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Repnik & Ruhsam How Far Can We Talk? Kako daleč lahko govorimo? Film-performance filmski performans 19. septembra 2011 ob 19. uri in 20. septembra 2011 ob 20. uri; Cankarjev dom, Ljubljana, slovenska premiera Permanentno gradbišče Kako daleč nas lahko ponese naša domišljija in kdaj naših lastnih podob ne prenesemo več? In kaj se zgodi, ko nam zmanjka besed? Kako daleč lahko govorimo? meri razsežnosti opisljivega in raziskuje nezmožnosti razumevanja. Martina Ruhsam in Vlado G. Repnik prepletata žive, posnete in ready-made fragmente ter reflektirata strategije interakcij različnih medijev. Filmperformans med nami uprizarja razdaljo, ustvarjeno z besedami in preiskuje bližino, ki nastane, ko nam besed zmanjka. Komunikacija je polje permanentne konstrukcije. Če so nam lastne besede ukradene in so ljudje ločeni od svojih glasov, prevlada popolno pomanjkanje lastnine, kar ni značilno le za uporabo jezika. - - - - - - - - - - - - - - - - - - - - - Govor prepoznamo kot govor, le če je aktualiziran. Postati mora resničen. Obstaja nenehna igra med neprekinjenim produciranjem hrupa in hkratno potrebo po udejanjanju. Le tako se lahko sporočilo sploh prenese. Ampak s tem, ko govor udejanimo, izgubimo potencialnost. In to je paradoks potencialnosti – ne more biti udejanjena. Ampak če se želimo pogovarjati, se mora udejanjanje nenehno vršiti. Gre torej za neprekinjeno gibanje med stanji potencialnosti in udejanjanja, morda celo za nenehen boj, igro moči. Zmožnost udejanjanja je hkrati neke vrste etična zahteva po delovanju. Vedno gre torej za korak naprej in nazaj, se mi zdi. Danes so človeške potencialnosti, kot so jezik, gib, itd., del proizvajanja tržnih vrednosti. Zato je vprašanje, ki je v tem trenutku najbolj zanimivo, kakšna je vloga potencialnega v razmerju do umetnosti. V tem projektu bi zagovarjala morda zelo naivno in utopično trditev, in sicer: natanko v umetnosti je mogoče prepoznati možnost za odpiranje in razkrivanje teh vprašanj. (Bojana Kunst v Kako daleč lahko govorimo?) Kje obstaja možnost, da se razpre nekakšna vrzel? Med konceptom in resnično rečjo. Med kamnom in idejo kamna. Kako najti to razpoko, to neznansko praznino? Na nek način smo vsi v ječi. To je kulturen zapor. In mi iščemo izhod. Na nek paradoksalen način smo hkrati zunaj in znotraj. Mislim, da je to zelo moderno. Smo v zaporu in obenem smo svobodni. To je paradoks. Ne moremo mu uiti. Vendar pa ima kletka, kot ste videli, nekaj lukenj. Skozi te luknje je mogoče seči in vzeti nekaj od zunaj. Ne morete seči daleč, pa vendar. V šestdesetih smo mislili, da bomo kmalu na Marsu in da bomo obiskovali druge galaksije, mogoče že čez 20 let; mislili smo, da bomo naša vesoljska plovila kar pošiljali naokoli, vendar se to preprosto ni zgodilo. Dosežemo lahko samo tisto, kar je le kak meter oddaljeno od kletke. In vsak od nas sega nekam drugam. To je lep prizor. Vsakdo se steguje v drugo smer. (Andrei Andrianov v Kako daleč lahko govorimo?) - - - - - - - - - - - - - - - - - - - - - 1st and 4th June 2011 at 6.30 PM; Tanzquartier Wien Studios, Vienna, Austria 1. in 4. junija 2011 ob 18.30; Tanzquartier Wien Studios, Dunaj, Avstrija That a talk can be recognized as a talk, it has to be actualized. It has to become real. There is a permanent game between constantly producing the noise and at the same time having a need for the actualization. So that you can actually transmit the message. But when the talk is actualized, potentiality is gone. And this is a paradox in the concept of potentiality - that it cannot be actualized. But if we would like to form relations and so on, there is a constant translation into actualization. So it's a kind of a continuous movement between the states of potentiality and actuality, and maybe sometimes also a continuous fight, a continuous power game. This impossibility of fulfilment is at the same time a kind of ethical demand to work. So it's always this going back and forward for me. Today human forces of potentiality like language, movement etc. are actually exploited by the market. So then, it's even more interesting to ask what the role of potentiality in the relation to art is. In this project, I would go for a - maybe very naive and utopian statement - it's actually to see in art this potential to open up and disclose these questions which are very important for me. (Bojana Kunst in How far can we talk?) Where is the possibility to open some kind of a gap? Between the concept and the real thing? Between stone and concept of stone? How to find this hole, this huge void? In some way we are all in a jail. It's a cultural prison. And