Intensities – radiophonic cover of multimedia dance performance

Premiere: 26. 11. 2015., Croatian radio 3, Radio atelje

Director: Vedran Hleb,
Music editor: Adriana Kramarić,
Dramaturg: Katja Šimunić.
Own text interprets: Vesna Mačković.
Music: Alen and Nenad Sinkauz.

This work as radiophonic echo of the same name stage work (dance multimedia play “Intensities”) establishes itself as a composite radio-stage performance in to this radio play by interweaving of triple narrative lines: autofictional, fictional and self-reflective. Vesna Mačković choreographs sounds like a memory of the play, evoking her states during the performance, describes one of her working days and gives a comment on the precarious life of the artist today.

Also available at: http://radio.hrt.hr/ep/radio-atelje/202001/

Photos from the studio

All the best about the dead

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Premiere:
22.10.2016., Sisak, Festival Željezara, Muzej Grada Siska

12.minute performans of sound and text thematising lost, abandoned, corrupted Sisak factories. Created and premiered for Night of performance and video organised by Festival Željezara.12-minutni performans zvuka i teksta na temu propalih, pokradenih ili uništenih sisačkih tvrtki. Kreiran i premijerno izveden na Noćima performansa i videa u organizaciji Festivala Željezara.

Under a glass bell

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Experimental art project of movement, sound and text

Premiere

29.9.-2.10.2106., Pogon Jedinstvo, Velika dvorana, Zagreb

Authoring team

Author and performer: Vesna Mačković
Music: 309th day of the year (Alen Sinkauz, Nenad Sinkauz, Miroslav Piškulić)
Light design: Saša Fistrić
Ligh technitian: Matija Jelić
Costume design: Vesna Mačković
Costume making: Diana Mihalić
Head installation: Damajanti Kondres
Photography, video: Ana Opalić

Introduction to the show

Under a glass bell I am safe from the world.
My light.
My warmth.
My air.
My home.
I am a vegetating plant.
A plant that is its own oxygen and food.
Under a glass bell the world is safe from me.
I am happy.

Concept of research

The play is performed as a solo research performance. Under light simulating a glass bell performer through movement, voice, text and music explores the challenges life in civilization.

The challenges that are her concerns relate to the body vulnerable to the outside world because of its physical weaknesses. Questioning physical security as a result has examination of the meaning of life in loneliness.

The challenges that she explores through thought and text refer to the mind which is struggling with the concept of ‘civilization’. How concepts such as war, violence, bloodshed, exploitation, theft, lack of dignity of life in social security and healthcare area can be conceptually a subset of the concept of ‘civilization’.

The sounds are her finest reality under a glass bell, and the music she heara in herself or from outside herself make her world deceptively complete.

Video teaser (Ana Opalić)

Press clipping

Plesna scena – Vesna Mačković: Želim stvarati svoje radove (novinarka Katarina Kolega), 5.10.2016.

30.09.2016. Hrvatski radio 1 – Katapultura – intervju povodom premijere ‘Pod staklenim zvonom’ (novinarka: Katarina Kolega)

25.09.2016. Radio 101 – Artikulacija – povodom premijere ‘Pod staklenim zvonom’ (novinarka: Nela Simić)

Interview for Pogon announcing premiere of ‘Under a glass bell’, 5.9.2016.

Photography (Ana Opalić)

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Two of them

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Premiere: 18.06.2016. u 20h, Zagreb, Croatia, Festival Perforacije 2016., Teatar &TD
19.06.2016. u 20h

Authors: Vesna Mačković i Jelena Mesar
Actresses: Vesna Mačković, Jelena Mesar
Text: Jelena Mesar
Piano and arrangement: Jelena Mesar
Audio and video technitian: Saša Obad
Costumes creation: Diana Mihalić
Fotography: Edita Sentić
Make-up: Martina Ćiljevuk

Producers: Udruga Domino, Udruga za audio-vizualnu kulturu “Kamera”.
Predstava je financirana sredstvima Ministarstva kulture i Udruge Domino.
Zahvaljujemo: Teatar &TD, Pučko otvoreno učilište.

About the show

Two of them challenge the systems of stereotypical thinking and its effects, prejudice and discrimination, but most of all those loosely hidden in so called positive thoughts – so pretty, and so clever! Where is the border between the need for stereotypes to survive and pure laziness? Stereotypes are relative to our identities and borders between us and them. Two of them do not go together.

