjev dom box office. Tickets for events in venues other than Cankarjev dom are also available one hour before the event at the venues box offices. Tickets for the film programme are available at the Kinodvor box office, including the entire Penisola delle Donne the City of Women film programme pass ( 20). DISCOUNTS: There are students and seniors concessions for some events! (See programme) Kinodvor Kolodvorska 13, 1000 Ljubljana, Slovenija T: +386 (0) Blagajna / Box office: +386 (0) E: info@kinodvor.org W: kinodvor.org Menza pri koritu AKC Metelkova mesto Metelkova 4, 1000 Ljubljana, Slovenija W: menzaprikoritu.org Miheličeva galerija Mihelič Gallery Dravska 4, 2250 Ptuj, Slovenija T: +386 (0) E: muzejptuj.uprava@siol.net W: pokmuzejptuj.si Plesni Teater Ljubljana Ljubljana Dance Theatre Prijateljeva 2, 1000 Ljubljana, Slovenija T: +386 (0) Stara elektrarna Elektro Ljubljana The Old Power Station Elektro Ljubljana Slomškova 18, 1000 Ljubljana, Slovenija T: +386 (0) W: bunker.si/slo/staraelektrarna ZOO Ljubljana Večna pot 70, 1000 Ljubljana, Slovenija T: +386 (0) W: zooljubljana.si 06:07 Kdo je kdo / Who s Who // Vstopnice & festivalske lokacije / Box Office & Festival Venues

5 živali narava kultura»lovek se nad žival ne dvigne s tem, da dá življenje, ampak s tem, da tvega svoje lastno; zato v Ëloveštvu veëvrednost ni pripisana spolu, ki rojeva, ampak spolu, ki ubija. Simone de Beauvoir KURATORSKI UVODNIK V letošnjem festivalskem programu, ki smo ga naslovili Surova simbioza, si želimo, da bi tudi vi, naši zvesti in novi obiskovalci in obiskovalke, ob gledanju in sodelovanju pomislili na»živali in naravo«kot naše sobitje. Narava namreč ni»nekaj«, kar je potrebno spremeniti, ukrotiti, udomačiti ali nadvladati. Če bomo superiorni, kot smo drveli naprej kot muhe v pajkovo mrežo, bomo med prijetnim hranjenjem res da uživali v prelepem ambientu, a verjetno prepozno ugotovili, da smo zasidrani nekje, kjer pravzaprav nihče od nas ni želel končati. Glede na to, da tukaj in zdaj ne želimo, niti ne zmoremo končati, je najbolje, da se ozremo k začetku. Na Mestu žensk smo, da bi prevprašali biologistično vrstoslednost in logiko korporativne artiklomatizacije, prvič v festivalski zgodovini razdelili festival na discipline. Ob tem nas ni vodila le želja po večji preglednosti bogatega transdisciplinarnega programa, ampak tudi po osvetlitvi tiste soodvisnosti in sodelovanja, ki ne potrebujeta presežka komunikacije in povezovanja. Tako kot v biotopu je tudi v Morfotopu, otvoritveni predstavi Sanne van Rijn, odvisnost obravnavana kot stanje stvari, kjer skoncentrirani presežek lahko povzroči uničenje. Četudi prihajamo iz različnih svetov, spolov, ozadij ali korenin mora dejstvo, da stopamo skupaj, sprožiti afirmativno politiko, v kateri igralec, homoseksualka, osel, svinja ali opica niso ogroženi. Umetnice, teoretičarke in aktivistke 14. Mesta žensk predlagajo na eni strani manj komunikacije, a več participacije, tolerance in razumevanja, na drugi pa manj lastnine ter več skromnosti in zasidranosti v»zdaj«. Ob vseh informacijah, s katerimi smo zasuti, sodobni, tehnološko opredeljeni subjekt še vedno ne zmore s polno odgovornostjo razmišljati a) o sebi kot o delu narave ali tehnologiji kot novi naravi in b) o življenju, ki ga sestavlja tisti»zdaj«, v katerem človek potrebuje tako malo, da ni nobene potrebe sebi in drugim oteževati minljivosti. O»zdaj«in»odnosu do narave in v naravi«bo na osrednjem predavanju govorila zagrebška raziskovalka Karmen Ratković, ki bo zaključila celotedenski brezplačni izobraževalni program v Galeriji Škuc. Ob pestrem izobraževalnem programu, ki vključuje teme, kot so aktivno državljanstvo za okoljevarstvo, agroindustrija, pravica do upora, umiranje in smrt, izboljšanje življenja živalim, smo veliko programa namenili tudi t. i. generaciji y, prav posebej za njih pa pripravili mladinsko delavnico o permakulturi. Festivalska nedelja bo kot vedno vesela in primerna za otroke, saj bodo po ogledu delavnice masaže psov lahko obiskali lutkovno delavnico in potem uživali v kratkem programu animacij Vere Neubauer. Z velikim veseljem bomo letos ponovno preživeli več časa v Kinodvoru, saj bosta poleg projekcij dokumentarnih filmov na ogled dva, do zadnjega diha presunljiva filma Isild Le Besco, ki sta tako preprosta, kot je na videz brezskrbno življenje mladostnikov ali otrok brez staršev. Letošnji tako rekoč»makrobiotični«glasbeni program predstavlja po večini Slovanke raznovrstnih muzikalnih»provenienc«: hrvaški punk elektro trio Klaus, beograjsko hiphoperko Sajsi MC, češko plesno elektroniko My Name Is Ann, rusko folk rock zasedbo Iva Nova in slovensko akademsko glasbeno eksperimentatorko Majo Osojnik, v sestavi Subshrubs. Če vam stanje stvari na Zemlji ne privošči mirnega spanca, si po dnevnem udejstvovanju privoščite še osvežujoč plesni program z djkami TIno Darling, Irradiation, Timiko ali e.llem. Na 14. festivalu Mesto žensk pričenjamo tudi z večletnim evropskim partnerskim projektom»a Space For Live Art«, v katerem smo se zavezali k spodbujanju žive umetnosti, ali drugače: performansa kot neposrednega umetniškega izraza, ki z minimalnimi sredstvi ustvarja maksimalne učinke. To velja zlasti za Violeto Luno, Julio Bardsley, skupine Conservas, subrosa in A2, pa tudi za Slovenki Pilo Rusjan in Femino Ludens. Predstavili bomo tudi dva javna projekta: bizarno»animali[sti]čno«delo Isabelle Krieg in Marianne Engel ter popestritvene mehanizme za živali znanstvenice in intermedijske umetnice Natalie Jeremijenko. Z veseljem premierno predstavljamo kar tri nova dela domačih scenskih ustvarjalk Tine Valentan, Bare Kolenc in Leje Jurišić skupaj s Hanno Sybille Müller, ki v predstavah raziskujejo paradigme svobode. Z nesvobodo in determinizmom se soočajo tudi protagonistke v dokumentarnih videih Kinde Hassan in Selde Asal. Lahko je govoriti o absolutu (človeške) svobode, vendar če ne prej, je v diskurzu o živalih, naravi in tehnologiji jasno, da ta ne obstaja, ampak