Sreda, 27. avgust / Wednesday, 27 August
18.00, 20.00, pred Gledališčem Park / in front of the Park Theatre 🌧
Panama Pictures (NL)
INTO THIN AIR / 25 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
19.00, Dvorana Duše Škof / Duša Škof Hall
Kristýna Peldova & Enya Belak (CZ, SI)
RAZKRITI TRENUTKI / 55 min /
20.30, Gledališče Park / Park Theatre
Jeong Bin Seo (KR)
POSTPONED solo / 16 min /
+
Compagnie Leïla Ka (FR)
BOUFFÉES quintet / 15 min /
YOU'RE THE ONE WE LOVE duet / 25 min /
PODE SER solo / 17 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
__________________________________________________________
Četrtek, 28. avgust / Thursday, 28 August
18.00, ploščad pred gradom / castle platform 🌧
ODPRTO MESTO / OPEN CITY
Andrea Givanovitch, Luisa Heilbron, Hobie Schouppe (FR, BR, BE)
VIOLENT DELIGHTS / 16 min /
Ark Move, Paola Petrongolo, Jin Hwan Seok (IT, KR)
STAY IN YOUR PEACE / 20 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
20.00, Gledališče Park/ Park Theatre
Ginevra Panzetti, Enrico Ticconi (IT) & Studio za suvremeni ples (HR)
ALL’ARME / 55 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
__________________________________________________________
Petek, 29. avgust / Friday, 29 August
19.00, ploščad pred gradom / castle platform 🌧
Ginevra Panzetti, Enrico Ticconi (IT)
AEREA / 25 min /
20.00, Gledališče Park / Park Theatre
Matea Bilosnić (HR)
NEVER ALLONE / 70 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
__________________________________________________________
Sobota, 30. avgust / Saturday, 30 August
11.00, ploščad pred gradom / castle platform 🌧
Fabla (SI)
ALI PTICE SANJAJO O LETENJU? / 25 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
19.00, pred Gledališčem Park / in front of the Park Theatre 🌧
Fabla (SI)
ALI PTICE SANJAJO O LETENJU? / 25 min /
20.00, Gledališče Park / Park Theatre
Ginevra Panzetti, Enrico Ticconi (IT)
ARA! ARA! / 50 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
🌧 V primeru dežja v stari telovadnici Osnovne šole I /
In case of rain in the old gym of Elementary School I
18.00, 20.00, pred Gledališčem Park / in front of the Park Theatre 🌧
Panama Pictures (NL)
INTO THIN AIR / 25 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
19.00, Dvorana Duše Škof / Duša Škof Hall
Kristýna Peldova & Enya Belak (CZ, SI)
RAZKRITI TRENUTKI / 55 min /
20.30, Gledališče Park / Park Theatre
Jeong Bin Seo (KR)
POSTPONED solo / 16 min /
+
Compagnie Leïla Ka (FR)
BOUFFÉES quintet / 15 min /
YOU'RE THE ONE WE LOVE duet / 25 min /
PODE SER solo / 17 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
__________________________________________________________
Četrtek, 28. avgust / Thursday, 28 August
18.00, ploščad pred gradom / castle platform 🌧
ODPRTO MESTO / OPEN CITY
Andrea Givanovitch, Luisa Heilbron, Hobie Schouppe (FR, BR, BE)
VIOLENT DELIGHTS / 16 min /
Ark Move, Paola Petrongolo, Jin Hwan Seok (IT, KR)
STAY IN YOUR PEACE / 20 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
20.00, Gledališče Park/ Park Theatre
Ginevra Panzetti, Enrico Ticconi (IT) & Studio za suvremeni ples (HR)
ALL’ARME / 55 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
__________________________________________________________
Petek, 29. avgust / Friday, 29 August
19.00, ploščad pred gradom / castle platform 🌧
Ginevra Panzetti, Enrico Ticconi (IT)
AEREA / 25 min /
20.00, Gledališče Park / Park Theatre
Matea Bilosnić (HR)
NEVER ALLONE / 70 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
__________________________________________________________
Sobota, 30. avgust / Saturday, 30 August
11.00, ploščad pred gradom / castle platform 🌧
Fabla (SI)
ALI PTICE SANJAJO O LETENJU? / 25 min /
− pogovor z ustvarjalci na prizorišču / artist talk on the site
19.00, pred Gledališčem Park / in front of the Park Theatre 🌧
Fabla (SI)
ALI PTICE SANJAJO O LETENJU? / 25 min /
20.00, Gledališče Park / Park Theatre
Ginevra Panzetti, Enrico Ticconi (IT)
ARA! ARA! / 50 min /
− pogovor z ustvarjalci v preddverju / artist talk in the lobby
22.00, MiKK
DJ Obito (SI)
🌧 V primeru dežja v stari telovadnici Osnovne šole I /
In case of rain in the old gym of Elementary School I
UVODNIK
SI
Fronta na Fronti
Živimo v času, ko so vihranje zastav, korakanje, ozemeljske zahteve, preganjanje in zaničevanje raznolikosti, razbijanje skupnosti ter pobijanje celih narodov vsakdanja rutina. Zato aktivizem, ki morda veje iz programa, ni programski koncept 20. izdaje festivala Front@, temveč odraz koncepta upravljanja sveta. Lahko bi rekli, da bomo gledali fronto na Fronti.