Unrealistic simplification of the world defined them both as victims but also as perpetrators of stereotypical thinking. The two of them draw lines of joint interpersonal movement from distrust and arguments to egotism and are searching for the value of the stereotype variable and whether it is beyond direct sensory experience or whether clear thinking can deactivate the mechanism of stereotype.

Where is the line between two of them and all of us? You know the two of them. The blond one and that disabled girl that dances.

Jelena Mesar

Critiques, reviews

Kulturpunkt.hr – Iva Rosandić: U potrazi za svojim mjestom, 30.6.2016.

Libela –  Stephanie Stelko: Predrasude i diskriminacija: ‘Njih dvije’ – igra tijelima i stereotipima

Kritikaz – Olga Vujović: Ona plava i ona cura invalid što pleše, 2.7.2016.

Costume sketch

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Programme booklet

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Photography: Edita Sentić

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Video performance ‘Salute’

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performance ‘Salute’ was created in June of 2014. in abandoned iron factory space of ‘Željezara Sisak’.

Authors: Vesna Mačković and Ana Opalić
Video and editing: Ana Opalić

Showings:

  • 10.3.-23.3.2016., Zagreb, Annual exhibition of contemporary arts THT@MSU
  • Performance nights 2016.:
    4.6.2016., Belgrade, Dom omladine
    9.6.2016., Rijeka, Palach
    25.6.2016., Split, Dom mladih
    27.6.2016., Dubrovnik, Kula Lazareti
  • 1.9.2016. Sisak, Star Film Festival (opening night)
  • 22.10.2016., Sisak, Festival Željezara, Muzej Grada Siska
  • 13.4.2017., Zagreb, Festival of tolerance, Kino Tuškanac

2014-06-03 Željezara Sisak - filmski kadrovi 001

To the city which is dying, but has lived.
To the city with which I have never breathed as one.
To the soil that has soaked sweat and poisons.And happiness and smiles.
To the workers who are freed.
To the systems that come and go. And devastate.
To all of us who persistently walk forward, not knowing to where, why and how much more.

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In 1990. I moved to Sisak as a 15-year-old in anticipation of all high-school days’ excitements and youth. The war and isolation due to illness that struck me made it impossible to even sniff the city of Sisak. After 13 long years, happy circumstances in my life put me in position of saying goodbye to isolation and disease, and war was also already long behind us. It seemed like a fairy tale when spoken aloud. But the story is different. The city was destroyed. Earlier, people had been breathing hardly because of the large industry and pollution. Now they have been hardly breathing because there was nothing. Eager for sunshine and getting to know the city, I could now only explore human depression and emptiness of a plucked city. I only knew how to … leave.
In this video performance I imaginary come back to Sisak. I try to deal with the city and my personal history after years of absence.

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City of Sisak could be any city.
Lying for years due to illness isolated from people, the world, the city
must be the same in any city?
To stand up after a long illness
still I believe cannot be the same in any city.
City of Sisak. It had no air. I did not breathe with it.
I went away from it, I ran …
To search for other cities. That breathe. Or with whom I breathe.
By mistake I took anger with me.
Anger for not knowing how to change the cities that do not breathe.
So for a moment I reappeared.
I was hitting the walls that echoed, and the city yelled through my ears.
And I still do not know how to help it, how to breathe with it.
I’m leaving. Again.
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3rd award at The annual exhibition of contemporary art at the Museum of Contemporary Art in Zagreb, Croatia

www.msu.hr/#/hr/20909/

From the 172 works submitted this year to the competition, an international expert committee (consisting of MSc Snjezana Pintaric, president of the professional committee, director of the Museum and Museum Advisor, Rainald Schumacher, curator, Office for Art, Berlin; Marco Scotini, independent curator, Milan; guest profesor Sandra Vitaljić, photographer, Academy of Dramatic Arts, Zagreb, Nataša Ivancevic, museum advisor, assistant Director and head of collections and collections of sculptures MSU) has selected 35 of them, with the three invited artists it makes the total number of 38 artists who will present recent works in MSU until 26 March 2016.

