Forecasting is based on a collection of amateur videos taken from the world’s largest video-sharing website: YouTube. The performance uses this framework as a fiction trigger, a store of signs and meanings, a sum of articulations that impose on its visitor / user an exercise in information processing between fragmentary empirical immediacy and hyper abstraction. On the stage, a performer manipulates a laptop showing YouTube videos that had been selected to fit the human size scale. From this simple criterion arises a set of spatial and temporal displacements. The screen becomes the site of intersection between the body of the performer and the two-dimensional world of images that represent other people in other places. The result is a dizzying hybrid experience, a zone of indeterminacy informed by the very nature of videos ranging from the banality of everyday situations, movements, and objects, and the possibility of their transformation into new tools of self-narration.
FORECASTING is the third part of the trilogy Theory of the performance to come or the only way to avoid the massacre is to become its authors?
Born in Našice (Croatia) in 1978. She studied dance with the choreographer and teacher Kilina Cremona in Zagreb, and worked with a number of Croatian choreographers (Irma Omerzo, Iva Nerina Gattin, Katja Šimunić, cie TRAFIK). In 2003, she joined the dramaturge / director Saša Božić and dancer / choreographer Željka Sančanin in the company Kombinirane operacije, where she was active as a dancer, movement assistant, actress, and choreographer (Re-Play, 2002; Hard To Dig It, 2003; Vertigo, 2007). After graduating with a degree in literature from the Faculty of Arts at the Zagreb University, she went to Paris at the invitation of Boris Charmatz. For one year (2004-2005), she participated in the project Bocal, which brings together 15 artists from different backgrounds around the idea of an ephemeral school, exploring performative approaches to teaching dance. The project hosted artists such as Vera Mantero, João Fiadeiro, Laurence Louppe, Jean-Luc Moulene, Jan Ritsema, Raimund Hoghe, Hubert Godard, Steve Paxton, Frans Poelstra. In 2005, she worked in Brussels with the actor Bruno Marino (DA-l’animal) and the choreographer David Hernandez (Performance Hotel). In 2006/07, she performed in Purgatory, written and directed by Joris Lacoste. In 2005, she realized the interdisciplinary project Photomorgana with the photographers Igor Kuduz, Ana Opalić, and Jasenko Rasol, presented at the Zagreb Youth Salon 2006. From 2005 – 2008, she collaborated with Slovenian director Bojan Jablanovec (project VIA NEGATIVA: Would Would Not, 2005; Viva Verdi, 2006; Superbia, 2008). In 2007, together with Saša Božić, she founded the company De facto and began a collaboration with Giuseppe Chico. Since 2004, she has been teaching dance at the Art Academy in Osijek, Croatia. She lives in Zagreb.
Born in Bari (Italy) in 1974. He was introduced to theater as a child, first by watching operettas and then, at the age of 10, by taking classes at the theater Abeliano Tina Tempesta and Antonella Porfido in Bari. After several years interruption during which he played professional basketball, he pursued his theatre practice with Robert McNeer at the theater Kismet. On several occasions, he also worked with the set designer Paolo Baroni. In 2000, he moved to Paris and began studying dance and composition with Joao Fiadeiro, Vera Montero, Julyen Hamilton, Mark Tompkins, Vera Orlock, Pooh Kaye, KJ Holmes, Olivier Besson. For several years, he performed with the company Mille Plateaux Associés. He also collaborated with George Appaix, Anja Hempel, Magali Desbazeille. In 2007, he performed in Purgatory, written and directed by Joris Lacoste. Also in 2007, he started a collaboration with Barbara Matijević. He lives in Paris.
6 October 2016 in Sarajevo at MESS Festival
SPECIAL MENTION OF THE JURY OF THE FESTIVAL MESS