Človeško telo je ranljivo in občutljivo in prav zato je najbolj prikladen “medij” in merilo za razumevanje lepote in hkrati vseh robatosti in grozot, ki nas obdajajo. Čeprav bi v programu raje praznovali dvajsetletnico obstoja mednarodnega plesnega festivala, ne moremo mimo odziva teles na pretrese tega trenutka. Festival Front@ je nastal zato, da bi na obrobju države še bolj odprli okno, ki skozi razgaljanje ranljivosti kaže resnično podobo sveta. Telesa, ki jih gledamo na odru, so misel tega sveta. Udejanjajo neizrekljivo in neizrečeno, to nosimo s sabo v odzivu na vse, kar bi morda najraje odrinili in zamolčali, da bi lahko praznovali v samozadovoljnem mehurčku.
Programski lok dvajsete Fronte povezuje teme vojne in militarizma s tehnologijo in intimnimi notranjimi boji. Skozi korakanje in mahanje z zastavami v estetsko dovršenih predstavah italijanskega ustvarjalnega dvojca Panzetti / Ticconi se zavemo bližine vojn in grozot. Emancipacijske ženske teme se razprejo v delih francoske koreografinje in plesalke Leïle Ka. V duetu z robotom se hrvaška plesalka in koreografinja Matea Bilosnić dotakne umetne inteligence in jo sooči s človeškostjo telesa in poezije. Češko-slovenski dvojec Kristýna Peldova in Enya Belak se v vizualno izjemni, hibridni predstavi dotakneta posamezničine krize in notranjih trenj, s čimer se ukvarja tudi korejska plesalka Jeong Bin Seo, ko pleše skozi odložene cilje, neuresničene in zamujene priložnosti. Francosko-brazilsko-belgijski trojec, plesalca Andrea Givanovitch in Luisa Heilbron ter koreograf Hobie Schouppe, utelešajo dinamiko čustvenih vezi in posledic, prav tako kot italijansko-korejski par Paola Petrongolo in Jin Hwan Seok. Vse našteto uokvirjata predstavi nizozemske skupine Panama Pictures in slovenskega dvojca Fabla, ki spajata elemente plesa in sodobnega cirkusa v osupljivih poskusih pobega od prizemljenosti.
V dvajsetih letih se je v več kot dvesto dogodkih na festivalu predstavilo veliko umetnikov z vsega sveta in, kar je pomembno, med njimi tudi nekaj domačinov. V Murski Soboti smo lahko videli številne vrhunske mednarodne plesne produkcije, ki jih gostijo najpomembnejši festivali in odri po svetu; nekatere so svojo mednarodno pot začele prav na festivalu Front@. Prizorišča so bila tudi park, ulice, tržnica, železniška postaja, prehodi za pešce, hotelska restavracija, galerija, knjižnica, muzej, telovadnice, Trg kulture in Trg zmage. V pogovorih z umetniki smo razkrivali ozadja nastanka videnih predstav in podrobneje spoznavali ustvarjalce ter njihove poklicne poti. Del programa so bile številne delavnice. Gostili smo izobraževalne ustanove iz srednje Evrope in predstavili njihove izobraževalne programe, dijake, študente. Številni se na festival Front@ vračajo na svoji poklicni poti kot člani različnih domačih in mednarodnih zasedb. Izjemni mladi plesalci so na festivalu Front@ dobili priložnost, da se predstavijo ob boku uveljavljenih avtorjev. Na okroglih mizah smo odprli vrsto tem, povezanih z izobraževanjem in kulturnimi politikami tako na lokalni kot na globalni ravni, osvetljevali smo mite in dejstva o strukturnih in infrastrukturnih problemih s področja kulture, umetnosti in sodobnega plesa. Zagnali smo mednarodno mrežo plesnih ustvarjalcev, ki nosi ime festivala. Pokazali smo, zakaj je sodobni ples lahko pomemben, zakaj je telo, ki misli, lahko merilo, ki naše življenje in bivanje pokaže v pravi luči in si prizadeva, da je fronta ime festivala, ne pa naša stvarnost.
