Gentle pain
We peek through the spaces and chasms, looking for lightness. Between parallel times, we twitch and shudder - gently, delicately, yet full of foreboding. Gentle Pain brings movement, sound and visual to bear - all three together without hierarchical order. Dancing upon a knifepoint, finding ease together in unease; composing an performative creation in time and space.
Gentle pain is a multidisciplinary exploration within the framework of a semi-structured improvisation. Our work together takes the form of an installation-based live performance, featuring improvised movement, a dynamically changing scenography, and live electroacoustic sound art. The combination of movement, scenography, and sound in this improvised context means that we dynamically change and rebuild our performance space in real-time.
Thematically, gentle pain seeks to confront the tensions and tenderness of human experience. At present, our improvisations together are focused on exploring contrasts and investigating how our respective disciplines communicate aspects of contrast beyond the use of language. Currently, we focus on the transition between silence and noise, and examine how these contrasts invite and provoke tensions within our own respective artistic practices and in our collaboration with each other.
Concept and performance:
Kelsey Cotton, Katarzyna Paluch, Urška Medved
Duration:
40 min
Teaser
Performed:
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6,7 Sep 2024
Gothenburg Fringe Festival Dramatiska Teater, Sweden.
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29 Apr 2023
HUMANOGRAPHY, Dance Remanings, Gothenburg, Sweden.
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3 May 2023
ExPro Stage, University of Gothenburg, Sweden, organised by World Dance Company
Creation residencies:
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March - April 2023
University of Gothenburg, Sweden
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20 - 21 Sep 2024
Photos:
Mafalda Gamboa, 2024
Endless Self
A million small parts of the self take place within us living side by side, some know each other, some lean on each other, and we can hardly identify them. We live in a world of images and identities in which we often present one ‘self’, we cannot grasp the complexity and infinity that exists in each of us.
‘Endless self’ is a collaboration project between Nitzan Shafran, Julie Stamm and Katarzyna Paluch, based on research about a fragmented self. We want to explore our different selfobjects, mirrored or idealized, and put these parts in a performative art installation space. Selfobjects are the experience of an event or a person as a part of oneself, rather than separate. Images of people and events that turn into "objects'' of the mind, continue to be carried by the unconscious throughout a person's life.
The piece is an invitation for the audience into the vast space of a self, where each object or station is fragmented yet integrated into its surroundings, in some cases only possible because of them. In the practice preceding the performance, we dismantle our own selves as an example of yet another self, to expose the infinity of its existence in the performance. The audience can choose the length of their stay with the ability to move around, as well as amount of participation. The piece is interactive and it is within our practice to invite the audience during open rehearsals.
Our research specific to this topic is grounded on the works of Heinz Kohut and Melanie Klein, playing also with the awareness of the limitations of their theories. One of their central claims is that the way we understand our own self is the core of our psyche and therefore to the way our brain processes phenomenological experiences, to how we interact and how we move through life. More specifically, we will try to explore and transpose different selfobjects. We will document the process through writings and exchange them amongst each other. We want to research selfobjects from three approaches:
How the self object can be embodied, how it translates in a meeting with each other or the audience, and how we can interact with a transposed object that comes to be within a station.
Concept and performance:
Katarzyna Paluch, Julia Stamm, Nitzan Shafran
Duration:
60 min
Teaser
Performed:
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15 Sep 2022 Künstlerhaus Lukas, Ahrenshoop, Germany
Creation residencies:
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1-15 Sep 2022 Künstlerhaus Lukas, Ahrenshoop, Germany
Photos:
Volker Demuth
Forward failure
Forward failure, a duet of Katarzyna Paluch and Aaron Lang uses staged performance to examine the dualism of egoism and collaboration in an environment of constant catastrophe. Inspired by the pseudo-logics of world politics, our movement strategies follow the idea of falling from one problem into another without ever resolving any. Somehow, we manage to stay afloat in this never-ending sequence of disasters, in which individual struggles are incomprehensibly interconnected in transformative cycles of failure and re-creation. Success and failure become the same thing, and the skewed, ever-malfunctioning collaboration opens up the possibility to enjoy riding the crisis together.
Concept and performance:
Katarzyna Paluch, Aaron Lang
Duration:
45 min
Performed:
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31 Jul 2022 31 DO Festival, Zakład Kulturalny, Gdańsk, Poland
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22 Nov 2022 Frölunda Kulturhus, Gothenburg, Sweden
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4 Dec 2022 Gdańsk Dance Festival, ŻAK, Gdańsk, Poland
Creation residencies:
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1 - 19 Jul 2022 Casa Varela, Pombal, Portugal
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20 - 31 Jul 2022 ŻAK, Gdańsk, Poland
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15 - 22 Nov 2022 Frölunda Kulturhus, Gothenburg, Sweden
Photos:
Florian Astraudo
Study on Fool's Paradise
'Fool’s Paradise' is a platform to manifest deeply embodied discomfort, confusion, awkwardness and errors we feel around us in order to set us free.
