Festival IN OUT

12 IN OUT Festival Fauves
Dir Cléophée Moser
12 IN OUT Festival My name is Zoya
Dir Pavlo Kovach
12 IN OUT Festival Dancers
Dir Eva Sjerps
12 IN OUT Festival THE DÉRIVE
Dir Tanin Torabi
12 IN OUT Festival Bookanima
Dir Shon Kim

competition film

Karuzela z Madonnami

Dir Weronika Krupa

Poland
2016

Screening of works in the competition (4) + talks with artists

22.04 3 p.m.

1. Cléophée Moser, FAUVES, FR, 2017, 15:51

Fauves is a contemporary tale which follows urban children’s search for identity. This day is the metaphor of a longer period of time, a life, condensed to highlight the transitions, the dynamics and the contradictions inherent in the process of building oneself.

Cléophée Moser AKA Mukala Musima is a young filmmaker and researcher in contemporary art and society. Born in 1992, she received a filmmaker’s training at The Baltic Film and Media School of Tallinn and was awarded a diploma in Applied Arts from Camberwell College of Arts in London, as well as a diploma in History of Art from École du Louvre in Paris. Her work crosses borders and questions the special bond between art and his authoring environment through the idea of the transdisciplinarity of dance, installation, artistic performance, video, writing and drawing.

As a committed artist, Cléophée Moser questions the society and the way it works by means of her artworks which leave a mark, impact their area of creation and change the human context in which they have been created. Her work explores the relationships between communities, between human beings and the space. Her research and work take place within the feminist, anti-colonial and anti-imperialist struggle and advocate the freedom to travel.

She seeks to provide new tools, an inventory of references and experiences that offers alternatives to violence which too often governs humans, their intercultural and international relations. Instead of responding to violence, degradation and dehumanization by using the same words, the artist implements a dynamic strategy, which is based on the development of a new discourse. To that end, she uses a humanist and poetic grammar of selfless care which advocates movement, emotional transgression and free invention of oneself in the world.

2. Kim Shon, BOOKANIMA, KR, 2018, 07:12

Bookanima (a compound word of ‘book’ and ‘anima’) is a project aiming at giving books a new cinematic life. Still images from a book are converted to moving images by means of animation and the book content forms a cinematic subtitle. Master's voice audio mentions the spirit of sports and supplements explanatory texts of reference book.

Ultimately, this work aims to create ‘a watching book’ and explores the area between book and cinema. Along the way it experiments with found frame, key point, locomotive overlap, random crop & zoom, off-screen and most of all, new chronophotography paying homage to Edward Muybridge and Etienne Jules-Marey.

Born in Seoul, S.Korea, Shon Kim studied Fine Arts at School of the Art Institute of Chicago, focusing on painting and drawing. He also explored animation aesthetics and earned MFA in Experimental Animation at CalArts under his mentors, a master of Experimental Animation, Jules Engel (1909-2003) and Myron Emery. Shon Kim is now a candidate for Ph.D in Animation Theory at Chung-Ang University, where he also teaches.

Shon Kim has exhibited internationally at various museums and festivals, including: MoMA, REDCAT, The Hammer Museum, Modern and Contemporary Art Centre in Hungary, Museo de Arte Contemporaneo in Chile, IFC Center in NYC, Seoul Museum of Art, Daegu Museum, OCI Museum, Festival International Du Film Sur L’Art Videoformes, Slamdance Film Festival, International Art Film Festival, Anima Mundi, Odense Film Festival, etc.

3. Kolektyw czy to warto, CZY TO WARTO, PL, 2016, 03:29

In Natalia Dołgowska and Michalina Musielak’s view, Is It Worth It is a manifesto, a song from our mothers’ times, nevertheless, still relevant and accurate. The artists question the independence of women, but not only. The famous Polish singer Zdzisława Sośnicka symbolises the universal dilemma of the so-called “independent women’s generation” raising the question of whether we are truly independent. The project was shown during the festival Warsaw Under Construction at the Museum of Modern Art in Warsaw.

Natalia Dołgowska is a visual artist and filmmaker based in Warsaw, Poland. A graduate of the Jagiellonian University, Wajda School and the University of Warsaw, she has worked on exhibitions at the Museum of Modern Art in Warsaw, publications such as Sputnik Photos, and films such as All These Sleepless Nights.

Michalina Musielak is a Polish film director born in 1990 in Wroclaw. She has graduated from the Academy of Fine Arts in Warsaw. She is currently studying Visual and Media Anthropology at Freie Universität in Berlin. Her latest documentary, Miss Holocaust (2017), premiered as part of the short film competition at the Berlinale.

