- 10-22 February - Residency - Les Subsistances, Lyon, France
- Subscribe to our Newsletter
Eszter Salamon is a Hungarian choreographer, dancer and performer. She is the creator of the solos 'What A Body You Have, Honey' (2001) and 'Giszelle' (2001) in collaboration with Xavier Le Roy, 'Reproduction' (2004), a piece for eight dancers, 'Magyar Tàncok' (2005) with Hungarian folk dancers and musicians, 'Nvsbl' (2006), a film-choreography in collaboration with Bojana Cvejic, 'And Then' (2007) and together with Arantxa Martinez, the concert-performance 'Without You I Am Nothing' (2007) starring Lukas Minkus and Ramon Pozo, 'Dance#1/Driftworks' (2008), in collaboration with Christine De Smedt, 'Voice Over' (2009), a piece commissioned and interpreted by Cristina Rizzo, 'Dance for Nothing' (2010) and with P. Böhm, B. Cvejic, C. Dambrain, S. Garot and Terre Thaemlitz 'Tales Of The Bodiless' (2011).
Her work has been widely presented in Europe and Asia. As a dancer, she collaborated with Sidonie Rochon, Mathilde Monnier and François Verret. Her work in music theatre includes assistance to the opera Theater der Wiederholungen (2003) by Bernhard Lang staged by Xavier Le Roy at Steirischer Herbst Festival, Graz and staging the music of Karim Haddad in the framework of the project, 'Seven attempted escapes from Silence' (2005) at Staatsoper Unter den Linden, Berlin. In 2008, she participated in '6Month1Location', an artistic research project based on self-organization and self-education at the CCN, Montpellier. In 2009, together with the same group of artists, she co-curated and took part in the festival In-Presentable09, Madrid.
In 2009, Eszter Salamon developed with Christine De Smedt 'Transformers', a research project for group choreography through workshops and artist residencies in Brussels, Madrid, PAF-St. Erme, Mexico City, Vienna, Tokyo and Stockholm. Following Transformers, Salamon and De Smedt presented during ImpulsTanz 2011 in Vienna their duet piece 'Dance#2'. At the beginning of June 2012, she presented her solo performance, 'Melodrama', during the Berlin Documentary Forum 2 at Haus der Kulturen der Welt.
“The Living Monument” is a study of the concept of “monuments” in a multi-hour performative installation that can be shown in a theater context as well as in a visual arts context such as a museum or a gallery.
This future work is aiming to question the way we generate significance after a (performative) event. It seeks to render an interaction between the past and historicity without commemorating or referring to particular events, places or people. In contrast to a conventional monument that usually is composed of a great mass of material, dead and imposing, “The Living Monument” is made up of habits, objects, fragments of discourse and actions by human bodies that are constantly in a state of change.
The main aspect of the project in Tel Aviv will be to research costumes, clothing, objects… all elements that could serve to disguise the body as well as imagining and performing actions in order to create various 'tableaux' or situations.
Another aspect of the project will consist in reflecting on the essay titled “The Living Currency” by the French philosopher Pierre Klossowski, which connects economic analysis with utopian fiction. In this text, the author imagines an economy without material merchandise; instead, the instinctual powers where bodies replace the exchange value of money.
Performers, dancers and theoreticians are welcome to participate.
''Dear Arkadi, I would like to speak about the practice of expanded choreography and of arbitrary and temporal communities. I can first talk about my artistic practice and experiences in this domain, and then open up a sidcussion. I felt this could be a rather open subject to relate to and hopefully relevant for all of us. And potentially it could resonate with the topic of the event 'Moves Without Borders'.''
In Dance for Nothing, Eszer Salamon performs John Cage’s music, Lecture on Nothing (1949) and simultaneously dances, creating a choreography of movement that is juxtaposed with the text. The idea of a soundscape of words while performing a parallel action as another temporality follows the desire for interaction with non-interference. “The dance in Dance for Nothing should be autonomous and never become an illustration or a commentary on the text.” (Eszter Salamon)
Concept & Dance: Eszter Salamon Music: John Cage Organisation: Alexandra Wellensiek, extrapole/ Agnès Henry, Co-production: DANCE 2010, 12.Internationales Festival des zeitgenössischen Tanzes (Munich), Festival Next (Valenciennes), Far – Festival des arts vivants (Nyon), TanzWerkstatt Berlin/Tanz im August Supported by the National Performance Network with funding provided by the German Federal Cultural Foundation and Botschaft (Berlin) Thanks to: Shaina Anand and Ashok Sukumaran/CAMP, Bojana Cvéjic, Paf-St. Erme, Jan Ritsema Duration: 80min (including a discussion with the audience)