2016-02-01 Nagrada za hrvatsku suvremenu umjetnost T-HT MSU

Photographs from the video shooting location:

Press clipping

MSU.hr – Winners of annual award THT@MSU

Nights of performance arts, 2016.: Beograd, Rijeka, Split, Dubrovnik

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Smoke and mirrors

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© Ivana Cesarec

Zagreb dance center, residency 2015.

premiere: 12.11.2015., 20h
performances:
13.11.2015. u 20h
14.11.2015. u 20h

Authors: Maja Drobac, Vesna Mačković
Performers: Maja Drobac, Vesna Mačković, Marino Frankola
Music: Ana Horvat, Konrad Mulvaj
Costumes: Diana Mihalić (Diplomski studij kostimografije, Tekstilno-tehnološki fakultet Sveučilišta u Zagrebu, student)
Costume mentor: doc.dr.art. Ivana Bakal
Making of costumes and dolls:  Diana Mihalić
Scenography: Denis Rubinić
Light design: Marino Frankola
Texts: Maja Drobac, Vesna Mačković
Photography: Ivana Cesarec
Hair style: Ivana Brckan (Seraphine frizerski studio)
Graphic design: Dean Bertoldi
Technical support: Duško Richtermoc

Production: Plesni kolektiv D_LC
Co-production: HIPP / Zagrebački plesni centar, lukaeura, Udruga Kamera
Financial support: Gradski ured za kulturu, obrazovanje i šport Grada Zagreba i Ministarstvo kulture Republike Hrvatske / Office for Culture, Education and Sport and The Ministry of Culture of the Republic Croatia

Facebook event stranica: https://www.facebook.com/events/1648996408675643/

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© Ivana Cesarec

IMG_34“The obscuring or embellishing of the truth of a situation with misleading or irrelevant information.”

In the house where nobody lives, one person composes. On her own little piano, surrounded by rag dolls. In the house where nobody lives, reside two ghosts. Buried under dust of texts and years of stillness.

In the house where nobody lives, authors investigate correlations between text and movement through physical and non-physical, movable and static, reflection of visible and invisible.

The performance is inspired by Marko Grobenski‘s photographs from the opus “House where nobody lives”.
Critique:

Video trailer:

Selected scenes from our small camera:

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© Ivana Cesarec
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Sponzor frizure

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Part of the story

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Premiere: 23.5.2015., Zagreb dance center, Croatia

Author and choreographer: Molly Fletcher Lynch
Dancers: Ida Jolić, Rina Kotur, Stošija Zrinski, Vanja Jarni
Text and voice: Vesna Mačković

Non-linear stories exploring partial understanding. We will question our perception of what is whole and why we assume understanding based on fragments of information. How quickly one can draw up assumptions of a person walking by, a place we’ve never been, and what some future experience will be like. Four dancers will use movement derived from personal inquiry and explore how expectations, even of the smallest scale, meet actuality.
We are always partially in the dark.

Shadow casters: Urban hum – 2nd episode: T.F.T.

2015-03-19 Brujanje grada - premijera 25
Premiere: Pogon JEDINSTVO, Zagreb, Croatia | velika dvorana | 19.3.2015.

Author of the project: Boris Bakal

Performers and associates:
Nikolina Butorac (visual artist),
Dora Kokolj (dancer, art historian),
Nikolina Komljenović (dancer, choreographer, acrobat),
Vesna Mačković (dancer, actress),
Nikša Marinović (actor, musician, composer),
Veno Mušinović (philosopher, movie director),
Anja Pletikosa (dramaturgy),
Leo Vukelić (scenografy, theatre producer, performer, electrotechnician);
with support of Ivana Bakal (intermedial artist, costume designer) and Sandra Uskoković (art historian).

Urban Hum is a multidisciplinary platform with the goal of critical thinking presentation, preservation and interpretation of urban, public spaces in the region. Our mission connects us to each other with our different histories, playing (former) multi-cultural nation. Our goal is to transform the local community from the places in which we live into a place that we love and understand – together. Partners on the project URBAN HUM are: Association of Shadow Casters, Croatia (project leader); The Association for Culture and Art FRU, Macedonia; REX Cultural Centre, Serbia; Qendra Multimedia, Kosovo; Expeditio, Montenegro.