da je svoboda pot, način, proces ali postajanje. Torej v prepričanju, da smo (do) končno svobodni, si dovoljujemo nenehne prepovedi, zapovedi in omejevanja največkrat drugim, pa tudi sebi. Ko bi se za trenutek ustavili bodisi v praznem prostoru ali na zeleni jasi z medvedi, bi ugotovili, da nimamo pravice biti svobodni, dokler svobode drugega ne prepoznamo kot potrebo po samoomejitvi. Zgodovinsko so se s tem spopadali predvsem šibkejši: ženske, revni, živali in drugi, ki so v nekaterih primerih omejevani še danes. Zato gre predvsem za izkoreninjenje ideje, da mora biti samoomejevanje nekaj lastnega šibkejšim. Nasprotno samoomejevanje [p]ostaja možnost oziroma odgovornost pozicije moči. Tako Surova simbioza ne govori samo o naravi, ampak tudi o [naših] odnosih in mejah o začetkih in koncih. Danes je članici naše ekipe umrla bližnja oseba. Uvodnik tako posvečamo vsem, ki so se tako ali drugače soočili z umiranjem ali smrtjo. Katja Kobolt in Dunja Kukovec, umetniški vodji 14. mednarodnega festivala sodobnih umetnosti Mesto žensk Ljubljana, 27. avgust :09 Kuratorski uvodnik

6 animals nature culture It is not in giving life but in risking life that man is raised above the animal; that is why superiority has been accorded in humanity not to the sex that brings forth but to that which kills. Simone de Beauvoir CURATORIAL INTRO In this year s festival programme, entitled Raw Symbiosis we wish that while observing and participating, you, our faithful and new audience, think of animals and nature as our cobeings and not as something that must be changed, tamed, domesticated, and subdued. If we superior as we are continue to rush around headlessly as flies into a spider s web, we might indeed enjoy our pleasant meals in a wonderful ambience, but we will be too late to realize that we are caught in a place we never wanted to end up in. And since we neither want to nor can end up in the here and now, it is best we look back toward the beginning. To examine the biologistic categorization and the logic of corporate commodification, we have decided for the first time in the City of Women history to classify festival events according to discipline. By doing so we not only wish to introduce some clarity into our rich transdisciplinary selection, but also to shed light on the interdependence and collaboration which do not need excessive communication and linkage. In Sanne van Rijn s opening performance Morphotope, as in a biotope, dependence is perceived as the state of things in which condensed excess can lead to destruction. Although we come from different worlds, genders, backgrounds, or roots, the fact that we coexist side by side must trigger an affirmative policy in which an actor, a queer, a donkey, pig, or monkey are not threatened. The artists, theoreticians, and activists of the 14th City of Women festival propose less communication and more participation, empathy, and tolerance; less property and more modesty, grounded in the now. Despite all the information available to modern technologically determined human beings, we are still unable to contemplate with full responsibility a) ourselves as part of nature or technology as the new nature and b) our lives as part of the now in which a person needs so little that it need not make the transitory existence of self and other so difficult. In her keynote lecture, concluding the weeklong free educational programme at Škuc Gallery, the Zagrebbased researcher Karmen Ratković will tell us more about the now and our relationship towards nature. In addition to an abundant educational programme on active environmental citizenship, the agroindustry, the right of resistance, death and dying, and animal enrichment, we have prepared a rich selection for the so called generation Y with a specially designed youth workshop on permaculture. As always, the festival Sunday will be cheerful and appropriate for children, with a dog massage workshop, a puppet workshop, and Vera Neubauer s animated shorts on top. We look forward to spending more time in Kinodvor once again, where apart from documentary screenings, we will enjoy two breathtaking films by Isild Le Besco, which are as simple as the seemingly carefree lives of children and teenagers growing up without parents. This year s somewhat macrobiotic musical programme will introduce mainly Slavic musicians of diverse musical provenance: the Croatian punk electro trio Klaus, the Belgradebased hiphopper Sajsi MC, the Czech dance electronic My Name Is Ann, the Russian folkrock band Iva Nova, and Subshrubs with the Slovenian academic musician and experimentalist Maja Osojnik. If the situation on Earth keeps you awake at night, treat yourselves to our colourful DJane programme with DJanes TIna Darling, Irradiation, Timika and e.llem after the daytime events. At the 14th City of Women we are also starting a multiannual European partnership project A Space For Live Art, with which we pledge to encourage and promote live art, in other words performance art as that direct artistic expression which creates maximal effects through minimal means. This holds true especially for Violeta Luna, Julia Bardsley, Conservas, subrosa and A2 collectives, as well as Slovenian artists Pila Rusjan and Jana Prepeluh. We will also introduce two public art projects: the bizarre animalistic work of Isabelle Krieg and Marianne Engel, and animal life enrichment mechanisms from scientist and intermedia artist Natalie Jeremijenko. We also proudly present the premieres of three new works by Slovenian performance artists Tina Valentan, Bara Kolenc, and Leja Jurišić together with Hanna Sybille Müller, which explore the paradigms of freedom. While the protagonists of Kinda Hassan s and Selda Asal s documentary videos are also confronted with the reality of nonfreedom and determinism. It is easy to talk of the absolute of (human) freedom, but if not sooner, it becomes clear within the discourse on animals, nature, and