The performance can be seen as a practical study, where performers are subject to constant quick shifts of attention, to gain and loss of importance and meaning – a world ruled by instability. They are breaking out of standard ways of dealing with problems, emotions get expressed through an ‘overdramatic’ body, a comfortable exaggeration, doing ‘non-senses’, doing more than needed or less than required. What each body falls and follows through it's an indirect reaction to our current times. Activities are approached in an inappropriate, sometimes awkward way, they bend towards an edge where they oscillate between lifeless and colorful, bored and intrigued, gentle and rugged, hypo and hyper.
The stage becomes a potential playground for manifesting slightly illogical feelings.
Concept and performance:
Katarzyna Paluch, Eliza Trefas
Artistic support:
Duration:
30 min
Performed:
19 Aug 2021 DO Festival, Gdańsk, Poland
22 & 23 May 2021 Tanzquartier Wien, Vienna, Austria
27 Feb 2021 AgitLab, Agueda, Portugal
18 Jul 2020 Bang Venue, Torres Vedras, Portugal
28 Jul 2020 Multiplicidades, Santa Cruz, Portugal
Creation residencies:
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30 Jan - 30 Mar 2020 Performact, Torres Vedras, Portugal
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9 - 27 Feb 2021 AgitLab, Agueda, Portugal
Press review:
of Olia Sosnovskaya from 9 Jun 2021 in TQW Magazin
Shouldn’t language go on strike too?
Photos:
Florian Astraudo
O!
The concept of the project was developed based on the character of Ophelia from the poem The Death of Ophelia by Stanisław Wyspiański.
Wyspiański’s work captures a few moments before Ophelia’s suicidal death. The main question the author poses during the creative process is not so much how Ophelia dies, but rather: what does her death become? After all, “in life,” she resembles a puppet in the hands of the court—lacking agency, with words placed into her mouth by others. So what is this death? Or perhaps, through death, the heroine gains a voice? And if so, what does she say?
Wyspiański “gives a voice” to a mad Ophelia. The closeness of nature (the poem takes place in a meadow by a river, which she is about to jump into) awakens an undiscovered sensuality, instinct, and emotionality in the girl.
The project title “O!” refers not only to the name Ophelia but also to a grammatical case in the Polish language. The use of the vocative case—O!—allows for a direct address to the subject and, when used with names, adds emotional quality to the expression. The form used in the project title is a device to sharpen the message. The exclamation clearly evokes the soul’s scream—made possible just before death—but also one that echoes back. The goal, then, is to listen to the voice of the deceased.
The project is divided into three parts, representing successive stages of death. Inspiration for exploring the process of dying and the posthumous state of consciousness came from The Tibetan Book of the Dead (a ritual Buddhist text read in the presence of the deceased). In this project, Ophelia’s death is portrayed as a passage through various states, allowing her to speak the truth about herself—a truth she had no access to in life.
Concept:
Anna Puzio
Choreography and performance:
Katarzyna Paluch, Anna Puzio
Set design, costumes, video projections:
Duration:
45 min
Music:
X
Text:
Nina Skołuba-Uryga
Performed:
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27 Nov 2021 Centrum Kultury w Lublinie, Poland
Creatio residencies:
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1 - 27 Nov 2021 Centrum Kultury w Lublinie, Poland
Support:
Przestrzenie Sztuki grant
Photos:
Zmicer
Alias
‘Alias’ it’s a performance inspired by book ‘1984’ George Orwell, ‘The Trial’ Franz Kafka and painting without a title, from 1973 of polish artist Zdzisław Beksiński.
“I woke up in the room without windows and doors. Room 101, Ministry of Love. I am accused of the worst crime in a world of contradictions. I commit a thoughtcrime.
Freedom is slavery.
Ignorance is strength.
I am the voice of fear, afraid of establishing power. I don't believe but I hope it's going to the rebellion.
It seems my time for evaporation is coming, it means non-existence. It seems that it's better to act than be passive”.
Choreography and performance:
Katarzyna Paluch
Artistic support:
Ricardo Ambrozio
Video:
Florian Astraudo
Product support:
Performact
Duration:
10 min
Performed:
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13 Aug 2021, Gdańsk, Poland DO Festival
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20 Sep 2020 La Biennale Clandestine, Lyon, France Annoesis
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28 Jul 2020 Multiplicidades, Santa Cruz, Portuga
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18 Jul 2020 Bang Venue, Torres Vedras, Portugal
Photos:
Fanny Magot