3. Veronika Akopova, CATHARSIS, FR, 2016, 08:23

After a “delicate at 37°C” wash, a new-born body tangled in fresh clothes slides out of a washing machine. Oscillating between “pure” and “dirty”, the new being goes through human existential experiences, ending up with a cathartic jubilation of life.

Veronika Akopova is a dancer and emerging choreographer raised in Moscow and currently based in Paris. She started her own dance work with the solo performance Entrelacs, performed throughout Germany and Brazil, as well as in France, Poland and Macedonia.

Catharsis is her first dance film. It has been screened at dance film festivals around the world and won awards at Cinedans Dance on Screen Festival in Amsterdam, Bestias Danzantes Dance Film Festival in Santiago de Chile and InShadow Lisbon Screendance Festival.

Veronika is a co-founder of bok-o-bok company exploring different forms of art, with a focus on dance and cinema.

5. Jakub Słabek, TANIEC TOTALNY, PL, 2018, 04:04

Attempt at an analysis and description of club dance. The specificity and vernacularity of the language used is an attempt at breaking through the formality of the language of analysis. A certain type of strange eclecticism characteristic for the narrator’s register constitutes a conscious entering the discourse with the hermeneutical forms of the “scientific” description of reality. Simultaneously, a visual analysis aims at a deepening of the phenomenon of club dance through defining some of its objective particularities.

Graduated in Anthropology from the Jagiellonian University in Cracow. Fascinated by structuralism and visual semiotics, he based his master’s thesis on Roland Barthes’ late deconstructive methodology – subjecting a cinematic work to a structural-semiotic analysis. He works as a cameraman and director of advertising spots and commercials. Among others, he is inspired by Ludwig Wittgenstein’s philosophy claiming that “The aspects of things that are most important for us are hidden because of their simplicity and familiarity. (One is unable to notice something because it is always before one’s eyes.)” He describes himself as a person who looks for a meaning hidden in the obviousness of everyday sense. His theoretical background facilitates his moving around the complex architecture of signs. Through creating he seeks to find the essence of sense by means of atomization of his own multi-level memories and experiences.

People

Jury 2. st stage: Marta Ziolek
MARTA ZIÓŁEK is a choreographer and performer. Before starting her studies in choreography at the School for New Dance Development (SNDO) in Amsterdam, she studied at the Inter-faculty Individual Studies in the Humanities at the University of Warsaw. In her work she focuses on expanding the field of practice in choreography and the study of new forms of expression and embodiment. She operates in the language of new technologies and pop culture, she is interested in new rituals and performance studies of identity.
So far, she participated in workshops, projects, and co-worked with such choreographers and theoreticians as Bojana Cvejić, DD Dorvillier, Deborah Hay, Maria La Ribot, Trajal Harrell, Benoit Lachambre, Ann Liv Young, Xavier Le Roy..
One of her first shows as a choreographer after graduation was "Black on Black" which was produced by Hetveem Theatre in Amsterdam, co-produced by The Museum of Modern Art in Warsaw, STUK in Leuven, Studio Theatre in Warsaw and Komuna Warszawa in Warsaw. Komuna Warszawa has also produced her two latest works –“PIXO” and "Make Yourself".In the meantime she initiated project called “Pamela” that had three editions to date: "Pamela at the Gallery" as part of the exhibition "Better Self" Zachęta – August 2017 and Is "It Pamela/Incarnations" (Łódź of Four Cultures Festival – September 2017), "A Seance with Pamela"( a part of: „PTV. Performans TV”, odcinek 3 Ujazdowski Castle Centre for Contemporary Art ).
Ziółek thus far, among other places, showed her work in the Netherlands, Germany, Austria, Switzerland, Romania, Israel, The United States and Poland.
In 2011, she received the Dance Web scholarships from the ImPulsTanz Festival in Vienna. In 2012 she participated in the Springdance SPRING performing arts festival - Europe in Motion in Utrecht dedicated to young emerging choreographers. In 2013 she received a scholarship from the Amsterdam Fund for the Arts.
Ziółek's main focus is exploring the boundaries between visual arts, performance art, film and choreography.In 2018 She created choreographic installation for Netflix’s Pavillion - “Altered Carbon” at Ehtos Gallery. In 2017 she collaborated with Sharon Lochart and created choreography for her film presented in the Polish Pavillion at the Venice Biennale.
Ziółęk also cooperated in theatrical projects such as "Ewelina’s crying," directed by Anna Karasińska and “Girls” ,"The Football Players" directed by Gosia Wdowik both at the TR theater in Warsaw. In addition, she participated in art shows such as "Let's Dance" in The Art Station Foundation gallery, "Frame Of Reference" in the Museum of Art in Lodz and in Warsaw's Sculpture Park under the Museum of Modern Art in Warsaw.