technology that no such thing exists. That freedom is a path, a manner, a process, or a way of becoming. In the belief that ultimately we are free, we allow ourselves to impose endless prohibitions, commands, and restrictions mostly on others, yet also upon ourselves. If we would stop for a moment, either in an empty space or in a green meadow surrounded by bears, we would realize that we have no right to be free, unless we recognize the freedom of others as a need for selflimitation. In the past, those weaker usually faced these issues: women, the poor, animals, and others who are at times still subject to repression. What is essential, therefore, is uprooting the idea that selflimitation is inherent to the weak. On the contrary: selflimitation is (becoming) the option, or rather the responsibility, of the position of power. Thus the raw symbiosis speaks not only of nature, but of (our) relationships and limits the beginnings and the ends. One of our crew members today lost a person so very dear to her. Let us therefore dedicate this introduction to all of us who have, in one way or another, encountered death. Katja Kobolt and Dunja Kukovec, Artistic directors of the 14th International Festival of Contemporary Arts City of Women Ljubljana, 27th of August :11 Curatorial Intro

7 NAGOVOR ČASTNE PREDSEDNICE Na prastaro vprašanje o tem, kaj je prej ali kaj bolj potrebujemo je prvo uspešno poslovno okolje, ki daje osnovo za razcvet človeškega ustvarjanja, ali pa je najprej umetnost, ki nas bogati in jo poslovno okolje prepozna kot dodaten impulz za kreativno vrenje je odgovor morda nepomemben. Pomembnejše vprašanje je, kaj je tisto, kar lahko že zdaj prepoznamo kot neminljivo. Je to nekaj, v čemer uživa samo omejeno število ljudi, kar bogati samo nekatere, ali pa je to nekaj, kar navdušuje množice? In zakaj bi si pravzaprav prvo vprašanje postavljali vedno znova? Zakaj bi ugibali o tem, kakšne so med nami razlike, namesto da bi iskali podobnosti? Saj nas oboje, tako v svetu umetnosti kot v svetu posla, pač žene tja, kamor mislimo in čutimo. In pravzaprav se srečujemo na isti poti. Skoraj vsaka podjetnica, pravnica, profesorica ima obisk galerije ali predstave za presežek in za tisto, kar moramo narediti za svojega duha. In vsaka umetnica se mora spopadati s produkcijo, z organizacijo, z zbiranjem sredstev in z drugimi zelo poslovnimi zadevami, da lahko sploh uspešno ustvarja. Ali je res tudi obratno, da poslovne ženske gledamo na umetnice z malo distance in ali umetnice gledajo na nas z malo nezaupanja? Umetnost in kultura potrebujeta prostore, materiale, fundacije, sponzorje, donatorje, mecene, podporo, denar. In posel in gospodarstvo potrebujeta umetnost in kulturo, ki naj oplajata in širita spoznanja, občutenja ter naše človeško zavedanje. Ne eno ne drugo ni samo sebi namen, je povezano, prepleteno, celo združeno. Vrhunski menedžerji skušajo v slikarstvu, kiparstvu, glasbi širiti svoje osebne in poslovne vizije, prebuditi sposobnosti, ki bi jim omogočile še uspešnejše delo. In tudi ni naključje, da imamo za velike sodobne umetnike tudi tiste, ki so obenem odlični poslovneži, komercialno najuspešnejši, njihova dela dosegajo vrtoglave cene. Žal tako vse prevečkrat merimo raven umetnosti v našem materialnem svetu. Vprašanje, postavljeno na začetku, je dostikrat vsiljeno. Tudi zato sem prepričana, da so mnoge razlike in včasih zaznana napetost odnosa med poslom in umetnostjo le navidezni oziroma so podobnosti in stične točke veliko bližje, kot smo sami pogosto pripravljeni videti. Kot dinamika na relaciji živalinaravakultura in človekove umeščenosti v njej, s čimer se spopada letošnji festival Mesto žensk. Ni vedno pravih odgovorov, pomembno je, da si zastavljamo prava vprašanja in iščemo raznotere odgovore. Tako v samih sebi kot v najširših družbenih in naravnih povezavah. Zato, ker se tiče nas vseh. Mag. Mateja Jesenek, častna predsednica Društva za promocijo žensk v kulturi Mesto žensk ALLOCUTION OF THE HONORARY PRESIDENT What should come first and what is more important is it a thriving commercial environment in which human creativity can flourish, or is it art which makes us richer and which the commercial environment recognizes as an additional impulse for creative fermentation? Perhaps the answer to this ageold question is unimportant. Perhaps what we should ask ourselves is What can we today recognize as immortal? Is it something merely a handful of people enjoy, or is it something that enraptures the masses? And why should we even perpetuate the first question posed? Why should we speculate about the differences between us, instead of searching for what we have in common? In art as in business we are driven by our thoughts and emotions. Indeed, we meet on the same path. Every businesswoman, lawyer, or professor perceives a visit to a gallery or performance as a surplus, as something she must do for her mind and spirit. And each artist must deal with the problems of production, organization, fundraising, and other essentially commercial issues in order to successfully create. Does the opposite hold as well? Do businesswomen keep artists at a distance and do artists perceive businesswomen with a touch of distrust? Art and culture need spaces, materials, sponsors, donors, benefactors, support, and funding. The business world and economy need art and culture which fertilize and broaden our comprehension, perception, and awareness. Neither of them is an end in itself, they are interconnected, intertwined, even joined. Top managers try to broaden their personal and professional visions and stimulate their business talents through painting, sculpting, music And it is no coincidence that the greatest contemporary artists are often also excellent businesspeople, their works reaching headspinning prices, since unfortunately, this is how we much too often measure artistic standards in our material world. The question posed at the beginning is often forced upon us. This is one of the reasons why I believe that many differences and tensions of the artbusiness relationship are merely apparent, that similarities and common grounds are much more tangible than we are prepared to admit, much the same as the dynamics of the animalnatureculture axes and the place of humans along its lines, which are the issues of this year s City of Women Festival. Correct answers do not always exist, what is important is asking the right questions and searching for answers which are manifold, searching within ourselves and within the broadest social and natural relations. Because these are the questions which concern us all. Mateja Jesenek, M.Sc., Honorary President of the City of Women Association for the Promotion of Women in Culture 12:13 Nagovor častne predsednice / Allocution of the Honorary President