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2015-03-19 Brujanje grada - premijera 22

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Intensities

2015-02-05 Intenziteti AMER5632© Amer Kapetanović

Contemporary dance and multimedia performance “Intensities”

premiere: 18.2.2015. 20h, Pogon Jedinstvo, Zagreb, Croatia

performances:
19.2.2015. 20h, Pogon Jedinstvo, Zagreb, Croatia
20.2.2015. 20h, Pogon Jedinstvo, Zagreb, Croatia
3.4.2015. 20h, Pogon Jedinstvo, Zagreb, Croatia
4.4.2015. 20h, Pogon Jedinstvo, Zagreb, Croatia

7.7.2015., Ljetni diskont kulture, CeKaTe (Centar za kulturu Trešnjevka)

8.11.2016., Sounded Bodies Festival, Zagreb dance center

Facebook event: Intenziteti

Authors of the project: Vedran Hleb i Vesna Mačković
Composition and Direction: Vedran Hleb
Music: Alen Sinkauz, Nenad Sinkauz
Video: Ivan Lušičić Liik
Light Design: Bojan Gagić
Costumes: Nina Nimac
Choreography: Vesna Mačković and Vedran Hleb
Words: Vesna Mačković
Performer: Vesna Mačković

2015-02-05 Intenziteti AMER5824© Amer Kapetanović

This dance and multimedia performance explores the connection between the inner and outer body of a performer while it attempts to define, and even question, these abstract categories. The manners in which the two communicate, interfere, annul but also complement each other. Thus the performer will be dancing with words, with her writing of dance and dance’s sound. In that manner she will attempt to construct a new body of Music and Light.
There are seven intensities in the material through which the author translated all the elements of the material acting into a sphere of dance. Thus intensities become the stations of the author’s facing her own limitations, the areas of her intimate resistance in which she as an author is inviting us to share with her the possibility of our own transformation.

Radiophonic cover

http://www.vesnamackovic.com/en/works/intensities-radiophonic-cover-of-multimedia-dance-performance/

TV reports:

HTV3 Transfer #313 – Intenziteti – Vedran Hleb i Vesna Mačković (prilog: Ana Franjić)

HTV1 Hrvatska uživo – Intenziteti – važnost autorskog tima (prilog: Vesna Mimica)

Critiques and reviews:
Kulturpunkt.hr: Sitno kljucanje tijela (Una Bauer)

Vijenac #548: Prekoračivanje granica (Ivana Slunjski)

Other:

Una Bauer: Strategies for Problematizing Identity in the Eastern European Arts – Identity.Move!, Prague

Booklet with poetry from the show

Booklet of poetry which is performed in the show can be ordered in croatian or english version at the price of 20kn or 2,60 €. You can get it in Zagreb or you can have it delivered by post at shipping price depending on country of delivery (Croatia 25kn, other countries cca. 3-5€). If you wish to make an order please contact 00 385 99 20 40 40 or email info @ vesnamackovic.com (remove spaces before and after @).

Intenziteti

Photographs from the performance and visuals of ticket and poster
2015-02-18 Intenziteti premijera 004© Tomislav Čuveljak

ulaznica-page-002Design: Dejan Dragosavac Ruta

ulaznica-page-001Design: Dejan Dragosavac Ruta

B2_plakatDesign: Dejan Dragosavac Ruta

Shadow casters: Urban hum – 1st episode: T.E.K.

2014-12-19 Bacači sjenki - Brujanje grada - proba 34
Premiere: 21. 12. 2014., library “Bogdan Ogrizović”, Zagreb, Croatia.

Performances:
31.1.2015.
1.2.2015.
library “Bogdan Ogrizović”, Zagreb, Croatia.

Inicial concept: Boris Bakal
Dramaturgy: Anja Pletikosa
Performers: Boris Bakal, Nikolina Butorac, Dora Kokolj, Nikolina Komljenović, Vesna Mačković, Nikša Marinović, Jelena Mesar, Veno Mušinović, Anja Pletikosa, Leo Vukelić

Urban Hum is a multidisciplinary platform with the goal of critical thinking presentation, preservation and interpretation of urban, public spaces in the region. Our mission connects us to each other with our different histories, playing (former) multi-cultural nation. Our goal is to transform the local community from the places in which we live into a place that we love and understand – together. Partners on the project URBAN HUM are: Association of Shadow Casters, Croatia (project leader); The Association for Culture and Art FRU, Macedonia; REX Cultural Centre, Serbia; Qendra Multimedia, Kosovo; Expeditio, Montenegro.