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Jury 1.st stage: Wojciech Zamiara
Wojciech Zamiara (born 1960 in Toruń) - Polish contemporary artist, interdisciplinary artist (creator of multimedia installations, performance and video art), educator. He studied at the State Higher School of Visual Arts in Gdańsk (current name of the university: Academy of Fine Arts in Gdańsk), he obtained his diploma at the Graphics Studio of prof. Cyprian Kościelniak in 1986. He has been working at the Gdańsk University since 1986, currently holding the post of second degree adjunct. He leads the studio Introduction to Intermedia at the Department of Specialization and Specialization at the Faculty of Sculpture.

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Jury 1st stage: Krzysztof Kornacki

Prof. Krzysztof Kornacki is a film expert specializing in the history of Polish cinematography and employee of the Culture and Art Department of the Polish Studies Institute at the University of Gdańsk. He is the author of Kino polskie wobec katolicyzmu 1945–1970 (Polish cinematography and Catholicism 1945–70 – book nominated for the Bolesław Michałek award) and “Popiół i diament” Andrzeja Wajdy (Andrzej Wajda’s Ashes and Diamonds – 2011“Pióro Fredry” Award for the Book of the Year). Kornacki also co-edited Poszukiwanie i degradowanie sacrum w kinie (Looking for and degrading the sacrum in cinematography) (2002) and Sacrum w kinie. Dekadę później (The sacrum in cinematography: a decade later) (2013). He co-founded the Loves of a Blonde Film Club at the University of Gdańsk and served as its first chairman; he also sits on the Editorial Board of the Panoptikum magazine on audio-visual culture.

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Jury 2nd stage: Dara Friedman

Dara Friedman (b. 1968, Bad Kreuznach, Germany; lives in Miami) uses everyday sights and sounds as the raw material for film and video artworks that reverberate with emotional energy. A former student of the famously rigorous Austrian filmmaker Peter Kubelka, Friedman engages tendencies in 20th-century experimental cinema that call for a radical reduction of the medium to its most essential material properties. In place of linear storylines, her films typically portray straightforward gestures and situations that unfold according to predetermined rules and guidelines.

Yet for all of Friedman’s strenuous logic and discipline, her approach remains unabashedly sensual and emotive. Bearing rich imagery and a strong emphasis on bodily experience, her films generate moments of high-pitched, cathartic intensity as well as serene, even euphoric interludes. In recent years, Friedman has increasingly explored the charged boundaries between the public and private spheres, working with musicians, dancers, actors, and other individuals selected through casting calls and auditions. These experimental collaborations dovetail with the artist’s longstanding endeavor to use her work as a means of engendering empathy while pounding on the walls that separate viewer from subject, artist from audience, self from other.

Dara Friedman studied at the Städelschule in Frankfurt, as well as at the Slade School of Fine Art, University College, in London; University of Miami, School of Motion Pictures; and Vassar College in Poughkeepsie, New York. Most recently (2017-18) she mounted a mid-career survey exhibition Dara Friedman: Perfect Stranger at the Perez Art Museum Miami with a catalog raisonné distributed by Prestel. Solo exhibitions of her work have been presented at institutional venues including Hammer Museum, Los Angeles (2014); Museum of Contemporary Art Detroit (2014); Center for Contemporary Art Ujazdowski Castle, Warsaw (2013); Miami Art Museum (2012); Contemporary Art Museum, Raleigh, North Carolina (2012); Museum of Modern Art, New York (2010); Public Art Fund, New York (2007); The Kitchen, New York (2005); Kunstmuseum Thun, Switzerland (2002); and SITE Santa Fe (2001). Her work has been included in group exhibitions at institutions including Hirshhorn Museum and Sculpture Garden, Washington, DC (2013); MoMA PS 1, Long Island City, New York (2010); Whitney Museum of American Art, New York (2009 and 2002); Schirn Kunsthalle Frankfurt (2009); Museum of Contemporary Art, Los Angeles (2002); and New Museum of Contemporary Art, New York (2002), among several others. Her work is included in institutional collections, including those of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Pérez Art Museum Miami; Migros Museum für Gegenwartskunst, Zurich; Institute for Contemporary Art, Miami; and Hammer Museum, Los Angeles. Friedman is the recipient of the Rome Prize (2000).

