How do we connect?
Eine Woche mit Performances, Workshop und Ausstellung des Breakfast Club Kollektivs [Tabea Xenia Magyar & Tessa Broadby | Kasia Wolinska | Nir Vidan & Adi Shildan und Andere...].
im DOCK 11 Theater
27. Februar 2017, 19.00 Uhr
im DOCK 11 Theater
03. und 04. März 2017, jeweils um 19.00 Uhr
im DOCK 11 Saal 3
03. und 04. März 2017, jeweils im Anschluss an die Performances
05. März 2017, 12-18 Uhr, inkl. Brunch
im DOCK 11 Theater
28. Februar bis 03. März 2017, versch. Uhrzeiten
DOCK 11, Kastanienallee 79, 10435 Berlin
Ticketreservierungen: 030-35120312, email@example.com
Performances Tickets: 10.- Euro
Ausstellung, Workshop, Brunch & Monday Feast: Spendenbasis
HOW DO WE CONNECT? - A week by the Breakfast Club Collective & friends
From February 27th until March 5th the Breakfast Club is organizing several events in the Dock11 theater organised around the connections we form and maintain with each other and with our work. Asking the question of how we keep doing the things we want (making work) when we have to undo ourselves for other people (work)?
|| MONDAY | February 27 | 19:00 ||
The Feast is an initiative by the BlingBlingRecycling Collective and Marc Philipp Gabriel.
Happening once a month, it's a place for gathering, performing (if you want) and having dinner together.
Click here in order to find its unbreakable rules.
The FEAST is free of charge. We ask for a donation of 2-3€ to cover the costs of the food.
ON THE QUESTION OF MASTERPIECES - AN ARTISTIC LAB
|| TUESDAY | February 28 | 16:00-19:00 ||
|| WEDNESDAY-FRIDAY | March 1 - 3 | 10:00-13.15 ||
Interdisciplinary artist Renen Itzhaki invites scholars and artists from different fields to a workshop-lab in the theater space. The aim of the lab is to establish a space for contemplation and reflection on the notion of "Masterpieces". "A Masterpiece" - great work of art, which entered the canon of heritage and legacy - also points to the concept of mastering a certain technique, a skill or a tool.
What kind of mastery do we have as artists, in fields that have been stripped from any distinct technique? Is this term still valid nowadays? If so, what are the criteria by which we decide? And are they in line with masterpieces of the past? Could they be applied to different genres? How does the concept of masterpieces relates to ideas of control and order? How does it affect art education? Who decides what is included and what is not? And why do institutions still insist on showing Shakespeare or Michelangelo?
The Workshop-Lab is free of charge, but requires a prior registration. Click here in order to find the open call.
|| FRIDAY & SATURDAY | March 3 + 4 | 19:00 ||
Friday and Saturday night will feature three performances by Nir Vidan and Adi Shildan, Kasia Wolinska Tabea Xenia Magyar and Tessa Broadby, including both finished works and works in progress.
THE RESTLESSNESS OF WINGED CREATURES is a duet, created and performed by Nir Vidan and Adi Shildan (‘Nowhere Androgynous Collective’).
A famous Israeli poet named Yona Wallach (1944-1985) once wrote that Hebrew is a ‘sex maniac’ language, because it consists of strict grammar roles of female and male, in which no adjective, noun or verb can avoid being gendered. By using movement, we wish to dissolve the influences our mother tongue left in our bodies. Our choreographic and performative research focuses on creating an ungendered space and body, which can transform itself endlessly between different qualities and presences, not being subjected to one form or another.
Choreography/Performance: Adi Shildan and Nir Vidan (Nowhere Androgynous Collective)
Costumes: Hilla Shapira
Music: Tomer Damsky
Light: Omer Sheizaf
Artistic adviser: Sahar Azimi
This work premiered at Dance Arena Festival 2016 and was produced with the support of the Israel Lottery Council for Culture & Arts, ´HaZira' Performing Arts Arena in Jerusalem and ‘Rotem’ - Menashe art center. It was invited to "Dance in Response" Festival 2016 in Hamburg, Germany.
