26thoctober

17.00 Magacin in Kraljevia Marka

Opening of KONDENZ Little girls-drummers

from Femix network of feminine creativity announce

the start of Kondenz!

17.30 Magacin in Kraljevia Marka

STAR TRACKING Performing the results of a

research on the local dance scene: Ivana Ronevi

Star Tracking is an invitation to each artist to rethink again
and again the position of his / her own needs and interests
in relation to the common ones, as well as to revise their
importance and their contributions to the interests of the
community and common good. Star Tracking is an ode to
artistic work. It aims at emphasizing the importance of
cooperation and solidarity which are essential for further
development and affirmation of each individual member,
group of members, dance and performing practices in general,
essential for keeping the vitality of the community necessary
for ourselves and the entire society. Star Tracking celebrates
knowledge on self-being and reconsideration of ones own
principles of autonomy, patterns, structures and organizations
equally as their importance in the process of development
of the community and society. In order for the work to be
as objective as possible, maybe even democratic, the dance
community was invited to participate to the research. What
the results are you can see in Magacin.

20.00 Cultural center Palilula

Aerobics! Ballet in 3 acts Concept and

choreography: Paula Rosolen, performers: Teresa

Forstreuter, Jungyun Bae, Marko Milic, Christopher
Matthews, Gabriela Gobbi, Paula Rosolen

The starting point for this project is the investigation of the

relationship of Dance, Choreography and Aerobics from its
aesthetics and coordinated movements. Paula says about
it: I would like tp give a performative artistic space to the
somewhat hidden dance, many times not relevant in its
original domain, showing aerobics from a different point of
view: from the perspective of a dancer and choreographer
observer who understands the intrinsic codes of dance and
music. An initial 10-minute presentation of my research
Aerobics! was presented at Thtre de la Ville in Paris as
part of the international competition Danse largie 2014 and
was awarded 1st prize. The premiere of the piece was held in
Knstlerhaus Mousonturm Frankfurt in September 2015.

27thoctober
the programme of frisch eingetroffen *

18.00 Cultural center Rex

Streamlined Concept and performance:

Igor Koruga, dramaturgical and choreographic

support: Ana Dubljevi, design: Jelena unjar,
costume: Jovana Dimitrijevi, production: Ksenija
urovi

dance at work
kondenz 2015
Festival of contemporary
dance and performance

18.00 Magacin in Kraljevia Marka

28thoctober
the program of frisch eingetroffen*

14.00, 15.30, 17.00, 18.30 Cultural

Center of Belgrade - Podroom Gallery
Strawberry Fields Forever Concept and

performance: Ana Dubljevi and Milan Markovi

Matthis

Strawberry Fields Forever is a piece created for the

research project IdentityMove! The two lines of our
research were: relationship between (written) text and
(present) body and thinking the immigrant question
in Europe today. More concretely, we were focused on
the terrorist attack on a group of immigrant workers
at a strawberry field in Greece in 2013 - Manolada
massacre (performance in Athens 2014), and
situation at the island of Lampedusa (performance in
Prague in 2015). Another, underlining line of research
for us was finding answers to the question: what does
it mean to be political on the art scene today.
Working in the field of performing arts for a number
of years we learned that it has almost became an
(market) imperative to be(politically)provocative,
subversive or radical. To avoid this deadlock
we found that it is not enough to articulate
the right political questions but also redefine
what being political means. This led us to
formulatingtrickerismordramaturgy of betrayala method of constantly producing and betraying
expectations as a way to get to the moment ofcreative
conflict.

Work explores role of public speaking within

mediatized, neoliberal, capitalistic society through
questioning the social statuses of pop- and
contemporary art icons and the new generation
of artists within field of contemporary dance
and performance. As a hybrid choreographic
performance of public speaking, dance and video,
this work exposes different popular rhetorics from
the artworld that reflects nowadays conditionsfor
artproduction, emerging artists continuously face
with. By critical and analogical requestioning of
such rhetoricsstatuseswithin wider context of
popular culture, the aim of this work is to publicly
analyse a general popularised image of the artist
within the society nowadays and the space of his/
her (non-)politicallity within it. On a formal plan,
work also analyses choreography within sphere of
immaterial form - language, producing the language
choreography as an extended form of stage
expression.