Mesto, kjer se odvija festival, je morda na obrobju države, vendar je v številnih pogledih tudi pomembno središče. Tudi vsako leto avgusta, ko se lokalno občinstvo skupaj s plesnimi navdušenci od drugod sreča s koreografi in plesalci z različnih koncev sveta in skozi okno festivala pokuka na širok horizont pogledov, ki ga slikajo poetike različnih avtorskih pristopov in kulturne razlike okolij, iz katerih prihajajo gostujoči umetniki.
SI
Fronta na Fronti
Živimo v času, ko so vihranje zastav, korakanje, ozemeljske zahteve, preganjanje in zaničevanje raznolikosti, razbijanje skupnosti ter pobijanje celih narodov vsakdanja rutina. Zato aktivizem, ki morda veje iz programa, ni programski koncept 20. izdaje festivala Front@, temveč odraz koncepta upravljanja sveta. Lahko bi rekli, da bomo gledali fronto na Fronti.
Človeško telo je ranljivo in občutljivo in prav zato je najbolj prikladen “medij” in merilo za razumevanje lepote in hkrati vseh robatosti in grozot, ki nas obdajajo. Čeprav bi v programu raje praznovali dvajsetletnico obstoja mednarodnega plesnega festivala, ne moremo mimo odziva teles na pretrese tega trenutka. Festival Front@ je nastal zato, da bi na obrobju države še bolj odprli okno, ki skozi razgaljanje ranljivosti kaže resnično podobo sveta. Telesa, ki jih gledamo na odru, so misel tega sveta. Udejanjajo neizrekljivo in neizrečeno, to nosimo s sabo v odzivu na vse, kar bi morda najraje odrinili in zamolčali, da bi lahko praznovali v samozadovoljnem mehurčku.
Programski lok dvajsete Fronte povezuje teme vojne in militarizma s tehnologijo in intimnimi notranjimi boji. Skozi korakanje in mahanje z zastavami v estetsko dovršenih predstavah italijanskega ustvarjalnega dvojca Panzetti / Ticconi se zavemo bližine vojn in grozot. Emancipacijske ženske teme se razprejo v delih francoske koreografinje in plesalke Leïle Ka. V duetu z robotom se hrvaška plesalka in koreografinja Matea Bilosnić dotakne umetne inteligence in jo sooči s človeškostjo telesa in poezije. Češko-slovenski dvojec Kristýna Peldova in Enya Belak se v vizualno izjemni, hibridni predstavi dotakneta posamezničine krize in notranjih trenj, s čimer se ukvarja tudi korejska plesalka Jeong Bin Seo, ko pleše skozi odložene cilje, neuresničene in zamujene priložnosti. Francosko-brazilsko-belgijski trojec, plesalca Andrea Givanovitch in Luisa Heilbron ter koreograf Hobie Schouppe, utelešajo dinamiko čustvenih vezi in posledic, prav tako kot italijansko-korejski par Paola Petrongolo in Jin Hwan Seok. Vse našteto uokvirjata predstavi nizozemske skupine Panama Pictures in slovenskega dvojca Fabla, ki spajata elemente plesa in sodobnega cirkusa v osupljivih poskusih pobega od prizemljenosti.
