In the frame of the Wild Cards offered by 4Culture in 2012, four artists from Hungary and Belgium were selected to work two weeks in Bucharest, as a result of the Wild Card exchange between 4Culture and Workshop Foundation and workspacebrussels. Performer & choreographer Kata Juhasz (HU) and visual artist Andrea Sztojanovits (HU) from August 13 - 26 and performer & choreographer Sabine Molenaar (UK) and visual artist Lisa de Boeck (BE) from August 21 - 31 worked in the studio of the National Dance Centre, collaborating with dramaturge Gina Serbanescu (RO).
The residencies ended with presentations of the works-in-progress shown at CNBD Studio.

Within the 2012 residency activity, artists like Arcadie Rusu, Marina Albu, Maria Balabas, Eduard Gabia, Mihaela Michailov, Ana-Catalina Gubandru also benefitted from the working space and presentation facilities.

In collaboration with C32 and Marco Polo System from Venice, several residencies were offered to the artists Catrinel Catana, Valentina de Piante, Madalina Dan and Michaela Dancs. They worked with Italian artists in both Venice and Bucharest and had final performances presentation at the end of the residencies.


report by Kata Juhasz on the Jardin d’Europe residency in Bucharest, the creation process of her piece called That’s alright with me

I spent my residency in Bucharest with Andrea Sztojanovits, video artist from the 13rd-26th of August. It was in the 7th and 8th week of the making of my new creation called „That’s alright with me” in the frame of the Jardin d’Europe Program with the participation of 4Culture.

The conditions of the residency were alright. The residency was really well organized by 4Culture Association. The accommodation in the Hungarian Culture Centre’s villa was excellent. Just the floor of the dance studio was a little bit hard, covered by floor-tile under the dance carpet and the sound in the studio was weak (just with mono output).

Antecedents of the creation
We started to brainstorm/ search and create the concept of the piece in March and April 2012 with the consultant Tamas Loky.

The first 2 weeks rehearsing period was with the cellist/composer Albert Markos working in SÍN Culture Centre from the 16th – 29th of April. We improvised together and created the concept of the music.

The second rehearsing period was from the 9th – 25th of July at Trafó’s studio and SÍN. During
this time we worked together with the musicians the cellist, Albert Markos and the contrabassist, Ernő Hock. We were improvising together, creating some of the scenes and the music composition. At the end
of this period we recorded the music under sound studio facilities.

The third rehearsing period was in SÍN Culture Centre 1st – 10th of August when I was still searching,
improvising without live music but started to fix some materials of movements.

Residency in Bucharest
During the residency we were making the structure of the piece and we were working on the video. I arrived to Bucharest with the main concept, many ideas of scenes, some set scenes too and having the soundtrack with me. I met Gina Serbanescu the first day and we talked through the concept. We made a structure the first 3 days of the residency and I fixed the movements in some of the scenes or I was rehearsing a structured improvisation of scene by scene during the following days.

The second week of the residency Andrea Sztojanovits arrived and we started to work on the video footages. She brought a video projector and an x-box with her to Bucharest. We wanted to use the kinect (x-box), but we couldn’t do it as there was no internet in the studio and our kinect software would have worked just through internet connection. The working progress presentation was on the 24th of August in Sala Palatului, Bucharest.

After the residency
The day after my residency had finished In Bucharest the creation was going in Budapest at SÍN Culture Center. As far as I use live music we had to put together the evolved stage act with the featuring strings as actors on stage with the participation of Albert Márkos and Ernő Hock. (27th -31st of August). The video artist Andrea Sztojanovits came for the last 2 days.
The second working progress presentation with live music and video was held at SÍN too on
the 1st of September.

Future of the piece
We would like to continue the work, to find residency programs for finishing this creation. The piece needs about 2-3 weeks further rehearsing in the installed set with the participation of each artists contributing: 1 dancer, 2 musicians, 1 video artist, 1 dramaturg.

About the concept of the piece:
In 1989 the Whitney Museum of American Art asked Jeff Koons to make an artwork about the media on a billboard for the show "Image World: Art and Media Culture". Koons employed the Hungarian-born Ilona Staller (renowned as Cicciolina, la diva, porn- and mediastar and political activist) for modelling in the
shoot that formed the basis of the resulting work for the Whitney, Made in Heaven (1990–91).

The series of paintings, photographs, and sculptures portrayed Koons and Staller in explicit sexual positions and created considerable controversy. It was first shown at the 1990 Venice Biennale.

Two years later Koons, only heir back then apparent to the throne of arts & business willing to pose wearing
nothing but his crown married the ever green Cicciolina, the naturalized-Italian gransignora del rinascimento of the „Little Hungarian Pornography” (published in 1984 by Péter Esterházy), who for five
years (1987–1992) pursued an alternate career as a member of the Italian parliament.

Regarding to the timing of this private act their marriage can be interpreted as an action of politics or
of (conceptual) art (a happening either in the same time) especially from the perspective of our
contemporary present (of 2011-12) being aware of the social and political occurences in public life during the last two decades of reigning the already changed political system in Eastern-Europe.

By doing so we are to see an adumbrating act of „überpornography”: the interference of art, business, politics and pornography, which as fundamental establishment and walk of life is worth mentioning…

That’s alright with me is a contemporary legend. According to this legend there exists a sort of “bermuda triangle” among corruption, menace and indignity, where a number of public policy and public wealth are said to have disappeared under mysterious circumstances, and where unbidden idols are rising.

What shall we – sirens and wrecked - engage in?

Asking questions:
Why do we get the statues, who does give them us and why?
Who does inaugurate the statues, who does model them and who is the Model?
What does it mean to inaugurate a statue and what does it mean to inaugurate someone as a statue?

Differentiating the points of view:
What does inauguration mean in the aspect of the Model?
What does it mean in the aspect of the populus, in the aspect of the receiver?
And what does all mean in the aspect of the authority?

Identifying the victims, the way of perpetration and the springs:

What does the authority do with the idol when it idealizes the idol? What is the goal of the authority with it? How does the authority inaugurate a statue for its paragons?
And how does the authority abuse all this? How does the inauguration resemble to a sacrificial ritual?”

The performance That’s all right with me being created by Kata Juhász Company in its scenography has been inspired by Statuary series of Koons.

He started creating sculptures using inflatable toys in the 1970s. Taking a readymade inflatable rabbit Koons cast the object in highly polished stainless steel, resulting in Rabbit (1986), one of his most famous artworks.

The inflatable toys and sex toys we use as ready made are organised into a spatial composition which as an installation is to exhibit a system of symbols, triangulation points of an energy-system to live in. Each symbol refers to an attitude characterizing the society while their constellation defines a system of energies which the performers –dancer and musicians- has to move and play in for finding their relations towards each other and the audience.

The soundtrack of the piece created by Albert Márkos is mostly an original creation, designed and tuned just for this show.

Choreography, dance: Kata Juhász,
Music composition: Albert Márkos
Music: Albert Márkos (cello), Ernő Hock (contra bass)
Dramaturgy: Gina Serbănescu,
Video: Andrea Sztojanovits
Consultant: Tamás Lóky

Special thanks to: Aleka, Andras
Hajdu, Norbert Komenczy
Supported by: National Cultural Found of Hungary, 4Culture Association, Workshop
Foundation, Jardin d’Europe, SÍN Culture Centre, Aulea Foundation

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