Art wants, art should, art may, it must! It spreads and becomes loud when a dance performance is called ART ATTACK. With this group piece, the experienced duo Niv Sheinfeld and Oren Laor from Israel illuminate a relationship: that of the society, perhaps represented by the audience, with the art and with the artists. The performers pose and run, tumble, dance and entertain so that the sparks fly. Dynamism! Variety! Eyes open! Music drives into the limbs and memory.

“We want to praise the aggressive movement, the fiebrige sleeplessness, the running step, the somersault, the slap in the face and the punch in the fist”, wrote Filippo Tommaso Marinetti in Manifesto of Futurism in 1909. Manifestos play a crucial role in ART ATTACK, written by artists of different professions. None of them has the last word, and what is serious and what is not keeps the attack in the balance. “We must stop despising desire,” demanded Valentine de Saint-Point in the 1913 Lust-Futurism counter-manifesto.”

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NIV SHEINFELD was a dancer and choreographer for Kibbutz and Batsheva Dance Company, among others. OREN LAOR studied acting and drama at Tel Aviv University. They have been working together and touring worldwide since 2004. The quartet ART ATTACK premiered in Tel Aviv in April 2021.

The team of the German Dance Film Institute Bremen documents this dance performance.

“Cemeteries are gardens. Something grows. Someone dies. “Everything returns to the earth,” we are told at one point in this multi-voiced performance GRAVEYARDS AND GARDENS. Canadian dancer and choreografin Vanessa Goodman created it with New York-based musician and composer Caroline Shaw. The premiere was in January 2021 (online due to pandemic). Vanessa Goodman takes the solo role in the space, which is defined by a round of antique lamps, like heirlooms, side by side with green plants in earthen pots and technical equipment, old and new. Cables. Connectedness. The sounds have a life of their own. Are they placeless? Sea, song, organ, piano, violin, clacking and snapping, speech. They point to their sources, where they were recorded, and they click something in the brain of the listener. Bach, Chopin. Return. Some sounds are also made on stage, feeding the floating web of traces in the air. In addition, the dance that hears the grass grow and becomes more violent, as if nudged by gusts, like echoes or like mechanically switched, click, click. This is how remembering works.” DanceBremen

Pulitzer Prize winner CAROLINE SHAW works for films, for music ensembles, dance companies, opera houses and releases her own CDs.

The team of the German Dance Film Institute Bremen documents the European premiere.

UNTITLED I
“A picture of a man. But the picture alone doesn’t do it, so he has to be active. And being active means wanting to get better. Faster. In whatever. So repeat! What the dancer François Richard performs in the solo UNTITLED I and Andrea Peña worked out with him is a tirelessness in what is actually senseless activity. This figure on stage constructs movement phrases out of swings, jumps, rolls, bends, and it runs; or is it itself built, guided, laid down and raised up? As if this muscular, fleshy being had no personality, was only a surface, the title calls it “Untitled”. The “I” behind it, says the choreographer, is an “I” for “I”. For it is, after all, a human being. “We speak of being human in our own way with this work”. TanzBremen

As a trained industrial designer, the Canadian choreografin Andrea Peña is interested in cross-genre work, in the relentlessly recurring movement sequences of everyday life shaped by objects, and in vulnerabilities. Colombian-born, she was first a dancer in major Canadian companies, founded her own label ANDREA PEÑA & ARTISTS in 2014, and has since won several awards.

CONTAINER
“She is never alone, but is the only person on stage. Canadian choreographer and dancer Vanessa Goodman’s solo CONTAINER unfolds the relationship of a person, a woman, to her inside and to an outside. It seems to be a struggle with expectations. It dances Andrea Peña, who stands there in her boots like a defensible Super Woman; she strides forwards, backwards, forwards, she is buffeted, bent, struggles through a matter that presses against her body, invisible. Frees herself – almost. Paths of light open up to her, crossroads too. But like a forbidding pointer, such a bar of light threatens her. It swings. Sharp scythe blade. A Yiddish good-humour song frames the solo: “Chiribim Chiribom”. Its cheerfulness gives the dancer the rest. The end. Beginning.” DanceBremen

VANESSA GOODMAN, artistic director of Vancouver-based company ACTION AT A DISTANCE DANCE SOCIETY, worked as a dancer after graduating. The 2013 Iris Garland Emerging Choreographer Award enabled her to produce her first full-length piece as a choreografin. The works are meant to reflect the human condition and use dance to break down contemporary experiences, she writes about her company.

The team of the German Tnazfilmminstitute Bremen documents the double performance.

