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Maska, časopis za scenske umetnosti → Revija Maska → Maska, revija za gledališče, ples in opero (1991 - 1998)

Dance

Editorial


“There is nothing that renders difference different at the beginning, in the middle or at the end, except for the fact that every generation looks at something specific, something different.” This is a quote from the lecture by Gertrude Stein, Composition and Interpretation, which she, as an established author at the end of the 1930s, delivered three times at one of the American universities. For Stein, culture is defined through the nature of its perception, through those things that a certain era chooses to look at within the continuity of its evolution. Every artist thus expresses the composition of a certain era, which is inscribed in the geography of its space and which begets the conditions for new compositions and interpretations.

Conceptualism and the art forms stemming from it—such as body art, land art, happening and performance, which were influenced by the avant-garde and modernist artistic practices—produce a new way of “looking” at life; they offer new landscapes of compositions, which presume a new mode of perception. This is evident in the retrospective exhibition of the group OHO in Moderna galerija in Ljubljana, which documents the activities of this group from the sixties and the early seventies through a comprehensive collection of its ambient, artefacts, filmic texts, photographic material and so forth. The exhibition marks an important point, which enables us to note and comprehend the importance of the group for Slovenian art—be it painting, video art or theatrical performance—in the following two decades. The retrospective confirms that the movement OHO and the emergence of conceptualism elsewhere in the world were contemporaneous, while the resurgence of the interest in the group as well as the exhibition itself also pay off, so to speak, our historical debt to this movement. There is usually a time lag of about two decades between a new form of contemporary Slovenian art and its comprehensive survey, acknowledgement and legitimation in the form of a finite retrospective exhibition; the latter bears witness to the fact that contemporary Slovenian art has been condemned to a cultural historical discontinuity ever since the 1920s. Contemporary Slovenian cultural history is riddled with numerous black holes swallowing the individual and the group artistic practices that attempted to materialise the sensibility of modernism and position contemporary Slovenian art into a broader, global art context. Every generation of artists, critics and theorists is thus confronted anew with the necessity of locating and filling in the gaps in its discontinuous cultural tradition. Every generation must do so in order to tie its own artistic practices, discourses and spatio-temporal continuum into a global context and, through thus-created conditions, establish in its cultural space a “social legitimation of individualism and its variegated emancipatory forms and civil movements”. In this context, I utterly disagree with Marko Crnković’s statement that every Philip Glass needs a Josip Vidmar, for every Philip Glass needs, above all, a modern-day music critic who reflects on the new aesthetic and social concerns of a contemporary art form in a specific intellectual, cultural space and who traces the spatio-temporal totality of artistic practices. If Philip Glass were Slovenian, I’m afraid all he would get nowadays would be a “retrospective” concert or perhaps a “commemorative” CD in the spirit of “once upon a time, in the sixties, there was a genius …”—with a twenty-year delay of course!

Let’s go back to the beginning. Let me mention two interesting and rather traumatic questions raised at the panel dedicated to the movement OHO: the question of whether or not the movement was political, and the very specific question of why the cultural authorities in Slovenia in 1970 did not give a green light to OHO to represent Yugoslavia at the Venice Biennial. The second question was never answered. And the conclusion: many Slovenian art critics and public intellectuals dubbed the OHO retrospective a “memorial” and described the exhibited objects and documents as a graveyard of a certain era; Iztok Geister’s statement is thus all the more interesting and of vital importance: “Be that as it may, but, as members of OHO, we never believed that tombstones commemorate corpses.”

Culture is something we acquire; art, however, is what we do with culture.

Irena Štaudohar

Contents

INTERVIEW

Marko Peljhan & Irena Štaudohar: PHILIP GLASS
PERFROMANCES

Blaž Lukan: THE WET HANKY THIEVES

Tomaž Toporišič: SPREAD YOUR WINGS (YOU CLUMSY ELEPHANT)

Igor Palčič: NEURODANCER
COLOUMNS

Lado Kralj: HOMMAGE A RISTIĆ

Simon Kardum: STATE AND REVOLUTION

Eda Čufer: FIRST FORUM

Aljoša Kolenc: THE NEW BODY
AUTHORIAL BLOCK

Johannes Birringer: ENJOYING ONE’S SYMPTOMS

Marko Peljhan: OOPPERA!

Michael Benson: PREAPOCALYPTIC NON-MODERNISM

Aldo Milohnić: VIDEO DANCE FESTIVAL

Polonca Baloh Brown: PREPARING A DISH FOR ONESLEF
DANCE

Mojca Kumerdej: Introduction

Mojca Kumerdej & Simon Kardum: INTERVIEW WITH IZTOK KOVAČ

Sinja Ožbolt: INTERVIEW WITH KSENJA HRIBAR

Mojca Kumerdej: INTERVIEW WITH MATEJA REBOLJ

Suzana Koncut: DANCE-THEATRE BOOM

Matjaž Zupančič: THEATRE OF THE SYMPTOM

Jean-Marc Adolphe: DANCE AND POLITICS

Marko Košnik Virant: DANCE WITH THE LANGUAGE OF DISMEMBERED BODIES

Katrien Jacobs: DISEMBODIMENT OF THE POSTMODERN ARTIST

Roger Copeland: OBJECTIVE TEMPERAMENT

Barbara Drnač: INTERVIEW WITH BILL T. JONES
CONSTRUCTORS OF MODERN THOUGHT

Ferdo Delak: INTRODUCTION TO THE NEW DANCE ART
LIVE CLASSICS

Mirna Žagar: TRISHA BROWN
INFORMATION

Events
— 10-09-2007 : Discount - Maska magazine - Does production dance alone? 1. and 2.
Maska, Metelkova 6, Ljubljana



— 18-01-2008 : Lecture on Pupilija at conference "Dance and resistance"
Centre Nacional de la Danse, Paris, France
Janez Janša


— 12-06-2008 : 1968 plus - Contemporary Slovene Theater and Dance
New York Public Library



— 09-06-2009 : A Piece for Matjaž Hanžek: Samo Gosarič




— 30-06-2009 : Samo Gosarič: A Piece for Matjaž Hanžek at 9:00 PM / Plesni Teater Ljubljana




— 11-09-2009 : Samo Gosarič: Komad za Matjaža Hanžka at 9:00 PM on 10 and 11 September, PTL




— 25-10-2009 : ŽLAHTNA PLESEN PUPILIJE FERKEVERK-reconstruction, GROUP FOR DEVELOPMENT, Mala Drama SNG at 8PM, conversation after the performan




— 20-01-2010 : Reprises / FAR AWAY: Sinja Ožbolt, 20 and 21 January at 20:00, Plesni Teater Ljubljana




— 03-02-2010 : Reprise / BETWEEN US: Teja Reba in Leja Jurišić, 3. February 2010 at 20:00, Stara mestna elektrarna




— 04-02-2010 : Reprise / BETWEEN US: Teja Reba in Leja Jurišić, 3. February 2010 at 20:00, Stara mestna elektrarna




— 12-02-2010 : Reprises/ BETWEEN US: Teja Reba in Leja Jurišić, 12 February 2010 at 20:00, Španski borci




— 13-02-2010 : Reprise / BETWEEN US: Teja Reba in Leja Jurišić, 13 February 2010 at 20:00, Španski borci




— 29-04-2010 : COME AND DANCE! / the International Dance Day