V dvajsetih letih se je v več kot dvesto dogodkih na festivalu predstavilo veliko umetnikov z vsega sveta in, kar je pomembno, med njimi tudi nekaj domačinov. V Murski Soboti smo lahko videli številne vrhunske mednarodne plesne produkcije, ki jih gostijo najpomembnejši festivali in odri po svetu; nekatere so svojo mednarodno pot začele prav na festivalu Front@. Prizorišča so bila tudi park, ulice, tržnica, železniška postaja, prehodi za pešce, hotelska restavracija, galerija, knjižnica, muzej, telovadnice, Trg kulture in Trg zmage. V pogovorih z umetniki smo razkrivali ozadja nastanka videnih predstav in podrobneje spoznavali ustvarjalce ter njihove poklicne poti. Del programa so bile številne delavnice. Gostili smo izobraževalne ustanove iz srednje Evrope in predstavili njihove izobraževalne programe, dijake, študente. Številni se na festival Front@ vračajo na svoji poklicni poti kot člani različnih domačih in mednarodnih zasedb. Izjemni mladi plesalci so na festivalu Front@ dobili priložnost, da se predstavijo ob boku uveljavljenih avtorjev. Na okroglih mizah smo odprli vrsto tem, povezanih z izobraževanjem in kulturnimi politikami tako na lokalni kot na globalni ravni, osvetljevali smo mite in dejstva o strukturnih in infrastrukturnih problemih s področja kulture, umetnosti in sodobnega plesa. Zagnali smo mednarodno mrežo plesnih ustvarjalcev, ki nosi ime festivala. Pokazali smo, zakaj je sodobni ples lahko pomemben, zakaj je telo, ki misli, lahko merilo, ki naše življenje in bivanje pokaže v pravi luči in si prizadeva, da je fronta ime festivala, ne pa naša stvarnost.
Mesto, kjer se odvija festival, je morda na obrobju države, vendar je v številnih pogledih tudi pomembno središče. Tudi vsako leto avgusta, ko se lokalno občinstvo skupaj s plesnimi navdušenci od drugod sreča s koreografi in plesalci z različnih koncev sveta in skozi okno festivala pokuka na širok horizont pogledov, ki ga slikajo poetike različnih avtorskih pristopov in kulturne razlike okolij, iz katerih prihajajo gostujoči umetniki.
INTRODUCTION
EN
Front at the Front@
We live in a time when waving flags, marching, territorial demands, persecution, and contempt for diversity, breaking up communities and killing entire nations are everyday routine. Therefore, the activism that may emerge from the programme is not the programme concept of the 20th edition of the Front@ Festival, but rather a reflection of the concept of world governance. We could say that we will be watching the front at the Front@.
The human body is vulnerable and sensitive, and that is precisely why it is the most suitable “medium” and criterion for understanding all the beauty and also brutalities and horrors that surround us. Although we would rather celebrate the twentieth anniversary of the international dance festival in the programme, we cannot ignore the response of bodies to the shocks of this moment. The Front@ Festival was created to further open a window on the outskirts of the country that shows the true image of the world through the exposure of vulnerability. The bodies that we see on stage are the thought of this world. These bodies manifest the unspeakable and the unspoken, we carry this with us in response to everything that we would perhaps prefer to push aside and silence in order to celebrate in a complacent bubble.
The programme of the twentieth Front@ connects the themes of war and militarism with technology and intimate internal struggles. Through marching and waving flags in the aesthetically perfect performances of the Italian creative duo Panzetti / Ticconi, we become aware of the proximity of wars and horrors. Emancipatory, feminine themes unfold in the works of the French choreographer and dancer Leïla Ka. In a duet with a robot, the Croatian dancer and choreographer Matea Bilosnić addresses on artificial intelligence and confronts it with the humanity of the body and poetry. In a visually exceptional, hybrid performance, the Czech-Slovenian duo Kristýna Peldova and Enya Belak touch on the individual's crisis and internal struggles, a topic that Korean dancer Jeong Bin Seo also deals with when she dances through postponed goals, unrealized and missed opportunities. The French-Brazilian-Belgian trio, dancers Andrea Givanovitch and Luisa Heilbron, and choreographer Hobie Schouppe, embody the dynamics of emotional bonds and consequences, as do the Italian-Korean couple Paola Petrongolo and Jin Hwan Seok. All of the above is framed by performances by the Dutch group Panama Pictures and the Slovenian duo Fabla, who combine elements of dance and contemporary circus in stunning attempts to escape from the down-to-earthness.
Over the past twenty years, many artists from all over the world have presented themselves at the festival in more than two hundred events, including, importantly, some locals. In Murska Sobota, we could see numerous outstanding international dance productions hosted by the most important festivals and stages around the world, some of which began their international journey at the Front@ Festival. The venues were also a park, streets, a market, a train station, pedestrian crossings, a hotel restaurant, a gallery, a library, a museum, gyms, and squares. In discussions with the artists, we revealed the backgrounds of the performances seen and got to know the creators and their careers in more detail. The programme included a number of workshops. We hosted educational institutions from Central Europe and presented their educational programme, high school and university students. Many return to the Front@ Festival in their careers as members of various domestic and international ensembles. Exceptional young dancers were given the opportunity to present themselves alongside established authors at the Front@ Festival. At round tables, we opened up a series of topics related to education and cultural policies, both locally and globally, and shed light on myths and facts about structural and infrastructural problems in the fields of culture, art, and contemporary dance. We launched an international dance network, which also bears the name of the festival. We showed why contemporary dance can be important, why a thinking body can be a criterion that shows our life and existence in their true light, and strives for the front to be the name of the festival, not our reality.