19.00 Magacin in Kraljevia Marka

Ctrl-V (EP) Concept, choreography,

21.00 Center for cultural decontamination

Sequel for future / dance 2043. / dance
2044. Concept, choreography and performance:

Guido, performers: Lisa Schman and Alberto

Franceschini, production: Alberto Franceschini,
composer: Lisa Stenberg, light design: Jens
Sethzman

Willy Prager and Sonja Pregrad, dramaturgy: Igor

Koruga, advisers: Gina Serbanescu, Jasna mak
and Dora Durkesac, music: Emilian Gatsov-Elbi,
light: Sandra Blatterer, stage and costumes:
Ebba Fransen Waldhor and the Faculty of Textile
Technology, Zagreb (Davor Ivanec, Diana Mihali,
Nika Wenzinger)
The work is a pioneering dance performance in
two acts, which explores the question of how
contemporary dance will look like in 30 years and
how it can be exercised. They move themselves and
the audience to the period between 2043 and 2044 to
present a journey via their own stories and personal
experiences as well as anecdotes of other dance
artists from different cultures and generations.

30thoctober

performance: Cosima Grand, dramaturgy: Oliver

Roth, video/ staging: Aldir Polymeris, production:
Rabea Grand
In Ctrl-V (EP) of Cosima Grand, Aldir Polymeris and
Olivier Roth rap-songs are dissected: instrumentals,
lyrics, body language and materials of movement
are going to be decomposed and newly sampled
which leads to a performative EP (Extended Play)
that mirrors the cosmos of a whole culture in just one
person and their body.
Thanks to Dampfzentrale Bern, Tanzhaus Zrich,
Residenz Tanz Leuk, Theater Roxy Birsfelden, HKB
Bern. Supported by Migros-Kulturprozent and Ernst
Ghner Stiftung

21.00 CZKD
Fluid Landscapes Choreography: Mirko

Fluid Landscapes is a reflection on the perception of

identity. It is the physical embodiment of a constant
transformation that leads to reconsider what seems
to be already established. In the piece the two bodies
explore their temporality and the constant movement
lying underneath what appears to be static. By peeling
off what was to uncover what is, they discover every
time a new perception of themselves and a new
relation with their surroundings.
Fluid Landscapes pulls the audience into a timeless
hypnotic state, where sensations are heightened and
where the consciousness of a shared experience
makes the spectator actively question his/her
perceptions.

Talk with Joanna Szymajda, vice-director of the Institute

of Music and Dance in Warsaw. We will talk about one
possible way of support to the dance scene through public
system and an institution available to all.

29thoctober
16.00 18.00 Magacin in Kraljevia Marka
Critical Practice (Made in Yu) talks with
the artists from frisch eingetroffen platforme

Critical Practice (Made in Yu) is a platform for support

to young and emerging writers who write and
reflect dance and performance and the relevant and
referential fields and topics. The platform exists since
2013 and was conceived through collaboration of
Station Service for contemporary dance, Lokomotiva
from Skopje, Nomad Dance Academy network and
Ana Vujanovi as the program mentor. It is part of the
Life Long Burning project, and can be followed here
http://criticalpractice-madeinyu.info/

18.30 Magacin in Kraljevia Marka

Choreography of Imagination

concept and performance: Jovana Raki

Considering the broadness and difference in the

choreographic space present in contemporary
performing arts, the author assumes that the space
of individual imagination can be comprehended as
space of and space for choreography.Choreography
is thought as a practicerelated to the movement in
the space which isvisible;butcan it be understood as
something that is happening in the inner space?
The performance is built on the concept of
choreography happening in the imagination of
one.Can ones flow of thoughts be choreographed
and does the function of choreography change as
much as its structure, once it is not comprehended
as something happening in a certain place and
time, staged for us to visually comprehend it?
Maybe the choreography of imagination simplifies
communication with the audience, offering the
solution for communicating through it without the
need to move, act and experience.

