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We live in a mediatized world of wild conspiracy theories, impending ecological crises, pernicious narrations, where ironic + nihilistic viral #influenza pictures are concurrently cropping up on innumerable devices. A toxic cloud of digital images is drifting from the monitors in parallel to the degradation of the physical environment.
? How does pixelated information get caught in the network of an organic body? What kind of stage (a)effects does a work generate with incompatible Internet content? What in the web of images is actually t r U E?
In response to the oculocentric organisation of the world, the hybrid stage production adds materiality to pasty digital images and processes them —\_( physically )_/—. It combines movement, video, the production with objects and sound, translating *through irony* the logic of the Internet into a physical space……………...The relationship between the body and images spreads open the virtual spaces of intermediacy; /between the organic /imaginary and digital /among memetic trash /between the atmosphere /affect and sensation //at the intersection of experience, apparition, premonition, and fact. Between the past, the manifold presents and – not virtual, but tangible – > future.
Screamage is a continuation of my work at the intersection of the corporeal and digital, beyond the binary understanding of the physical and informational. Contextualised by a Post-Internet way of thinking and organizing, it is an event that allows the artistic team and I to treat images as objects and objects as images. In order to understand and dismantle the unbearableness of life, we twist its dominant language; we work with mediatized bodies, with unstable elements, hallucinations, evaporation, the virtual dimension whose cracks might reveal a tangible future.
Jan Rozman (1991) is a freelance performer, choreographer, improviser and performance maker based between Ljubljana and Berlin. He is interested in and in his artistic practice engaged with extended bodies, material semiotics, textures, gaps, errors & confusions, ecology, imagination, (science) fiction and humor in a search for relevant performative articulations for the post-internet /anthropocene era.
He attended the art secondary school, programme contemporary dance, in Ljubljana (teachers Maja Delak, Vita Osojnik, Gregor Luštek, Damaas-Mithras Thijs, Urška Vohar); later he also joined the choreography programme at SNDO in Amsterdam for a year and obtained a master’s degree in solo/dance/authorship at HZT (UdK), Berlin. He is also a certified physiotherapist, graduated at Faculty of Health Sciences (UL), Ljubljana.
He is the author of many dance works: Fur, Feathers, Scale; Glitch; Invitation; Bird Dementia, The Decision Guillotine, Senzasenso, Thinging) and is well known on Slovenian stages (Ukrep Festival, Front@, OPUS, Slovenian Dance Platform Nacionala) and stages abroad (SPHA, Something Raw Festival).
In 2019 Jan Rozman received Ksenija Hribar Award for promising choreographer. The award was given by Association for Contemporary Dance Slovenia.
Artistic Director, Stage Director & Choreographer: Jan Rozman
Performed by: Peter Frankl and Jan Rozman
Set design: Dan Pikalo
Video: Miha Možina
Music: Blaž Gracar
Graphic design: Sara Bezovšek
Costume design: Kiss the Future
Lighting design and Technical Director: Janko Oven
Dramaturg: Maša Radi Buh
Assistant Director and stage assistance: Bor Ravbar
Executive Producers: Sabrina Železnik, Luka Zagoričnik
Technical assistance: Luka Prinčič, Damjan Delak
Photo documentation: Marijo Župan
Co-production: Cankarjev dom
Co-production residence: O Espaço do Tempo (Portugal), DUM - Društvo umetnikov / Association of Artists (Ljubljana)
Financial support: Municipality of Ljubljana, Ministry of Culture RS