we are searching for the exit. In a paradoxical way we are outside and inside at the same time. It's very modern, I think. We are in prison and at the same time we are free. It's a paradox. We cannot escape from it. But the cage has, like you saw, some holes. So, you can reach through these holes and you can take something from there. Not really far away, but still. In the 60s we thought that we would soon be on Mars and that we would visit other galaxies in maybe 20 years, we thought that we would just send our spaceships somewhere, but that just didn't happen. We can only reach something which is like one meter away from the cage. And everyone of us reaches somewhere else. It's a beautiful picture. Everyone reaches to a different direction. (Andrei Andrianov in How far can we talk?) - - - - - - - - - - - - - - - - - - - - - Die Unmöglichkeit des Verstehens von Repnik & Ruhsam Wie weit kann unsere Imagination uns tragen und wann können wir unsere eigenen Bilder nicht mehr ertragen? Was passiert, wenn wir mit unseren Worten am Ende sind? How Far Can We Talk? vermisst die Proportionen des Beschreibbaren und erforscht die Unmöglichkeit des Verstehens. Die Choreografin Martina Ruhsam und der Regisseur Vlado G. Repnik verschränken live-stattfindende und aufgezeichnete Fragmente und reflektieren Strategien des Dialogs (zwischen verschiedenen Medien). Die Filmperformance inszeniert den Abstand zwischen uns, den wir mittels unserer Worte kreieren und geht der Nähe nach, die dann entsteht, wenn uns die Worte fehlen. Kommunikation ist eine permanente Baustelle. Wenn sich die eigenen Worte als Diebgut entlarven und die Stimme sich von Personen ablöst, dann herrscht das Gefühl einer Eigentumslosigkeit vor, das nicht nur den Umgang mit Sprache prägt.  - download leaflet / PDF, 620 KB | ... | . |
 Photo from the performance (by Gerrit Cavigelli) In the marvellously constructed work of the Austrian choreographer and the Slovene artist the drama of the inevitable misunderstanding and the pleasure in the failure of communication are weighed up against each other. - Helmut Ploebst, DER STANDARD, 3 June 2011 What an esprit and wit! "How Far Can We Talk?" is an intelligent and amusing performance consisting of live-elements and recorded video-fragments, that are not really alleging something and never threaten with the index finger, but show in a selfironic way how fast the border of understanding is reached. - Edith Wolf Perez and Ditta Rudle, TANZ.AT, 6 June 2011 As soon as one assumes to have discovered a pattern, exactly this is broken – the communication failed or it is shown precisely with that that the failure and the misunderstanding are immanent in the act of communication. - Reinhard Strobl, CORPUS, 11 June 2011 - - - - - - - - - - - - - - - - - - - - - - - V sijajno strukturiranem delu avstrijske koreografinje in slovenskega režiserja sta drama neizogibnega nesporazuma in užitek v nezmožnosti komunikacije postavljena bok ob bok. - Helmut Ploebst, DER STANDARD, 3.6.2011 Kakšen elan in duhovitost! "Kako daleč lahko govorimo" je inteligentna in kratkočasna predstava, združena iz live-elementov in predposnetih video fragmentov, ki ničesar ne zatrjujejo in nikoli ne žugajo s prstom, ampak na ironičen način prikazujejo, kako hitro se doseže meje razumevanja. - Edith Wolf Perez in Ditta Rudle, TANZ.AT, 6.6.2011 Takoj ko se zazdi, da smo odkrili nek vzorec, je ta prekinjen - komunikacija je spodletela, ali pa ravno ta zdrs pokaže, da sta neuspeh in nesporazum imanentna dejanju komunikacije. - Reinhard Strobl, CORPUS, 11.6.2011 - - - - - - - - - - - - - - - - - - - - - - - Concept and direction / koncept in režija Martina Ruhsam & Vlado G. Repnik With / sodelujejo: Andrei Andrianov, Daniel Aschwanden, Gabri Einsiedl, Lana K. Gotvan, Maja Kalafatić, Bojana Kunst, Jan Machacek, Amanda Piña, Yulia Roshina, Barbara Skubic, Robert Steijn, Aneta Stojnić, Igor Štromajer, Irmi Walcher Thanks to / zahvala: Jacques Derrida, Anna Feldbein, Janez Janša, Diana Koloini, Krassimira Kruschkova, Sandra Noeth, Brane Zorman Produced by | Produkcija: GVR babaLAN, Copypaste, 2011 Co-produced by | Soprodukcija: Exponto Festival, Cankarjev dom Ljubljana, Tanzquartier Wien, Wiener Festwochen The project was co-financed by the Ministry of Culture of the Republic of Slovenia, Kulturabteilung der Stadt Wien and the Municipality of Ljubljana. Projekt so sofinancirali Ministrstvo za kulturo RS, Kulturabteilung der Stadt Wien in MOL Ljubljana. GVR babaLAN | +386 31 589 877 www.babalan.org | gvr[at]babalan.org                                Photos from the performance: Bettina Frenzel and Gerrit Cavigelli |