2016-2020
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Scalable Skeletal Escalator by Isabel Lewis at Künsthalle Zürich.
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Aggregate by Alexandra Pirici at Art Basel 2019.
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The space between by Daniel Hellmann at Fête de la Danse in Lausanne, Geneve, Lugano.
'M.A.D.' by Valerie Rieding
2020
@Tannzhaus Zürich
m.a.d. / mutually affirmed deviance explores the collective body of four performers and their deviance from the norm. Together they venture a shared vulnerability and, strengthened by this newfound unity, they set out to disrupt the vicious cycle of discrimination, hatred and violence. Through choreography and sound the four protagonists attempt to transform the martial meaning of m.a.d. ("mutually assured destruction") into “mutually affirmed deviance” – into a daring "yes!" in celebration of the body and of their common breakout from its alienating socializations.
Concept, artistic direction: Valerie Reding
Performance, choreography: Bastien Hippocrate, Rafał Pierzyński,
Valerie Reding
Sound design, Performance: Ivy Monteiro
Dramaturgy: Marc Streit
Sculpture: Christopher Füllemann
Light design: Thomas Giger
Technical support: David Baumgartner
Vocal Coach: Marcel Fässler
Oeil extérieur: Simone Mousset
Production REDart, Valerie Reding
Dramaturgical production advisor Tanzhaus Zürich: Simon Froehling
Production assistance: Nico Dubosson
Photography, flyer: Valerie Reding
Video teaser: Oil Productions
Co-production Tanzhaus Zürich
'Scalable Skeletal Escalator' by Isabel Lewis
@Kunsthalle Zürich
2020
23.09 - 08.11.2020
http://kunsthallezurich.ch/en/scalable-skeletal-escalator
SSE is an experimental live art work conceived by Isabel Lewis in the form of a holobiont, a multi-organismic assemblage, like the human body itself, shuddering and shaking into being. This mode of exhibition-making draws inspiration from evolutionary biologist Dr. Lynn Margulis’ emphasis on cooperative and symbiotic relationships between species as the driving force of evolution. The themes of the work are continuous with its form reflecting on potential human futures. Continuing in the vein of Isabel Lewis’ practice of questioning the disembodied thought systems of the West which deny the body of “livingness” in the deadlock of idealism/materialism, this work invites collaborators and visitors on a participatory epistemological quest to re(dis)cover the body by rehabilitating our human sensorium in order that we might enhance living rather than alienate ourselves from life.
Scalable Skeletal Escalator is made possible through the collaborative efforts of Dirk Bell / Mo Stern, Lara Dâmaso, The Field (Mirjam Jamuna Zweifel, Pierre Piton, Lucia Gugerli and Declan Whitaker, in cooperation with Tanzhaus Zürich), LABOUR (Colin Hacklander and Farahnaz Hatam), Matthew Lutz-Kinoy, Rafał Pierzyński, Mathias Ringgenberg, Sissel Tolaas, Juliette Uzor, Marcelo Alcaide and Yolanda Zobel. It is a live art work that moves through four levels of Löwenbräukunst, where Kunsthalle Zürich is located. The work is created with the support of Tanzhaus Zürich; thanks also to Callie's Berlin and Schauspielhaus Zürich.
Picture: Annik Wetter
Poster: Dan Solbach
'Pearls before Swine' by Ewa Dziarnowska
2019
@PS120, Berlin
Please join Ewa Dziarnowska with Jayson Patterson and Rafał Pierzyński for the premiere of her new dance work.
Other contributions by Maciej Sado (dramaturgical advice), Zander Porter (video), Jonas Droste (set up/installation)
Project funded by the Senate Department for Culture and Europe (Einstiegsförderung 2018)
Free entry/donations welcome
http://ewadziarnowska.pl/
PS120 is an experimental project space that invites emerging artists to present new commissions in context of established artists that inform their practice.
Generously supported by Till-Oliver Kalähne and Peter Obstfelder
Photos: Spyros Rennt
photo: Spyros Rennt
photo: Spyros Rennt
pic: Spyros Rennt
'Future Tongues' by Anna Nowak
2019/2020
@Nowy Teatr
This will be a year full of tense atmosphere, unforeseen events and surprises. Your calm character will be put to the test and you are very likely to lose your legendary calm. You will encounter strange people trying to destabilize you, forcing you to change your habits and give up some of the things you hold on to so dearly. This year pervades with misunderstanding. It will be required of you to deal with some form of manipulation. Keep your eyes wide open and remember to keep your cool. Sort out everything that is required of you. The changes will not just be negative. There are going to be many opportunities to meet other people, but you will prefer to focus on testing your personal charm rather than searching for serious involvement.
