CHOREOGRAPHIC FANTASY No. 2, premiered on 18th of September 2015, is the second work in the series that is considering the choreographic as an intuitive and a structural practice.
Performed by six dancers; Filipa Bavčević, Lana Hosni, Irena Mikec, Sara Piljek, Katarina Rilović and Mia Zalukar, CHOREOGRAPHIC FANTASY No. 2 focuses on form itself, form as a vibrant place, a different levels of form as well as levels of its materiality and autonomy. Created in layers, this work understands continuity as its own most stabile introverted place.
CHOREOGRAPHIC FANTASY No. 2 is in the first instance a contemplation about the end of time. A certain depth and tension of the performative event is slowly and gradually falling in to the abyss of form and and in to the punctuation of time, where only mere breathing resists a compactness of that form-landscape. Choreographic structure therefore is continuously floating, allowing this performative landscape to recreate its response to the dynamic that is happening in each given moment. With creating and recreating of the specific formal language of the piece, a dance articulates itself through the structural dynamic that is in every moment anew. In some other instances, this work circulates around the idea of The Dictinct; the distinct distinguishes itself: it sets itself apart and at a distance, it therefore marks this separation and thus causes it to be remarked — it becomes remarkable, noticeable and marked as such. It also, therefore, attracts attention: in its withdrawal and from out of this withdrawal, it is an attraction and a drawing toward itself.
Music is a hommage to the album Electronics by Reinhold Friedl (Zeitkratzer) & Carsten Nicolai, following some of the conversations between Marjana and Reinhold. This avant-garde album, created as an idea of a pure drone event, grounded the vehicle of the proposed choreographic.
CHOREOGRAPHIC FANTASY No. 2 was hosted and programmed by the venue of House of HDLU. Also known as Meštrović pavilion, this venue is one of the most renowned places for contemporary arts in Zagreb, curated by Mia Orsag within the Croatian Association of Artists. Designed by sculptor and architect Ivan Meštrović and built in 1938, it has served several functions in its lifetime. It was subsequently transformed into the Museum of the Revolution in post-war Yugoslavia and in 1990, it was given back to the Croatian Association of Artists.
“CHOREOGRAPHIC FANTASY No. 2 focuses on a form, a shape, that is consciously or unconsciously anchored in the body, as a place where a dancing body is sourcing out of. The idea, it seems, is aiming to elaborate on the impossibility of a fixation of forms, certain volatility of form, an idea of a single point that is actually just a stain or a vibration. It is as if the dancers were traveling back to some forgotten or obsessive movement and were re-experiencing it again and again. In that landscape, we are recognizing a various streams from a classical ballet; arabesque, relevé, jeté, as well as many other forms of an unknown sources that are continuously appearing and disappearing. Dancers are highly connected with each other, in a mutual reflection, spatially thickening themselves, slowing themselves down, touching and forming, then again diverging and speeding up, scattering and dividing. While in Marjana Krajac’s previous works emphasis was organized around a different constitution of bodies, what is noticeable here are techniques that are inscribed in the bodies. Lana Hosni and Katarina Rilović attract with focus, precision and movement control. Irena Mikec and Mia Zalukar are more relaxed and playful. Excellent performance of all six as a collective is definitely carrying a performance as a whole. “
“Continuing the idea of an authenticity throughout a movement flow that is unburdened of an inscription surplus of various patterns, which was worked through in depth in her previous work CHOREOGRAPHIC FANTASY No. 1, in CHOREOGRAPHIC FANTASY No. 2 Marjana Krajač shifts toward a more formal shapes, both at the level of the movement and at the level of spatial formations of dancers (Lana Hosni, Irena Mikec, Katarina Rilović, Filipa Bavčević, Sara Piljek), allowing the pure form, a long ago learned and adopted movement, to float out and to embody itself in a new context, while the dancers are continuously reacting to the wast layers of an inner associations that are emerging during a performance.”