The city where the festival takes place may be on the outskirts of the country, but it is also an important centre in many ways. Including every August, when the local audience, together with dance enthusiasts from elsewhere, meets choreographers and dancers from different parts of the world and peer through the festival window at a wide horizon of perspectives painted by the poetics of different original approaches and the cultural differences of the visiting artists.
EN
Front at the Front@
We live in a time when waving flags, marching, territorial demands, persecution, and contempt for diversity, breaking up communities and killing entire nations are everyday routine. Therefore, the activism that may emerge from the programme is not the programme concept of the 20th edition of the Front@ Festival, but rather a reflection of the concept of world governance. We could say that we will be watching the front at the Front@.
The human body is vulnerable and sensitive, and that is precisely why it is the most suitable “medium” and criterion for understanding all the beauty and also brutalities and horrors that surround us. Although we would rather celebrate the twentieth anniversary of the international dance festival in the programme, we cannot ignore the response of bodies to the shocks of this moment. The Front@ Festival was created to further open a window on the outskirts of the country that shows the true image of the world through the exposure of vulnerability. The bodies that we see on stage are the thought of this world. These bodies manifest the unspeakable and the unspoken, we carry this with us in response to everything that we would perhaps prefer to push aside and silence in order to celebrate in a complacent bubble.
The programme of the twentieth Front@ connects the themes of war and militarism with technology and intimate internal struggles. Through marching and waving flags in the aesthetically perfect performances of the Italian creative duo Panzetti / Ticconi, we become aware of the proximity of wars and horrors. Emancipatory, feminine themes unfold in the works of the French choreographer and dancer Leïla Ka. In a duet with a robot, the Croatian dancer and choreographer Matea Bilosnić addresses on artificial intelligence and confronts it with the humanity of the body and poetry. In a visually exceptional, hybrid performance, the Czech-Slovenian duo Kristýna Peldova and Enya Belak touch on the individual's crisis and internal struggles, a topic that Korean dancer Jeong Bin Seo also deals with when she dances through postponed goals, unrealized and missed opportunities. The French-Brazilian-Belgian trio, dancers Andrea Givanovitch and Luisa Heilbron, and choreographer Hobie Schouppe, embody the dynamics of emotional bonds and consequences, as do the Italian-Korean couple Paola Petrongolo and Jin Hwan Seok. All of the above is framed by performances by the Dutch group Panama Pictures and the Slovenian duo Fabla, who combine elements of dance and contemporary circus in stunning attempts to escape from the down-to-earthness.
Over the past twenty years, many artists from all over the world have presented themselves at the festival in more than two hundred events, including, importantly, some locals. In Murska Sobota, we could see numerous outstanding international dance productions hosted by the most important festivals and stages around the world, some of which began their international journey at the Front@ Festival. The venues were also a park, streets, a market, a train station, pedestrian crossings, a hotel restaurant, a gallery, a library, a museum, gyms, and squares. In discussions with the artists, we revealed the backgrounds of the performances seen and got to know the creators and their careers in more detail. The programme included a number of workshops. We hosted educational institutions from Central Europe and presented their educational programme, high school and university students. Many return to the Front@ Festival in their careers as members of various domestic and international ensembles. Exceptional young dancers were given the opportunity to present themselves alongside established authors at the Front@ Festival. At round tables, we opened up a series of topics related to education and cultural policies, both locally and globally, and shed light on myths and facts about structural and infrastructural problems in the fields of culture, art, and contemporary dance. We launched an international dance network, which also bears the name of the festival. We showed why contemporary dance can be important, why a thinking body can be a criterion that shows our life and existence in their true light, and strives for the front to be the name of the festival, not our reality.
The city where the festival takes place may be on the outskirts of the country, but it is also an important centre in many ways. Including every August, when the local audience, together with dance enthusiasts from elsewhere, meets choreographers and dancers from different parts of the world and peer through the festival window at a wide horizon of perspectives painted by the poetics of different original approaches and the cultural differences of the visiting artists.
