Soft Ground, 2016





Performance by Alicja Bielawska and Kristina Aglaja Skaldina, Nida Art Colony, Lithuania
Textile, tape
Duration: 15 min

Alicja Bielawska examines the choreographic capabilities of her works during her performances with the participation of dancers. The first one took place during her residence in the Nida Art Colony in Lithuania in 2016. In the clear, white space delineated on the floor, with the aid of colorful lines of the drawing, the dancer struggles with the movement determined by one of the works. The blanket folded in a cube is the eponymous soft ground under her feet. A small rectangular piece of material becomes a base on which the dancer carries out a sequence of moves taken from everyday situations. At the same time every change of the blanket’s position is followed by a change in the positioning of the body and, what follows, a change in the space surrounding it.
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 sobązmianęw położeniu ciała, a co za tym idzie – zmianę przestrzeni wokół.

Anna Szary

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?