8 14:15 Scenske umetnosti / Performing Arts

9 16:17 1 Sanne van Rijn (Amsterdam/Gent) Morfotop otvoritvena predstava 14. festivala Mesto žensk četrtek, 9. oktober, Cankarjev dom, Linhartova dvorana»vrtnar vpraša grmiček, ali bi želel postati žival, in obstriže njegove veje v obliko slona. Cirkusant ukaže svojemu psu, naj zalaja pesem in mu nadene obleko.«priznana gledališka ustvarjalka Sanne van Rijn je ustvarila minimalistično in komično parabolo o utvari posameznikove svobode. Čeprav menimo, da se od živali ločimo po svobodni volji in delovanju, smo praviloma ujetniki podobe, ki naj bi jo drugi imeli o nas. Sanne van Rijn uporabi osnovno, a zato še kako učinkovito govorico odrskega telesa, da (o)smeši našo nadutost. Norme, vrednote in drugi smerokazi naših dejanj niso abstraktnosti, ampak rezultat naše interakcije in moči. Tako se tudi norme, vrednote in naše vedenje lahko spremenijo. Sanne van Rijn je klasična balerina, fotografinja in ena najprodornejših sodobnih nizozemskih gledaliških režiserk. Veliko je sodelovala s priznano gledališko skupino ZTHollandia, trenutno pa ustvarja pod okriljem produkcijske hiše NTGent. Njena estetika in pronicljiva humorna vivisekcija sodobnega človeka temeljita na načelu»manj je več«. Je dobitnica nagrad VSCD Mime Prize in Incentive Prize for Drama mesta Amsterdam. Njene stvaritve so gostovale širom sveta na pomembnih odrih in dogodkih sodobne scenske umetnosti. ntgent.be Koncept in režija: Sanne van Rijn Izvedba: Tamayo Okano, Ayako Wantanabe, Mioko Yoshihara Po predstavi sledi družabni večer s skrivno gostjo, ki ga bosta zaključila DJka Sestra in DJ Brat. Z gosti in povabljenimi se dobimo v Klubu Cankarjevega doma. V sodelovanju: Cankarjev dom S podporo: Veleposlaništvo kraljevine Nizozemske (Fokus 08) Vstopnina: 7, 9, 12, 14 2 Leja JurišiÊ & Hanna Sybille Müller (Ljubljana/Berlin) Skrito/Šibkost plesni duet petek, 10. oktober, premiera sobota, 11. oktober, ponovitev Plesni Teater Ljubljana Kadar smo šibki, se hočemo skriti. Nočemo razkriti svoje ranljivosti, dejstva, da ne moremo ne razložiti ne doseči, se bojevati, razpravljati, se učiti ali ljubiti. Nekaterim med nami se zdi povsem nemogoče svoje slabosti pokazati drugemu. Šibkost predpostavlja Drugega, ki je čisto nasprotje šibkega, čisto nasprotje šibkosti same je močan, trden, stalen in stabilen vsaj na videz. Skrito/Šibkost je kolaborativen plesni duet, v katerem se koreografinji soočata z individualnimi in družbenimi slabostmi. Skozi fizično, prostorsko abstrakcijo svojih različnosti v plesu, razmišljanju, strukturiranju in ustvarjanju iščeta tiste misli, občutke in situacije, ki tako zelo želijo ostati skriti. song and puts him in a dress. Accomplished theatre artist Sanne van Rijn has created a minimalist and humorous allegory about the illusion of personal freedom. Although we believe that free will and free action separate us from animals, we are in reality prisoners of other people s representations of ourselves. Sanne van Rijn employs a basic, yet immensely effective stage body language to mock our presumptuousness. Norms, values, and other guideposts directing our behaviour are not abstract entities, but rather the result of interactions and power relations. And as such they are not impervious to change. 1 Sanne van Rijn (Amsterdam/Gent) Sanne van Rijn is a classical ballerina, photographer, and one of the most striking contemporary Dutch theatre directors. She has staged various performances, Morphotope opening performance of the 14th City of Women festival Thursday 9th October, 8 p.m. Cankarjev dom, Linhart Hall The gardener asks the bush whether it wants to become an animal, and trims its branches into the shape of an elephant. The circus performer asks his dog to bark a In collaboration with: Cankarjev dom With the support of: the Royal Netherlands Embassy Ljubljana (Fokus 08) Admission: 7, 9, 12, 14 2 first with ZTHollandia and subsequently with NTGent. Her aesthetics and piercing humorous vivisection of contemporary man rest on the principle that less is more. In 2000 she was awarded the VSCD Mime Prize and the Incentive Prize for Drama by the City of Amsterdam. Her works have toured the globe, appearing at leading events and on notable stages of contemporary performing art. ntgent.be Leja JurišiÊ & Hanna Sybille Müller (Ljubljana/Berlin) Concept, directed by: Sanne van Rijn Cast: Tamayo Okano, Ayako Wantanabe, Mioko Yoshihara Hidden dance duet Friday 10th October, 9 p.m. premiere Saturday 11th October, 10 p.m. reprise The performance will be followed by a social evening with a secret guest, concluded by DJane Sestra and DJ Brat. We will meet our invited guests at the Cankarjev dom CD Club. Scenske umetnosti / Performing Arts