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Jury 1st stage: Katarzyna Pastuszak

Katarzyna Pastuszak (Ph.D/Poland) is a dancer, perfomer, academic, artistic director of Amareya Theatre (Gdansk, Poland); curator of Butoh Festival in Gdansk and Gdansk Dance Festival (2009-2014), honourable member of the Gdansk Culture Council (2009-2014), academic teacher at the Institute of Culture - Gdansk University. In 2015 received the prestigeous scholarship of the Polish Ministry of Culture “Młoda Polska” for the realisation of performance project “Kantor_Traces”; also in 2016-2015 she was nominated for prestigeous prize “Splendor Gedanensis”. In 2014 published her Ph.D dissertation entitled “Hijikata Tatsumi’s Ankoku butō – the theatre of the body-in-crisis”. Co-operated with such artists and groups as: Saburo Teshigawara, Waguri Yukio, Murobushi Ko, Kawamoto Yuko, Gekidan Kaitaisha, Peter Schumann – Bread & Puppet Theatre, Odin Teatret, Edivaldo Ernesto, Jozef Frucek and Linda Kapetanea and others. Presented her works at festivals in Poland and abroad: Tanzimpulse Festival (Salzburg), Redplexus Festival (Marseille), XV Alternative Theatre Meetings KLAMRA, SUKKOT Dance Festival in Adama Centre / Mitzpa Ramon (Israel), Festival of Asian Culture - MADE IN ASIA, Festival Streetwaves Gdańsk, Poland; International Festival “Sound Around Kaliningrad”, Russia; Redplexus Festival - Preavis de Desordre Urbain in Marseille, France; Shakespear Festival, Gdańsk, Poland; Villkvinneseminar Festival of Women Art, Mosjoen (Norway); TAGTAS Festival, Morishita Studio in Tokyo, Japan; Apart Festival, “Opening Doors III” festival organised by Workcenter of Jerzy Grotowski and Thomas Richards. Performance “Nomadic Woman” directed by Katarzyna Pastuszak together with Amareya Theatre & Guests was preformed at 11. International Dance and Theatre Festival in Theatre X Tokyo and also in Greenland National Theatre in Nuuk and Sisimiut Kulturhus. In 2016 "Kantor_Traces: COLLAGE" dir. by Pastuszak was chosen as "The Best OFF-OFF Performance" by Gazeta Świętojańska, in 2017 it won the II Audience Prize at Festiwal Klamra in Toruń. In 2017 "Nomadic Woman" dir. by Pastuszak was presented in Tokyo and Sapporo where 2 Ainu artists joined the presentations, broadening the cultural and political context of the piece - Tsugumi Matsudaira i Utae Ehara.

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Jury 2nd stage: Anna Królica
Anna Królica is a curator, critic and historian of dance. Her books include Sztuka do odkrycia. Szkice o polskim tańcu (An art to discover. Essays on Polish dance) (Tarnów, 2011) and Pokolenie solo (The solo generation) (Krakow, 2013). She was the editor and curator of the album Nienasycone spojrzenie. Fotografia tańca (The insatiable gaze. Photographing dance) (Tarnów / Warsaw, 2017).
Her most important curatorial projects include: Maszyna choreograficzna | Choreographic Machine (2013–16, Cricoteka), Z perspektywy żaby | A Frog’s Perspective (2015, Zamek Culture Centre) and Archiwum ciała | Archive of the Body (2013, Zamek Culture Centre). She sat on the Polish Dance Platform jury in 2008, 2012 and 2017 and chaired the Programme Council for Dance at the Institute of Music and Dance (2011–13). She lectured at the Institute of Contemporary Art and the Performative Arts Department of the Jagiellonian University. She currently lectures at the Dance and Media Art Institute of the Adam Mickiewicz University in Poznan. Her texts were published in Dwutygodnik, Teatr and Didaskalia journals.

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Festival IN OUT

OPEN CALL

This year we introduced online application system!

12th IN OUT FESTIVAL 2018 dance/image

Experiments / Video / Documentaries / Animations

Since 2005, the In Out Festival has been regularly organized by the Łaźnia Centre for Contemporary Art. This edition will include lectures, film screenings, concerts and an open international competition for the best video works, experiments, documentaries and animations.

This year, the competition will be centred on the subject of dance/image.

The competition comprises two stages: until 9 April 2018, jury of the 1st stage will pick 20 artists, whose works will be qualified to the 2nd stage of the competition and screened at Łaźnia CCA. The artists will be invited to take part in the Festival in Gdańsk.

Awards:

1st award: PLN 5,000 funded by the Marshal of the Pomeranian Voivodeship, Mieczysław Struk

2nd award: PLN 4,000 funded by the ŁAŹNIA CCA

The jury will also award special mentions.