Kasia Wolinska will share her latest research. In a brief way.
There are no Reds in modern dance today and we all know that „Eastern Europe“ has never been a purely geographical notion.
The working class is growing in number, growing in strength, and growing in knowledge. It is simultaneously developing itself and its weapons. One of its most important weapons is our modern revolutionary dance. Isadora Duncan, considered by some to be ‘‘The Mother of Modern Dance’’, unleashed the unexpected cycle of transnational dance borrowings for state purposes.
Lenin himself applauded Duncan when she performed in Moscow’s Bolshoi Theatre to celebrate the fourth anniversary of the October Revolution. After she returned to the USA, the Soviets sent her a telegram: ‘‘The Russian government can alone understand you. Come to us; we will make you a school.’’
You are just a dancer. People may come and admire you—even cry. But after you are dead, no one will remember. Within a few years all your great fame will be gone. . . . No Isadora!
Choreography/Performance: Kasia Wolsinka
by Tabea Xenia Magyar
This will be a performative situation. After playing with performance in the German poetry context, I'd like to re-import poetry into the theater. I don't know what will happen yet. Maybe fragments of my current research on moving from fascia will enter through the back door. Maybe Manon will.
This piece has been developed in collaboration with Tessa Broadby.
|| FRIDAY & SATURDAY | March 3 + 4 | open after the performances ||
|| SUNDAY | March 5 | 12-18h ||
The Moving Exhibition shares a range of daily/regular artistic practices by people who might be engaged in something different professionally, or who might not even think of themselves as artists. It features contributions from all the Brekkies, as well as from invited guests.
"How do we connect?" is asking not only how our individual artistic practices connect to each other, but also how we connect our own artistic practice to our daily life. With (daily) practices, an answer to the latter question seems more tangible. Like any other minor technology of the care of the self, a space has to be found for them every day. The form of the work intervenes in the Lebensform. We don't just chose to gestalten our lives, our forms are pressed in against the forces, the forms of violence of the social. We still have to labour, to care, to study, to be sick, to attempt to be "utterly unshakeable". So the form of the life deforms the work, its aesthetics. Writing and drawing are wedged into small holes in the day, gaps that scarcely exist and offer only the most awkward refuge. The last few minutes before sleep, between a lover waking/leaving and eating, between rehearsal and class. The poem begins to take on the forms of these gaps. The lines of the drawing become hurried, vague, raw. But even still, how does one maintain such a practice? How do we keep doing the things we want (making work) when we have to undo ourselves for other people (work).
with: Tessa Broadby, Igor Kretzu, Claudia Grigg Edo, Adi Shildan, rad fuer alle/Antoine Hummel, Dikla Levinger, Anna Lena Lehr, Asaf Aharonsson, Nir Vidan, Marc Philipp Gabriel, Stine Frandsen, Liselotte Singer, Emma Tricard, Cécile Bally, Renen Itzhaki and others...
The Moving Exhibition is free of charge. Donations are welcome.
|| SUNDAY | March 5 | 12-18h ||
On Sunday, we invite you to a brunch in the exhibition space. There will be food in the midst of the exhibited works, and a number of micro-events will occur over the time of the afternoon.
More information will follow. Please check the facebook event, there might be new information regarding the micro-events. The Brunch is free of charge.
ABOUT THE BREAKFAST CLUB
The Breakfast Club is a multi-dimensional collective of performers and choreographers from all over Europe and Israel. Its members are Asaf Aharonsson, Cécile Bally, Stine Frandsen, Marc Philipp Gabriel, Renen Itzhaki, Anna Lena Lehr, Tabea Xenia Magyar, Liselotte Singer, Emma Tricard and Nir Vidan.
The collective was formed in 2012 in Berlin, when we met on the occasion of our studies at the Inter-University Centre for Dance. It successfully continues to exist beyond the institutional frame and we have been working together for the past 4 years in multiple ways: We have been outside-eyes, light-designers, technicians, dramaturgs, dialogue-partners and performers in each other's work, have invited work of Brekkies whenever possible and collaborated on the creation of new pieces and events.
For more information on the Breakfast Club go to breakfastclubcollective.com
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