10 18:19 Leja Jurišić has a degree in Law, and is a choreographer and dancer. Her choreographic works include Rehearsing Freedom with Teja Reba (2008) and R z R (2005). Hanna Sybille Müller is a German choreographer and a dancer. She studied dance at the Rotterdam Dansacademie. Currently she studies at the Berlin University of the Arts (UDK). Beside her own work as choreographer (124 umdrehungen and Unstable w/ Florian Bach) she performs with deufert&plischke and Colette Sadler. In 2006 Leja and Sybille started to develop the cyclical project Weak Points. Hidden is a result of the first part of their research. In 2009 they are planning the second step, entitled The Conspiracy. Authors, choreographers, dancers: Leja Jurišić, Hanna Sybille Müller Concept: Hanna Sybille Müller, Leja Jurišić, Rok Vevar Lighting and set design: Florian Bach Music composition: Žiga Predan Ljubljana Dance Theatre When we feel weak, we want to hide. We don t want to show that we are vulnerable and actually unable to explain, achieve, fight, discuss, learn, or even love. For some of us it is even impossible to show personal weaknesses to someone else. Weakness presupposes an Other who is everything the weak person is not, everything weakness is not strong, solid, constant, and stable or who at least seems that way. Hidden is a collaborative dance duet, wherein two choreographers deal with confronting individual and social weaknesses. Through physical and spatial abstraction of the contrasts between them, in dancing, thinking, structuring, and creating, they look for the thoughts, emotions, and situations that actually want to be hidden. Saturday 11th October Tuesday 14th October, 9 a.m. 4 p.m. / except Monday 13th October, 9 a.m. 2 p.m. (dropin performance) Artist s home We are burdened with the need to control our lives, we chase opportunities anxiously afraid of missing a moment, we document our every move so the slightest event will not go forgotten. We want to process, chew over, and spit out each fact, feeling, and discovery. But why not stop for a moment and just be? I abandon my most intimate space, my bedroom, and open its door to the public, leaving behind memories, realized and unfulfilled ideas, processed emotions and notes. These products take my place, so I as a person can draw Produced by: Exodos Institute, KINK Company Coproduced by: Ljubljana Dance Theatre, Pekarna magdalenske mreže (Nagib Festival of Experimental Movement, Maribor), City of Women, TanzFabrik Berlin, Xavier Le Roy Studio Berlin, tanzhaus nrw Düsseldorf In collaboration with: Exodos Institute, Ljubljana Dance Theatre Admission: 5, 7 3 Pila Rusjan (Ljubljana) Just Being durational performance or a visit to the space of being Leja Jurišić je diplomirana pravnica, koreografinja in plesalka. Kot koreografinja je ustvarila predstavi Skušnja svobode s Tejo Reba in R z R. Hanna Sybille Müller, koreografinja in plesalka, je študirala na rotterdamski Akademiji za ples. Trenutno študira na Univerzi umetnosti v Berlinu. Poleg lastnih koreografskih projektov (142 umdrehungen in Unstable s Florianom Bachom) nastopa še z deuffert&plischke in Colette Sadler. Leja in Sybille od leta 2006 soustvarjata ciklični projekt z naslovom Šibke točke. Skrito/ Šibkost je rezultat prve faze projekta, za leto 2009 pa že načrtujeta drugi korak z naslovom Zarota. Avtorici, koreografinji, plesalki: Leja Jurišić, Hanna Sybille Müller Koncept: Hanna Sybille Müller, Leja Jurišić, Rok Vevar Osvetljava in scenografija: Florian Bach Glasba: Žiga Predan Produkcija: Zavod Exodos, KINK Company Koprodukcija: Plesni Teater Ljubljana, Pekarna magdalenske mreže (Festival eksperimentalnega plesa Nagib), Mesto žensk, TanzFabrik Berlin, Xavier Le Roy Studio Berlin, Tanzhaus nrw Düsseldorf V sodelovanju: Zavod Exodos, Plesni Teater Ljubljana Vstopnina: 5, 7 3 Pila Rusjan (Ljubljana) Preprosto biti (vz)trajnostni performans ali obisk v prostoru biti sobota, 11. oktober torek 14. oktober, čas obiskov (ponedeljek, 13. oktober, ) Pri umetnici doma Obremenjeni smo z nadziranjem poteka lastnega življenja, lovimo priložnosti in smo na trnih, da nam trenutek ne bi ušel, dokumentiramo vsak premik, da najmanjši dogodek ne bi bil pozabljen. Informacije, občutke in spoznanja želimo predelati, prežvečiti in jih izvreči. Kaj ko bi se za hip ustavili in le bili? Izselim se iz svojega najintimnejšega prostora, spalnice, in ga odprem javnosti. Tam pustim spomine, realizirane in nerealizirane ideje, predelane občutke, zapise in snov za inspiracijo. Ti produkti postanejo jaz, zato se kot človek lahko umaknem in samo sem. Ničesar ne puščam za seboj, ničesar novega ne vsrkavam vase. Drugo bitje se mi lahko ob tem pridruži in je. Ko to enkrat naredim v svojem domu, se kot parazit lahko naselim v katerikoli galeriji. Tam dokumentiram vsakega obiskovalca in gradim nov kolaž spominov, medtem ko za mojim hrbtom počasi nastaja bleda projekcija mene, ki sem bila in nekoč znova bom. Pila Rusjan (1984) je psevdonim, ki ga od leta 2000 uporablja Polona Zupan. Študirala je fotografijo in digitalne medije na Šoli uporabnih umetnosti Famul Stuart, je video umetnica, avtorica dokumentarnih, igranih in animiranih filmov. Danes deluje predvsem na področju videa in AV instalacij ter redno sodeluje pri več multimedijskih projektih. Podpisala se je pod samostojne razstave, njeni filmi pa so gostovali na raznih festivalih, kjer so želi tudi nagrade in priznanja. geocities.com/pilarusjan Zamisel in izvedba: Pila Rusjan Produkcija: Mesto žensk Vstop prost Prijave na: pija@cityofwomen.org T: Scenske umetnosti / Performing Arts

