Journal
Insights, perspectives,
actions & impulses
Documentation

Anne Nguyen: À mon bel amour / Emotions - Phrases - Masques

Anne Nguyen moves fluently between the boundaries of diverse dance styles and combines them with casual elegance. In ›À mon bel amour‹, which would have been presented at PACT in March, the French-Vietnamese choreographer questions perceptions of the individual, the couple and the collective, of identity and beauty. The production brings different urban dance styles including Voguing, Waacking, Popping, Locking and Krump into mesmerising interaction with classical and contemporary dance. For #pactconnected, Anne Nguyen has now compiled a glossary of urban dance styles and shared three video sequences of her work.

Documentation

Kat Válastur: Arcana Swarm

This video is an attempt to bring to the surface the emotional core of ›Arcana Swan‹ and the thread that traverses it. ›Arcana Swan‹ is a work about the state of humanity today and an allegory of humanity.

IMPACT / Documentation

Ingrid LaFleur: Breathing in Blackness – Temporal Dimensions of Utopia

In her lecture ›Breathing in Blackness: Temporal Dimensions of Utopia‹ in the framework of IMPACT19, La Fleur investigated the notion of utopia within Afrofuturism in an attempt to examine how Black bodies can access, build and evolve their safe spaces.

Documentation

fieldworks portrait - Documentary

fieldworks portrait (documentary) is a film by Belgian film maker Klaas Boelen. It was shot during the preparations and happenings of fieldworks portrait, a three-day performative exhibition devoted to the work of Heine Avdal and Yukiko Shinozaki that was held at PACT in June 2018.

Documentation

Michiel Vandevelde: ›Ends of Worlds‹

In his work ›Ends of Worlds‹, which Vandevelde would have shown at PACT in May, the choreographer looks into a distant and yet uncomfortably near future. For #PACTconnected, he has now made a video in which he revisits the epilogue of the performance. ›Ends of Worlds‹ takes place in the year 2300. The date marks year zero for reproduced homo sapiens informed by the algorithmic memories and patterns of the past. Their dances and choreographies bring to mind fragments that have survived the past - moments of historical catastrophes, collective traumas as well as the legacies of choreographers from the recent history of western modern and contemporary dance

Artists in residence / Documentation

Boglárka Börcsök: ›The Art of Movement‹

›THE ART OF MOVEMENT‹ is a sensual and insightful film about three elderly dancers from Budapest. Irén, Éva and Ágnes - all between 90 and 100 years old – were once part of the early modern dance movement in Hungary. Taking on the roles of both dance student and dialogue partner, Boglárka retraces how each of these elderly dancers transformed their lives and movement practices in order to survive the major socio-political changes of the last century.

Documentation

Flora Détraz: On ›Muyte Maker‹

In her video, choreographer Flora Détraz offers us a closer, more intimate insight into her work ›Muyte Maker‹, which she would have presented at PACT during our Spring Festival 2020: She shares her influences and sketches, designs for both the choreography and singing, as well as models in art history that inspired her production’s fulminant setting. 

Documentation

Alexandra Bachzetsis: Chasing a Ghost

›Chasing a Ghost‹, the latest work by artist and choreographer Alexandra Bachzetsis, questions the choreographic archetype of the duet in a succession of doubles und doublings of bodies, sounds, spaces and images staged in a spectrum of violence and desire. The performance was due to celebrate its German premiere on the 03.04. at PACT. In the meantime, Alexandra has put together a short film featuring footage from the world premiere of ›Chasing a Ghost‹ at the Art Institute of Chicago.

Documentation
Forced Entertainment: ›End Meeting for All‹

Falling Into Place

This project – in the form of three short improvised video pieces, linked or connected as chapters – had its informal beginnings in the early days of the lockdown in the UK. In early March we had abandoned physical rehearsals in Sheffield for a new theatre work, ›Under Bright Light‹, which was due to open in Germany on 23rd April.