V dialogu s umělci*umělkyněmi z pohybového umění a souvisejících oborů reflektujeme materiál v naší dynamicky se rozvíjející profesi. Snažíme se porozumět tématům a fenoménům, které ovlivňují uvažování umělců a jejich uměleckou tvorbu. Díky partnerstvím napříč zeměmi vzniká prostor pro výměnu pohledů a obohacování kolektivních znalostí našeho oboru.
I was not scared of dying. I was scared of dying alone. An excerpt from the text of philosoph, curatot and trans activist Paul B. Preciado author of the book Testo Junky and newly released book Appartement on Uranus.
At the end of September 2019, SE.S.TA Centre for Choreographic Development in collaboration with Prague City Gallery presented the installation Pavillon Fuller in the form of a performance. Pavillon Fuller performs the interaction of dance, space and architecture. It investigates their relationship through a simple installation built of wood and a light rope system, which remains in the Troja Palace gardens as part of the exhibitions and as an invitation to dialogue and encounter. Pavillon Fuller references the work of Richard Buckminster Fuller, architect and the founding father of tensegrity, the principle applied in the Pavillon’s construction. What does choreographer and dancer Jordi Galí, creator of the project, have to say about Pavillon Fuller and other subjects?
Marie Kinsky, who organised, moderated and created the concept of the Choreographic Forum held during CDP, stated that the aim of the forum was not to critically evaluate performances, but to take them as reference points to better understand how we work as artists and how we communicate with the spectator. In other words, what tools do today’s artists use to express themselves and communicate with spectators, why are these the tools in use and via what means does communication take place?