11 20:21 projects. Her works have been presented at solo exhibitions and her awardwinning films have been screened at various international festivals. geocities.com/pilarusjan Concept, performer: Pila Rusjan Produced by: City of Women back and just be. I leave no trace, absorb nothing. Another being is free to join me and be. Once I have done this in my home, I can colonize any gallery. There I document the visitor, pasting together a new collage of memories, while a pale projection of myself slowly emerges behind my back, a projection of me who once was and once again will be. Free admission Booking at: pija@cityofwomen.org/t: Pila Rusjan (1984) is a pseudonym under which Polona Zupan has been creating works since the year She studied photography and digital media at the Famul Stuart School of Applied Arts in Ljubljana. She is a video artist, author of documentary, liveaction, and animated films, is currently focusing on video art and audiovideo installations, and is involved in several multimedia and dramatist Ivan Mrak renounced everything comfort, home, family, even sexual gratification. Her creativity was mad, ambitious, masochistic, exaggerated in visions she could not realize. The performance explores artistic creativity as an impulse, as a relentless desire to create, so wild and destructive that it can overpower the need for biological fulfilment, threaten one s health by denying physical hunger, and can even be fatal. In the light of such savageness, art cannot be relative (as it is in the eyes of cultural politics and history), but absolute and vital, no matter how we analyze, mythicize or objectify it. 4 Bara Kolenc (Ljubljana) Bara Kolenc (1978) is an independent artist, dancer and choreographer. She has collaborated with numerous international and domestic artists, while independently Atelier physical theatre Saturday 11th October, 8 p.m. premiere Monday 13th October, 10 p.m. reprise The Old Power Station Elektro Ljubljana A performance inspired by the extraordinary life and talent of the Slovenian sculptress Karla Bulovec. In the name of art, her extremely bohemian life with husband Graphic design: Atej Tutta Executive producers: Mateja Adamič, Jasmina Založnik Produced by: KUD Samosvoj Coproduced by: City of Women, Bunker Institute, KUD Pozitiv In collaboration with: Pekarna magdalenske mreže, KUD Krea, KUD Javorov hudič, Dijaški dom Ivana Cankarja, Agency Jota, The Old Power Station Elektro Ljubljana creating six fulllength performances, and receiving several awards. After finishing philosophy and comparative literature studies in 2003, she also began developing a theoretical approach to theatre. She is currently preparing her doctoral thesis in theatre theory at the Faculty of Arts in Ljubljana. pozitiv.si With the support of: Merkur d.d., Slovenijales d.d. Admission: 7, 9 Concept, choreography: Bara Kolenc Performers: Dragana Bulut, Alja Kapun, Gregor Luštek, Sebastjan Starič, Bara Kolenc Dramaturgical assistance: Bojana Kunst Original score and sound design: Matevž Kolenc Lighting design, technical director: Miran Šušteršič Technical assistant: Bor Pungerčič Set design: Blaž Bačar Costume design: Iztok Hrga 4 Bara Kolenc (Ljubljana) Atelje gibalno gledališče sobota, 11. oktober, premiera ponedeljek, 13. oktober, ponovitev Stara mestna elektrarna Elektro Ljubljana Predstava Atelje se navdihuje v nenavadni življenjski zgodbi in ustvarjalnosti slovenske kiparke Karle Bulovec. V svojem skrajno boemskem življenju s soprogom in dramatikom Ivanom Mrakom se je zaradi umetnosti odpovedala vsemu udobju, domu, družini, celo ljubezenski izpolnitvi. Njena ustvarjalnost je bila nora, ambiciozna, mazohistična, pretirana v vizijah, ki jih ni uspela realizirati. Predstava preiskuje ustvarjalnost kot gon, kot nenehno slo po ustvarjanju, ki je tako divja in rušilna, da včasih premaga celo željo po biološki izpolnitvi, da načenja zdravje, ker zanika fizično lakoto, in je v končni fazi lahko smrtonosna. Skozi prizmo te divjosti umetnost ni relativna (kakor je z vidika kulturne politike in zgodovine), temveč absolutna in nujna, ne glede na to, kako je analizirana, mitizirana ali objektivizirana. Bara Kolenc (1978) je samostojna ustvarjalka na področju kulture, plesalka in koreografinja. Sodeluje s številnimi slovenskimi in tujimi ustvarjalci. Kot samostojna avtorica je ustvarila šest celovečernih predstav in za svoje delo prejela več nagrad. Po končanem študiju filozofije in primerjalne književnosti (2003) se je začela z gledališčem ukvarjati Scenske umetnosti / Performing Arts

12 22:23 tudi teoretsko. Na oddelku za filozofijo Filozofske fakultete v Ljubljani pripravlja doktorat iz teorije gledališča. pozitiv.si Koncept, koreografija: Bara Kolenc Izvedba: Dragana Bulut, Alja Kapun, Gregor Luštek, Sebastjan Starič, Bara Kolenc Dramaturško svetovanje: Bojana Kunst Avtorska glasba in oblikovanje zvoka: Matevž Kolenc Oblikovanje luči, tehnični direktor: Miran Šušteršič Asistent tehnike: Bor Pungerčič Scenografija: Blaž Bačar Kostumografija: Iztok Hrga Grafično oblikovanje: Atej Tutta Izvršna produkcija: Mateja Adamič, Jasmina Založnik Produkcija: KUD Samosvoj Koprodukcija: Mesto žensk, Zavod Bunker, KUD Pozitiv V sodelovanju: Pekarna magdalenske mreže, KUD Krea, KUD Javorov hudič, Dijaški dom Ivana Cankarja, Agencija Jota, Stara mestna elektrarna Elektro Ljubljana S podporo: Merkur d.d., Slovenijales d.d. Vstopnina: 7, 9 5 Julia Bardsley (London) Skoraj isto (surove vaje za nasilna dejanja kulture) eksperimentalno integralno gledališče nedelja, 12. oktober, 17.00, 19.30, Gledališče Glej Instalacija/predstava/performans samosvoje scenske ustvarjalke Julie Bardsley prek tripartitne zgradbe in poigravanja s trikotniško strukturo (surovo/kuhano/gnilo) prevprašuje dualizem narave/kulture, divjega/ udomačenega, nagonskega/razumskega. Prehod iz narave v kulturo z aluzijami na vojno, nasilje, strah in pošastnost koncipira prej kot dialektiko (oz. kot Aufhebung) kakor pa dejansko cezuro. Dovršena paralelna uporaba sicer enostavnih odrskih sredstev popelje na popotovanje v groteskno verističen (in seveda zato vznemirljiv) svet človeškopošastne teme. Brutalno doživetje je drugi del trilogije The Divine Trilogy, ki mu bo v letu 2009 sledilo delo o apokalipsi. Julia Bardsley je režiserka, filmska ustvarjalka, vizualna umetnica in performerka. Leta je delovala kot režiserka opere, plesa in gledališča, ustvarjala videe in instalacije. Po uspešnem solo prvencu TransActs ter njegovem nadaljevanju, ki ga bomo videli v Ljubljani, nedvomno spada med novo odkrite zvezde britanske scene, kar so prepoznali tudi kje druge kot pri Artsadminu.»Z lahkoto bi prevzela vodenje Nacionalnega gledališča, pa je namenoma izbrala drugačno kariero. Zadnja leta ustvarja navdihujoča in vznemirljiva dela na pragu gledališča in galerije.