Director, choreography: Ania Nowak
Performance, creation: Oskar Malinowski, Aleksandra Osowicz, Rafał Pierzyński, Jaśmina Polak
Dramaturge: Mateusz Szymanówka
Sound design: Justyna Stasiowska
Costumes: Grzegorz Matląg/ Wsiura
Lights design: Jędrzej Jęcikowski
Tarot reading: Samuel Draper
Curator of the Theatre 2118 project: Tomasz Plata
Photos: Maurycy Jan Stankiewicz
Part of the set design is work "Mother Tongues & Father Throats" by Slavs and Tatars.
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'Untitled 2018' (Holding Horizon)
by Alex Baczyński-Jenkins
@Frieze Artist Award, London 2018
@La Biennale di Venezia 2019
https://frieze.com/media/alex-baczynski-jenkins-frieze-artist-award-2018
This year’s award winner, Alex Baczynski-Jenkins’ new commission continues his choreographic practice engaging with queer relationality and the politics of desire, intimacy, and friendship.
In the work, Alex draws on the box step, a basic movement used in several social dances, to create a choreography that explores collectivity, subjectivity, queer embodiment and desire. Synchronized movements co-exist with moments of slippage and letting go, each body playing host to individual and shared affections. In this altered state, the box step becomes a container for the relational force that resides in moving with others.
Performance: Agata Grabowska, Trian Normanson, Rafał Pierzyński, Ewa Dziarnowska, Billy Morgan
'Until a thousand roses bloom
(with Warsaw in the background)'
by Alex Baczyński-Jenkins
2018
@Foksal Gallery Foundation, Warsaw
https://frieze.com/article/alex-baczynski-jenkinss-choreography-describes-desire-pursuit-not-capture
performance: Filip Rutkowski, Katarzyna Szugajew, Agata Grabowska, Billy Morgan, Joseph Funnell, Rafał Pierzyński, Ewa Dziarnowska
performance documentation Foksal Gallery Foundation, Warsaw
Photos: Spyros Rennt
'Floating House (Hopefully on the way forward)' by Elena Giannotti
2017
@Bassano del Grappa, Maastricht, London, Livorno, Florence
Direzioni: Elena Giannotti
Di e con: Nick Bryson, Elena Giannotti, Rafał Pierzyński, Mia D’ambra, Penelope Pistoia
Sound: Spartaco Cortesi
Luci: Valeria Foti
Produttore Creativo: Lisa Gilardino
Floating House (Hopeful on the way forward) o Casa Galleggiante è una coreografia modulare, che ospita diversi artisti e le loro idee. Si tratta di un progetto scomposto, realizzato in diversi luoghi, con persone e materiali diversi. Il tema del lavoro è quello del sogno, inteso come struttura mentale e condizione psicofisica. Gli artisti coinvolti portano nella casa il loro lato notturno, le idee della solitudine e dell’immaginazione. Il teatro dell’anima viene inscenato e dissezionato. Il singolo si mostra come espressione dei molti. I molti convivono ‘pieni di speranza della via da seguire’.
questo progetto è realizzato grazie a: PIVOT DANCE finanziato da: Creative Europe Programme of the European Unionco-prodotto da:The Place, Dutch Dance Festival e Operaestate Festival
Realizzato a:Operaestate Festival VenetoProduzione di: Company Blu Con il Supporto di: Birr Theatre Ireland, Atelier delle Arti Livorno, Studiotrade, Grangebeg Camphill Dunlavin, Firkin Crane Cork
WYSIWYG
2016
Rafał Pierzyński and Martyna Lorenc.
What you see is what you get is what we extracted from the process of intense movement/state research. using: strict physical tools and metaphysical challenges, techno fast-beat music, long movements sessions based on simple repetitions, holotropic breathing, etc., we challenge our usual states of being and dive into altered states of body and mind.
The installation is reduced to sharp, thin lines designing our space. the space-in-between the strings seem to create surfaces and make the invisible present. The non-empty space seems to bend and dynamically tangle around the installation, what calls for a metaphor of gates between space 'here' and viewer's ideas of potential 'there'.
Applying this feature to all elements of the performance we provide only frames, open spaces for a viewer to enter.
video material here
