«She is present» because her eyes are alive, her reactions are sincere and each implemented action is an improvisation. Visual backdrop which accompanies Ekaterina’s movement doesn’t distract, rather dramatically empowers perception of the whole performance with time.
Arina Babushok, uralady.ru
August 30, 2016
It is a struggle of computer and human being, a combination of artificial intellect and capacities of alive body. The dancer attempts to get out of context offered by the computer program and as an explorer go through unknown paths and conduct her own research on a human being’s existence in time and space.
Ruslan Khisamutdinov, globalcity.info
August 31, 2016
My degree in mathematics, experience of co-creating with programmer Denis Perevalov, and extensive professional experience in contemporary dance have led me to the intersection of mathematics, technology, and dance. My current intention is to create a stochastic dance, random or involving chance, which has the potential to be performed multiple times in traditional and nontraditional venues like museums, galleries, libraries, theatres with different outcomes of each performance. The performance is a solo dance between 15 and 30 minutes in length that utilises an interactive projection and a mathematical computer program.
The easiest way to embrace technology into a dance performance is to use a projection. My intention was to connect my movement and the projected image as opposed to utilising the projection as a background for the performance. I accomplished this task by placing myself inside the chain of ‘projected image —> my movement —> projected image.’ In the work, Inside the Chain, chain links are separated into two parts of the performance. In part one, my movement is controlled by projected images of numbers from 1 to 8, generated in real time by a computer program. In the second section, the projected images are controlled by my movement. These images are projections of my live movement, with various delays, shown on a screen or other types of surfaces, such as windows, doors and walls. I believe I established a both ways connection between my movement and the projected image.
My movement, along with the projected media component, are both conceived as ‘set improvisation.’ Specifically, the first part the media component might be perceived as set improvisation; and the second part my dance is set improvised.
The performance has been made in collaboration with designer/architect Anna Vozzhennikova, electronic musician Leksha and programmers/mathematicians Denis Perevalov, Olga Annenkova and Tatyana Nadymova.
The performance Inside the Chain was created gradually. The main ideas have emerged in the past year, during the New Media course with professor Brian Davis at the beginning of my studies at The George Washington University. The structure of the performance was formed in January of this year, and then the performance was showed before its completion in a series called Movement Research Open Performance in New York. In March of this year, a complete 15 minute performance was presented and filmed for the first time at the Metenkov’s House Museum of Photography, a fascinating historical building located in the heart of the city of Yekaterinburg, Russia. The performance was an accompaniment to the Hunting to Uralmash exhibition. The video of the performance was later viewed at this year festival of science and art SAM Fest (Paul Smiths, NY) which focused on the theme of time.
The theme of time greatly influenced on how the work was constructed; it was considered from two perspectives, the metaphorical (e.g. looking back on time, trying to catch the time) and literal (e.g. manipulating multiple projected images) sense. In the first part the changes of images were accelerated with time, and in the second part a delay in the image was created with time.
Then in April, the work was extended in duration to 30 minutes and specially adapted to the space of Open systems exhibition in the Ural branch of the National Center for Contemporary Arts. For the presentation, I thought more deliberately how to engage the audience in the performance; I briefly shared the story of how the performance was constructed before the performance, and asked the audience to propose movements that would be incorporated into the performance. I wished to create a challenge for myself.
In May, the performance was presented four times without stopping during Night of Museums at the Metenkov’s House Museum of Photography; we tried projecting on two walls simultaneously. During the last presentation at Yekaterinburg History Museum, at the ‘Small Format’ festival, we used kinect camera instead of web-camera, and I was wearing headphones to be able to get numbers which were displayed on the screen behind me.
While the performance was presented in different stages and contexts as an accumulation, the following main ideas emerged. During the performance Inside the Chain, the performer and the audience observe what happens in real time, quickly reacting to constantly changing conditions, which may include momentary desires. In different stages of the performance, musician/sound director Vladislav Balin, visual artist Yulia Simakova, video artist Anton Vedernikov, and designer Antonina Vorobyova have made some contributions into the piece.
RECORDS ON THE PERFORMANCE AT THE URAL NCCA (April 18, 2016)
Report NCCA (ENG; serves as my final reflection on Portfolio 3; written May 10, 2016)
Announcement NCCA (RUS; blog post on April 17, 2016)
RECORDS ON THE PERFORMANCE AT THE METENKOV’S HOUSE (March 23, 2016)
Report Metenkov (ENG; serves as my 5th entry on Portfolio 3; written April 17, 2016)
Review Metenkov (RUS; written by Ruslan Khisamutdinov; published on the website of the Department of Culture City Administration on March 28, 2016)
Announcement Metenkov (RUS; blog post on March 21, 2016)
Mar. 6, 2017 Program of contemporary dance performances, Yeltsin Center (Yekaterinburg, Russia)
Dec. 21, 2016 Dance program of Chelyabinsk Contemporary Dance Theater, Theatre ‘Maneken’ (Chelyabinsk, Russia)
Nov. 29, 2016 Small Format 2016, Tyumen Drama Theater (Tyumen, Russia)
Sep. 22, 2016 dance collage ‘Dance Manifestations: Freedom of Actions,’ Museum of Architecture and Design (Yekaterinburg, Russia)
Aug. 26, 2016 Small Format 2016, Yekaterinburg History Museum (Yekaterinburg, Russia)
Jul. 16, 2016 MFA Showing, The GWU (Washington, DC, USA)
Jun. 7, 2016 XI International Conference «Information Technologies for Complex System Analysis and Synthesis» ICAM’2016, Design Development Centre (Yekaterinburg, Russia)
May 28, 2016 Program of Dance Performances, together with Alexander Petrazhitsky, Metenkov’s House Museum of Photography (Yekaterinburg, Russia)
May 21, 2016 [4 times in sequence without stopping] Night of Museums, Metenkov’s House Museum of Photography (Yekaterinburg, Russia)
Apr. 18, 2016 Program ACTIONS: ART OF PRESENTATION at the Ural Branch of the National Center for Contemporary Arts (Yekaterinburg, Russia)
Apr. 16, 2016 [on video] SAM Fest, Paul Smith’s College (Paul Smiths, NY, USA)
Mar. 23, 2016 [2 times] Exhibition “Hunting to Uralmash,” Metenkov’s House Museum of Photography (Yekaterinburg, Russia)
Jan. 26, 2016 [in process] Movement Research Open Performance, Eden’s Expressway (New York, NY, USA)