«(the Guardian, 2008) juliabardsley.net Koncept in izvedba: Julia Bardsley Glasba in zvočni miks v živo: Andrew Poppy V sodelovanju: Queer Zagreb, Gledališče Glej Vstopnina: 7, 9 Število vstopnic je omejeno. Rezervacije na: pija@cityofwomen.org/t: Almost the Same (feral rehearsals for violent acts of culture) experimental integral theatre Sunday 12th October, 5 p.m., 7.30 p.m., 10 p.m. Glej Theatre In her installation/performance, the unconventional and inspired performance artist Julia Bardsley explores the dualisms of nature/culture, wild/tamed, instinctive/rational by means of a tripartite structure and the culinary triangle (raw/cooked/rotten) concept. Making allusions to war, violence, fear, and monstrosity, she perceives the transition from nature to culture as a dialectics rather than a schism. The flawless parallel use of otherwise simple stage methods takes us on a journey into a grotesque veristic (and therefore thrilling) universe of a humanlymonstrous darkness. This brutal experience forms the second part of The Divine Trilogy, while its third part on apocalypse is planned for release in Julia Bardsley (London) Julia Bardsley has worked as a theatre director, filmmaker, visual artist, and performer, directed works in opera, dance, and theatre, and also makes videos and installations. Her hit solo debut TransActs and the se 6 Conservas (Barcelona) Advanced Realities performance lecture/conference performance Monday 13th October, 7 p.m. Cankarjev dom, CD Club At same time a performance, lecture, lesson in democquel, now coming to Ljubljana, unquestionably place her among the newly discovered stars of the British scene. Artsadmin was not alone in recognizing this. She could have been running the National Theatre by now, but instead quite deliberately chose a different career path. In recent years she has been making inspired and unsettling work on the cusp between the theatre and the gallery. (The Guardian, 2008) juliabardsley.net Created and performed by: Julia Bardsley Score and live sound mix: Andrew Poppy In collaboration with: Queer Zagreb, Glej Theatre Admission: 7, 9 Number of tickets limited. Booking at: pija@cityofwomen.org T: Scenske umetnosti / Performing Arts

13 24:25 organizer of the InnMotion Festival (Barcelona), founded by Simone Levi. In reaction to the astronomically high housing prices in Barcelona, Conservas distributed an online video which took a critical look at the mechanisms of property ownership. A certain bank felt so assaulted by it that they had the video censored. This did not stop Conservas, but rather inspired them to develop the project Advanced Realities, now spreading all over Europe, not a surprise, considering the immense public success of their first production Femina Ex Machina. conservas.tk The performance will be conducted in English. Slovene translation will be provided. racy, and an artistic initiative for civic (re)action against the tyranny of ownership. Inviolable property rights present one of the cornerstones of contemporary culture, in which the body/life is increasingly violated (wars, torture, prisons, and other regimes reigning over body and mind). Given such reality, the right to space, home, language, knowledge, and their free use can no longer be taken for granted. Advanced Realities restore these rights through argument, awareness building, and methods of direct democracy. Although brief, they create an atmosphere of delightful revolution. To those who do not come: do not be surprised if soon your favourite shirt is offlimits, because its colour is protected by property rights. In collaboration with: Cankarjev dom Conservas is a theatre and production company, and the Škuc Gallery The performance is designed to reveal how eugenic desires and profit motives drive and govern the genetic engineering of humans, animals and agriculture, and produce a new eugenic consciousness. The artists will engage the general public in a handson performance and critical dialog about the ways scientific information is performed and distributed, and in examining their various roles in the economic conditions of bio and information technologies. Participants in subrosa s research are invited to contemplate how human Assisted Reproductive Technologies are connected to the genetic engineering of chickens, pharming, cloning, and eugenic breeding, or Why are women like chickens?. With the support of: Departament de Cultura i Mitjans de Comunicació (Generalitat de Catalunya), Insitut de cultura (Ajuntament de Barcelona), Institut Ramon Llull Admission: 7, 9 7 subrosa (Chicago / Pittsburgh) UGENACHIX: Why are Women like Chickens? interactive (un)scientific performance Tuesday 14th October, 5 p.m. 8 p.m. (dropin performance) 6 Conservas (Barcelona) Napredne stvarnosti performativno predavanje/konferenčni performans ponedeljek, 13. oktober, Cankarjev dom, Klub CD Napredne stvarnosti je naslov performansa, ki je hkrati predavanje, tečaj o demokraciji in ime umetniške iniciative za družbeno (re)akcijo proti nasilju lastništva. Nedotakljivost lastnine naj bi bil poglavitni sodobni mejnik kulture, v kateri telo/življenje postaja več kot dotakljivo (vojne, mučenja, zapori in drugi režimi telesa in duha). V takšni realnosti pravica do prostora, do strehe nad glavo, do jezika, znanja in njegove svobodne uporabe ni več samoumevna. Napredne stvarnosti tem pravicam z argumenti, ozaveščanjem in metodami direktne demokracije vrnejo samoumevnost. Za kratek čas ustvarijo razpoloženje zabavne revolucije. Kogar ne bo, naj se ne čudi, če kmalu ne bo smel brezplačno kombinirati svojih najljubših barv oblačil, ker bodo te barve lastniško zaščitene Conservas so izvorno gledališka in produkcijska hiša ter organizator odmevnega InnMotion festivala v Barceloni, ustanoviteljice Simone Levi. Ob astronomskih cenah stanovanj v Barceloni so Conservas po spletu razširili video, ki je kritično