Two dancers of two generations. But SEE ME! does not care about age distinction. The duet by Tomas Bünger and Sergey Zhukov does not seek a divide or even competition, but an interested approach. “Look at me!”, the title says, as if someone were asking for attention. The dancers show facets of themselves, their preferences. This strikes a chord in the other person, something like agreement – yes, me too, but a little differently; and a coexistence emerges. A feeling of not being alone. A living room with an armchair, sofa and lamps areenough for their little shows. As if they were spending a quiet evening and had an infinite amount of time. Music is played, music of longing. No television. So the images remain their own. With the clothes they wear, the trousers and pumps, with tumbling around, drifting, floating, with falls, too, and with flights.

TOMAS BÜNGER, co-founder of TanzKollektivBremen, was a long-time member of Tanztheater Bremen. SERGEY ZHUKOV from Kazakhstan studied in Essen at the Folkwang Hochschule and danced as a guest with the Tanztheater Wuppertal Pina Bausch, among others. In 2021, the two began to research the topic of queer identity in dance-choreografisch. SEE ME! premiered in early 2022.

The team of the German Dance Film Institute Bremen documented the performance.

“In DOG RISING, Clara Furey explores the invisible. What is between the lines, she expresses with and through the body. That which borders on the known, which thus becomes the only supposedly known. If something is continuously shaken, it could change. Or does something rhythmic, something lasting emerge in the pulsation? Furey awakens a very own, inner force that does not turn against anything, but simply proves its own existence, places it in space and draws paths in it. Permanence and change, both are possible, and yet the dance seems so easy, as if everyone could simply join in. What exactly is to be read in the lines of the three performers, who differ, approach, resemble and drift apart, is left to the viewers.”

TanzBremen

The emptiness fascinates her, writes CLARA FUREY about DOG RISING, which premiered in May 2021 in her native Montréal, Canada. Trained as a musician and dancer, she first worked for choreographers such as George Stamos and Peter Jasko. Her first group choreografie of her own was COSMIC LOVE in 2017.

DOG RISING she developed together with the two dancers Be Heintzman Hope and Winni Ho. The music was composed by Tomas Furey, Clara’s brother and working partner.

The team of the German Dance Film Institute Bremen documented the German premiere.

“How does change actually happen? This was the question Victor Quijada pondered about his first choreografie for a large cast – after 14 full-length pieces and numerous short ones. Then, at the end of 2018, in Montréal, Canada, the home of his company RUBBERBAND, he released EVER SO SLIGHTLY; the French version rhymes, “Vraiment doucement” (Really Soft).

In pandemic times, it’s good for recognition: the unravelling of emotions and the disintegration of positions once decided. The ten dancers form a kind of society that sometimes moves together and light-footedly masters balances, sometimes frays into groups, finally into individual elements that lose their hold. The contrast is formed by gentle tones in the encounters, in the willingness to help, in the release of airy centrifugal forces. The action is musically accentuated by Jasper Gahunia and William Lamoureux, who play an impressive selection of electronic and amplified instruments on one side of the stage. EVER SO SLIGHTLY earned huge cheers when it ended Vancouver’s long theatre closure in October 2021.” DanceBremen

VICTOR QUIJADA grew up listening to hip hop in Los Angeles and, after dance training and engagements as a dancer, developed his own method, which he named after his ensemble RUBBERBAND , founded in 2002. It combines floor-based urban dance with partnering and contemporary ballet.

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RUBBERBAND.

The team of the German Dance Film Institute Bremen documented the European premiere.

In this piece, among other things, the value of artistic work from past eras and its lasting effects on today’s creative work are questioned. Among other things, the waste pyramid is interpreted in a cultural-historical context.

Recycling and reuse are omnipresent on stage and shape the development process of the new production.

This material cycle is examined and stretched into artistic approaches and realisations. In this way, a poetic-satirical study of our being in a time full of tension is presented.

The team of tanzbar_bremen is supported by Delia Nordhaus, the director of the Upcycling Gallery Wallerie, as well as by Prof. Dr.-Ing. Henning Albers, who is working on recycling in the field of environmental and bioengineering.

Tickets: 19 € / con. 9 €

Tickets available via the Theater Bremen.

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Details

Concept and choreography: Günther Grollitsch in collaboration with the dancers

Dance: Jenny Ecke, Till Krumwiede, Corinna Mindt, Oskar Spatz, Adrian Wenzel

Dramaturgy: Tom Bünger

Stage design: Delia Nordhaus, Janina Mau

Costume: Lui Nilson, Katja Fritzsche

Production management: Stina Hinrichs

Production

tanzbar_bremen in cooperation with Theater Bremen

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Supported by the Senator for Culture Bremen.

Funding: Fonds Darstellende Künste aus Mitteln der Beauftragtenderder Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR, Karin und Uwe Hollweg Stiftung sowie Waldemar Koch Stiftung.

Premiere on 27 April 2022, 8pm

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As part of TANZ Bremen 2022 on 06 May 2022, 6pm

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The team of the German Dance Film Institute Bremen is pleased to document the premiere on film

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