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IMRC: Magnolia (In Defiance)

2014-05-31 IMRC Magnolija (ili prkos) 21

Performances:

Premiere: 31.5.2014., Zagreb, Croatia, Zagreb dance center
4.6.2014. Rijeka, Croatia, Filodrammatica
26.2.2015., Athens, Greece, Onasis culture centre (Unlimited access festival)
18.10.2105. Zagreb, Zagreb dance center, mini festival ‘Inclusive scenes’
26.3.2016. Rijeka, Hrvatski kulturni dom na Sušaku, festival ‘Inclusive scenes’

Concept and chorography: Iva Nerina Sibila in cooperation with Silvija Marchig and Vesna Mačković
Performers: Vesna Mačković, Silvija Marchig

The Magnolia (In Defiance) duet is the first full-length work by the IMRC collective. The idea of the performance stems from the textual and visual designs of Vesna Mačković for an imaginary play „Nepokretne“. The performers develop the themes of mobility and imobility, the ecstatic dance and the imposed stillness, as well as the transposition of these categories into the more intimate zones of memory, bodily imagination and transgression of identity, within their respective, autonomous zones. In addition to the emotional and the visceral, through acknowledgement and support their bodies come together as one.

Press clipping

Nataša Govedić: Border between performer and author (Zarez, broj 381., 10.4.2014.)

Maja Đurinović: How to differentiate dancer from a dance, PLESNA SCENA.hr, 16. lipnja 2014.

Related material

Sketches from brainstorming notebook

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Poetic prose reflecting creation of “Magnolia (In defiance)” first published in magazine “Kretanja” (#22)

PDF: kretanja-22-str-42-47

The dedication to dance introspection
Vesna Mačković

I spend my life loving solitude. In psychology, the arts and elsewhere this love has been named – they call it introspection.
Every day a healthy dose of solitude. Every day immersion in your own mind and emotions. Painful or sweet – depending on the day. So the rest of the day, out of introspection, could be devoted to the written word, color, sound, movement.

Introspection, the opposite of external observation, too often fools me. Succeeds to regularly and immaculately convince me I possess knowledge of who I am, what I make and how.
Magnolia (or defiance) has taught me to question my solitude, introspective vanity and arrogance. Blind belief which is engraved in me as some postulate that at that moment when I reach for artistic tools (pen, brush, sound, step) I close my eyes, I know how to and I can – do everything.

Fed by poetry of Marina Gynt, Kazuo Ohno’s videos and numerous brainstorming sessions with Nerina and Silvija, going outs into improvisational introspection were marked with increasingly opened eyes each subsequent rehearsal. After weeks of work, I put away my pen and brush, and I signed a pact with introspection that my performative body would walk the stage, dance, and let its voice out with eyes wide open. I wrote with my feet, painted with my whole body. Coming back regularly to myself, reflecting on the day, week or month filled with work, I realized that the new face of introspection is not extinguishing in its strength. It is not extinguishing in me and it is not extinguishing in my creative expression. Encroachment in myself, in what movement means to me, in what were Kazuo, magnolia, defiance leading me to, that opening of all of my eyes and finally also those that physically see, brought only reinforcement of my confidence. Introspectively I grabbed deeper and wider and threw out all the more. The eyelids, raised or lowered, it was all the same.

I wondered whether creative, artistic introspection can be too deep. Fearful of becoming too personal I delibarately put a STOP sign on some moves, some motives, some glances into the audience. When I would relax in improvisation because my time at rehearsal would allow it, because we were interested in finding out what indulging of inexperienced dancing body can bring outwards, something happened that naively I did not anticipate. Improspections emerging too deep, caused the cracking at some internal stone walls, which otherwise I would not see in myself for too long, if ever. Luckily, some natural inclination to performative expression made each tear, laughter, word and song that came out of me, to be contextualized and inserted within the sequence of movements. By repeating and practicing such sequences originated some dance images that I will forever remember as a self-born, untaught.

2014-05-31 IMRC Magnolija (ili prkos) 11

2014-04-05 IMRC ZPC - Magnolija (ili prkos) work-in-progress 36

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Little man wants to cross the line (MONTAЖ$TROJ)

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Premiere: 14.3.2014., Pogon Jedinstvo, Zagreb, Croatia
Performances: 15. i 16.3.2014.

Project named ‘LITTLE MAN WANTS TO CROSS THE LINE’ (LMWCL) was inspired by a cult Yugoslav new wave album ‘Paket aranžman’. This performance tried to question whether pop music is able to make social changes possible. We live in a capitalist society where music, even the one created over 30 years ago, is not treated as a public and cultural good. The text in this performance was not spoken but sung. Thirty people in the performing collective joined together professionals and amateurs – deprived members of the Croatian society: Old People, Dykes, Workers, Serbians, Women, Blacks… They were all united in the ‘’Choir of Little People” creating a new meaning for the empty phrase ‘little man’.

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