obravnaval mehanizme nepremičninskega lastništva. Neka banka se je ob tem počutila tako napadeno, da je prikazovanje videa cenzurirala. Conservas to ni ustavilo. Razvili so Napredne stvarnosti, ki napredujejo po vsej Evropi. Ni čudno, saj je že njihova prva produkcija Femina Ex Machina žela nagrade in navdušenje občinstva. conservas.tk Performans bo potekal v angleškem jeziku. Poskrbljeno bo za slovenski prevod. V sodelovanju: Cankarjev dom S podporo: Departament de Cultura i Mitjans de Comunicació (Generalitat de Catalunya), Insitut de cultura (Ajuntament de Barcelona), Institut Ramon Llull Vstopnina: 7, 9 7 subrosa (Chicago/Pittsburgh) UGENACHIX: zakaj so ženske podobne piščancem? interaktivni (ne)znanstveni performans torek, 14. oktober, čas obiskov Galerija Škuc Performans razkriva, kako evgenične tendence in motivi dobička praktično usmerjajo in obvladujejo genski inženiring pri ljudeh, živalih in poljščinah, hkrati pa ustvarjajo novo družbeno evgenično zavest. Umetnici želita občinstvo angažirati v praktičnem performansu in kritičnem dialogu o tem, kako danes poteka distribucija znanstvenih informacij in koliko sami soustvarjamo ekonomske pogoje informacijskih in biotehnologij. Udeleženci raziskave bodo ugotavljali, kako je oploditev z biomedicinsko pomočjo pri ljudeh sorodna genskemu inženiringu, evgenični reji in kloniranju živali, oziroma zakaj so ženske podobne piščancem. subrosa, severnoameriški umetniški kolektiv, ki ga trenutno sestavljata članici Faith Wilding in Hyla Willis, je reproduktibilna kiberfeministična Scenske umetnosti / Performing Arts

14 26:27 In collaboration with: Škuc Gallery With the support of: the Embassy of the United States of America in Ljubljana, Robert Morris University, The School of the Art Institute of Chicago Free admission 8 Violeta Luna (Mexico City/San Francisco) NK 603: Action for Performer & emaíz interactive performance a culturally significant and nutritionally indispensable crop. NK 603 being the name of a GM corn seed available on the market. Violeta Luna uses video, mythic images, and biotechnical instruments to reflect on this situation and on the cultivated posthuman body. Violeta Luna is a performance artist with extensive acting, directing, performing, and pedagogical experience. She has worked with the prominent Mexican directors José Caballero, Raúl Zermeño, Estela Leñero, and many others. She founded the women s theatre group Grande y Pequeño. She collaborates with the art director Guillermo Gomez Peña s celebrated Mexican organization La Pocha Nostra, independently produces politically engaged performances, and works as an educator. 9 A2 (London / Tel Aviv) The Future of Death artisticeducational workshop with closing performance Wednesday 15th October, 9 p.m. performance Thursday 9th October Tuesday 14th October, 4 p.m. 8 p.m. (except Tuesday p.m p.m.) workshop (see p. 73) Kapelica Gallery The Future of Death project examines human attitudes celica, ki s povezovanjem umetnosti, aktivizma in političnega udejstvovanja producira kritiko in preiskuje učinke, ki jih imajo nove informacijske in biotehnologije na žensko telo, življenje in delo. Skozi multidisciplinarno dejavnost opozarja na povezavo med tehnologijo in spolnimi razlikami; med feminizmom in globalnim kapitalom; med novimi biotehnologijami ter zdravjem žena. subrosa predstavljajo performans v sodelovanju z Ivo Kovač in Wo_kolektivom Jelena Graovac, Marijana Rimanić, Tanja Špoljar (Zagreb) cyberfeminism.net V sodelovanju: Galerija Škuc S podporo: Veleposlaništvo združenih držav Amerike v Ljubljani, Robert Morris University, The School of the Art Institute of Chicago Vstop prost Scenske umetnosti / Performing Arts 8 subrosa, a North American artist collective with current members Faith Wilding and Hyla Willis, is a reproducible cyberfeminist cell of cultural researchers committed to combining art, activism, and politics in order to explore and critique the effects of the intersections of the new information and biotechnologies on women s bodies, lives, and work. Through their multidisciplinary activities subrosa calls attention to the interconnections of technology, gender, and difference; feminism and global capital; and new bio and medical technologies and women s health. subrosa presents the performance in collaboration with Iva Kovač and Wo_kolektiv Jelena Graovac, Marijana Rimanić and Tanja Špoljar (Zagreb). cyberfeminism.net Wednesday 15th October, 7.30 p.m. Škuc Gallery / Saturday 18th October, 8 p.m. Mihelič Gallery, Ptuj Contrary to predictions that gene technology will abolish world hunger, genetic engineering is producing a new eugenics of manipulated species and human cultures. While natural selection did not optimize plant size and shape, genetically modified plants are far less resistant to weather factors. Their seeds are unfertile, forcing farmers to buy new seeds each year. Their pesticide resistance increases the use of pesticides. The manufacturer of both seeds and pesticides is often one and the same. In Mexico this is the situation with corn, Concept, performance: Violeta Luna Music: David Molina Violeta Luna will also hold a twoday intensive workshop for performance artists. (see p. 76) In collaboration with: Škuc Gallery, Mihelič Gallery (Ptuj) With the support of: Instituto Cultural Mexicano en Austria / Embajada de México Free admission Violeta Luna (Ciudad de México/San Francisco) NK 603: Akcija za performerko in ekoruzo interaktivni performans sreda, 15. oktober, Galerija Škuc sobota, 18. oktober, Miheličeva galerija, Ptuj Kljub obetom, da bo genska tehnologija končala lakoto, se vedno jasneje kaže, da genski inženiring nima za posledico le evgenike manipuliranih vrst, ampak tudi človeških kultur. Medtem ko naravna selekcija morda ni optimizirala velikosti in oblike sadežev, pa so gensko modificirane rastline manj odporne na lokalne vremenske dejavnike. Njihova semena večinoma niso plodna, ampak morajo kmetje od