This work for five dancers, that premiered on 18th of October 2014, invites you on a journey of durational movement. In a certain sense, it articulates the arrival of historic modernism in to the dance medium and how was dance, as we understand it today, shaped by that and in what way.
This simultaneously complex and fragile consideration of the nature of dance is extensive yet minimalistic dance session between music and space. Performed by dancers Lana Hosni, Irena Mikec, Katarina Rilović, Irena Tomašić and Mia Zalukar, this long dance work invites you to spend time with it, coming gradually into the patterns of its structure. Intensive, meditative and purifying experience of watching is forming specific elasticity of time and meaning.
In my last works, embarking on a mission of revoking the very substance of a dance event, I leaned towards exposing ontology and deconstructed historicity of the choreographic. In such intervention, that is dealing with the very nature of dance, modes and conditions of the core of dance can seek its cause only in itself. To dance a dance means that the very dance must go through the experience itself. This suggests that something beyond the experiential horizon of dance can only be a projection of its function but not the dance itself.
Choreography is structured in three parts by the minimalist durational piano composition from 1959 of an American composer Dennis Johnson titled "November". Composition was lost and not available over 50 years until pianist R. Andrew Lee manage to reconstruct it and released it in 2013.
There is also a book that accompanies this work: French philosopher Jacques Rancière gave us his fresh text titled "Moment of Dance", which we translated in Croatian and published along.
The work is curated and presented by the House of HDLU. Also known as Meštrović pavilion, the venue is one of the most renowned places for contemporary arts in Zagreb, curated by 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.
"VARIATIONS ON SENSITIVE noticeably consistently reflect the dance as something that holds a duration, a time, as one of the essential poetic tools, and kinesthetic sensory connection between the dancer and the viewer an essential element of communication. This work is in its way therefore a continuation of a research initiated by the award-winning piece “Choreographic Fantasy no. 1 “, which is just as radical, intriguing and beautiful. "
"The isolation in time and space in which this dance performance has sinked you in, forces you to perceive all its traces; long-term, short-term, current – performative, with the “heartbeat” of the Dennis Johnson’s composition “November” that wonderfully coalesce with its movement and spatial aspects. It seems to me that it is precisely in these variations – in the reflections of our own senses in time (and considering the dance act) – a success of this performance. "
"By creating a dance gesture in its fragile self-sufficiency, by establishing dance in its precarious autonomy, by attesting its everydayness and ongoing vibrancy, VARIATIONS ON SENSITIVE speak of the World whose ‘flesh’ is made of the same matter as our body. Indirectly they speak about the world here and now, the contemporary world. I spoked about VARIATIONS ON SENSITIVE at one international symposium in Paris, exactly at the moment when city streets were flooded with several hundred thousand people walking and protesting against the new labour-act that was to be passed by the French parliament. On one of the street lampposts a protester’s sticker was saying “Utopiste debout, Rêve générale”: A utopian has risen up, A General dream. And that what we see at the beginning of this performance – dancers persisting in a vertical position – and the same posture at the end of it, now with closed eyes (maybe staring at the general dream?), synaesthesised with my experience of the current reality into a sense that utopia of the better world is still alive; an absent-minded and vertiginous utopia, banal and fragile utopia, multitudinous and heteroclite utopia, but nevertheless utopia of the autonomy of the world in which it will be unequivocally evident that we are all made of the same ‘matter’. A matter that is irrevocably perishable, but infinitely creative. "