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“Dispositives of Watching” – BADco. & Marko Tadić

12. June 2017. - 29. June 2017.

Monday, June 12,2017 @ 20:00

The exhibition Dispositives of Watching is part of a year-long collaboration between BADco. and Marko Tadić entitled Nothing Inert in the World, which includes artistic research, an exhibition and performative events on the theme of rhythmical analysis, the principle of the presentation of complex rhythmical structures (temporal and spatial).

In Henri Lefebvre’s terminology, the body is a ’bouquet’ of rhythms that both function at their own paces and are mutually arranged to form a coordination. Lefebvre uses the term polyrhythm to denote a multilayered rhythmic environment where different rhythms interact at the same time. However, if there is a negative disturbance in the rhythms, this typically causes the local disharmony to spread, which may have further disastrous consequences for the entire system. Lefebvre calls this destructive rhythmic phenomenon arrhythmia. The last of Lefebvre’s concepts of rhythm is isorhythmia, which is a collection of hierarchically coordinated rhythms. This relation of rhythms is synchronised from above – the rhythms are brought into concurrence by an external impulsegiver.

Besides its own biological rhythms, the body also receives rhythms from the outside – from the social, cosmic and natural/ecological worlds. The social rhythms are culturally and historically conditioned and include rhythms of eating and sleeping, working hours, breaks and holidays. These rhythms are learned, but of course affect the biological rhythms (and vice versa). The same applies to cosmic and natural/ecological rhythms, such as the rhythms of day and night, months, seasons, plants and weather systems.

Lefebvre insists that the body sets up the ratios among the rhythms that we sense.  The circadian rhythm of a diurnal cycle is very slow compared to that of a mosquito’s wing beats, but fast compared to the Earth’s orbit around the sun. But the human body gives us a basis on which to compare rhythms. Abstract temporalities become associated with an actual physical place, namely a human body, and therefore become actual themselves.

However, the body also puts spatial transformations into rhythmical relationships, and binds a given infrastructure and material by sedimented practices that then give birth to institutions, architectures and ordered zones in which various corporeal techniques are actualised.

This exhibition, which came into being out of an encounter between Marko Tadić and members of the BADco. collective, is being developed in the very premises of the Vladimir Bužančić Gallery and is one step in a process that will result in the performance to be called Corrections in Rhythm, premiering in November 2017 at the Croatian National Theatre in Zagreb.

Marko Tadić was born in 1979 in Sisak. He took a BFA in painting at the Academy of Fine Arts in Florence. He does drawings, collages, animated films and installations in which for the sake of visual narration he uses motifs from art and architecture, quotations from art history and discarded items such as picture postcards. His visual stories, the basis of which is the drawing, are never literal, but like adumbrations or sketches balance between the aesthetic and the non-aesthetic. On the ruins of modern culture or on used artefacts of popular culture, in an melancholic atmosphere of past times, Tadić constructs his own worlds on the borders of the known, the possible and the fictional. He has won several prizes: the Vladimir Nazor Prize for the best exhibition in 2014 (Zagreb 2015.), Award for the best design at the festival of Croatian animation FHAF (Zagreb, 2012.), the Third T-HT MSU prize (Zagreb, 2010); the Radoslav Putar Prize (Zagreb, 2008); the Drawing Prize at the Young Artists Salon (Zagreb, 2006); the First Prize at the Young Artists Salon (Sisak, 2001 and 2000). Marko Tadić has exhibited at a series of solo and collective exhibitions and film festivals at home and abroad: in Budapest, Osijek, Dubrovnik, Sisak, Velika Gorica, Zagreb, New York, Berlin, Zadar Pula, Poreč, Labin, Zlarin, Rijeka, Ljubljana, Belgrade, Newcastle, Kassel, Regensburg, Frankfurt, Vienna, Graz, Florence, Turin, Avesta, Helsinki, Los Angeles and Nottingham, for instance. He is currently representing Croatia, together with Tina Gverović, at the 57th Venice Biennale.
BADco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš and Zrinka Užbinec. As a combination of three choreographers / dancers, two dramaturgs and one philosopher, plus the company production manager, since its beginning (2000), BADco. systematically focuses on the research of protocols of performing, presenting and observing by structuring its projects around diverse formal and perceptual relations and contexts. Reconfiguring established relations between performance and audience, challenging perspectival givens and architectonics of performance, problematizing of communicational structures – all of that makes BADco. an internationally significant artistic phenomenon and one of the most differentiated performance experiences. As well as in guest appearances at festivals in Croatia and the wider region, performances and installations of BADco have been put on in New York (PS122, La MaMa), Vienna (Tanzquartier Wien, GarageX), Berlin (Podewill, Sophiensalle / Tanz im August, Volksbühne), Venice (54th Venice Biennale), Stockholm (Orionteatern, Theater Guillotine, MDT), Copenhagen (Metropolis Biennalen), Athens (BYCEM, Onassis Culture Centre), London (The Place/Aerowaves, Chelsea Theater) and Amsterdam (Julidans).



12. June 2017.
29. June 2017.


Trg Narodne zaštite 2, Remetinec
Zagreb, 10020 Croatia (Local Name: Hrvatska)
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