Miękki grunt, performans, 2016

Soft Ground, 2016
performans we współpracy z Kristiną Aglają Skaldiną, Nida Art Colony, Litwa, 2016.
tkanina, taśma, czas trwania 15 min.
Fot. Frederik Gruyaert

Alicja Bielawska bada możliwości choreograficzne swoich prac w trakcie performansów z udziałem tancerzy. Pierwszy z nich miał miejsce podczas rezydencji twórczej artystki w Nida Art Colony na Litwie w 2016 roku. W czystej, białej przestrzeni, wyznaczonej na podłodze kolorowymi liniami rysunku, tancerka zmaga sięz ruchem determinowanym przez jedna z prac. Złożony w kostkę koc jest tytułowym miekkim gruntem pod jej stopami. Niewielki prostokat materiału staje się podłożem, na którym tancerka wykonuje sekwencjęruchów zaczerpniętych z codziennych sytuacji. Jednocześnie każda zmiana ułożenia koca pociąga za sobą zmianęw położeniu ciała, a co za tym idzie – zmianę przestrzeni wokół.

Anna Szary

(fragment tekstu z katalogu Alicja Bielawska, Galeria Labirynt, Lublin, 2017)


Alicja Bielawska in conversation with Kristina Aglaja Skaldina:

A. B. Kristina, let’s talk about your body.
K.A.S. ☺ Let’s.
A.B. You have said that movement isn’t connected to your body, and whilst doing a performance, this becomes more and more abstract somehow. Perhaps it is more about trajectories, than it is about movement itself?
K.A.S. Indeed, I have trained my body to be much more sensitive than normal, more so than that of most average people. So, basically in a way, I can manipulate my body to become a receptacle for more information. My body can understand and process the information that is already inside of it, it’s just that it is not using that information. Information that I use is written and spoken but not yet embodied. So in a way I could be about trajectories, as that’s all that’s out there, no?
A. B. Yes, according to scientists, the movement of particles itself is quite important. However, what is even more important for them is to research the trajectories of those movements.
K.A.S. Do you think particles move intuitively? This could, in a way, be similar to how you translate your perceptions of 3D on 2D in your drawings. Often, you prefer to lay out images and memorise things into other space dimensions using more obsolete techniques rather than 3D modeling software and computers.
A. B. If, by which you mean, me making mistakes is actually using intuition, then yes. Those 3D models are never really correct, but they totally work for me. Maybe this is something that’s also present in physics and mathematical research involving trying, failing, testing and calculating things numerous times before reaching the point. Maybe!
K.A.S. Maybe it is also like being inside a psychedelic trance where one “naturally” sees geometric forms opening up and dancing in a kaleidoscope before the eyes?
A. B. Haha. No. I think my 2D or 3D drawings, if you like, are independent and quite different. They don’t draw you in, and I don’t create optical illusions in them. They are more like forms that embrace each other.
K.A.S. So are they more about creating shapes that reflect the environment, where the living and non living converge?
A.B. I don’t know. I think my work tries to silence the body by creating an “out of the body” feeling. Perhaps you can tell me about the 10 steps towards the conscious body, or better yet, should I ask our buddhists neighbours?