Therefore:
Relax,.
Take a deep breath in through your nose...
Breath out through your mouth
Breathe in relaxation.....
and breathe out tension
Lets go back to your favorite place

20.00 Magacin in Kraljevia Marka

anymore Choreography and performance:

Marko Mili, performance: Predrag Mladenovi

I need others, although I often find such need
uncomfortable. I also like BDSM sex, I am aware of
where I grew up and I have always used asphyxiation
as a sexual stimulant. Im witnessing a rescue
situation. I dont have to be careful. There are plenty
of ways to survive. My way is to see mouth-to-mouth
as a symbol of cooperation. I dont need a ring on
my finger, fuck that. I need a finger in my ring, or
two if you please. It is a big enough challenge in a
relationship to learn how to swim. That is why I get
turned on by dominance and overcoming jealousy.
The only real problem is the battle with the lack of
attention. Interdependence suits me right as so does
the fact that you are not independent.
The work was done together with: sweet and tender
for the end of the world 2012, Marcel Schwald, Olivia
Csiky-Trnka, Andreja iroki.

20.00 Magacin in Kraljevia Marka

Backroom Anatomy 1 Choreography: Zeina

Hanna, in artistic dialogue with Jasna Layes Vinovrski,

Vera Knolle, Siska
BACKROOM is a place where decisions are made
secretly or out of public view.ANATOMY is the
skeleton that carries the body we are going to die in.
Backroom Anatomy is an ongoing researchdealing
with communication.The research revolves around
the tension between experience and words/concepts.
It delves into the internal nature of language, creating
experimental set ups that are connected with the
physical and performative impacts of image and
language on the body. In this first part, Backroom
Anatomy 1 consists in a short solo and a video
installation presented together as a prologue to
an un-existing piece. It deals with anonymity and
recognition, control, time, and the attempt of the body
to take vacations from the self.
I write differently from what I speak, I speak
differently from what I think, I think differently from
the way I ought to think, and so it all proceeds into
deepest darkness. Letter to Ottla Kafka, 10.07.1914
(Franz Kafka)
Partners: Pact Zollverein, workspacebrussels

31stoctober
20.00 KPGT
Love will tear us apart Concept and

choreography: Saa Boi and Petra Hraanec,

performance: Petra Hraanec, Music selection:
Saa Boi, Petra Hraanec, photo and video: Danko
Stjepanovi, production: tefica Bartolin / de facto

This solo performance fuses several genres and is somewhere

between a rock concert, confession and abstract dance. Love
in the title relates to love for dance, the act of dance itself,
while the work debates the difference between dance and
its realization as a social event through the constitution and
definition of the performer herself. Performer Petra Hraanec
executes dance numbers, chosen love songs, while in the
intermission we are to learn about seemingly ephemeral
details about the origins of this production, weaving a fine
net of relationships between powers which define the act of
performance. The audience is invited to actively take on the
responsibility about the sequences in the hierarchy of the act
of performing.
Support: City of Zagreb, Ministry of culture of the Republic of
Croatia

Impressum:

Station Service for contemporary dance

Magacin in Kraljevia Marka
Kraljevia Marka 4, Belgrade
www.dancestation.org
Concept and production: Marijana Cvetkovi / STANICA
Production: Ksenija urovi Organisation: Tatjana Nikoli
Technical support: Boris Butorac / PVC Graphic design:
Katarina Popovi Thank you: Boris Butorac, Marko Mili,
Duica Brstina, Tamara Milovanovi, KC Rex, CZKD, Zorana
akovi, KCB, KPGT
* frisch eingetroffen (eng. just arrived) is a Young
International Performance Art platform for young and
emerging performing arts. It is a programme within which
zeitraumexit form Mannheim and Station Service for
contemporary dance have collaborated during 2015. This
collaboration resulted in presentation of 5 performance
and dance works in Germany and Serbia.