The Dinamics of Space Trilogy

The Dynamics of Space Trilogy - Pendulum, 2016-2018

Pendulum, 2016
The Dynamics of Space Trilogy - Pendulum, 2016-2018
The performance in the scope of exhibion GLASSWORKS | Separated from life

The performance stems from the research Dynamics of Space that probes the phenomena of swinging (pendulum) in the arts. The project Pendulum expands the installation Glassworks / Separated from Life, the solo exhibition of the artist Urša Vidic in the Kresija Gallery. Its starting point is the search for mimesis of nature and its space derivations.

The Glassworks objects which revive the idea of the 19th century Romanticism painting, the idea of subjectivity and personal experience, are crucial starting points of Nina Fajdiga’s choreography. This idea creates the subtle unison of objects and the performer. The latter appears to be catching up with the kinetic atmosphere of the performance, at the same time evoking the historical concept of the sublime in our imagination.

The performance is split into two parts: the first part thrusts out our unconscious world, rooted into a micro world of glass objects. The second part, the world of the physical body and space, is the story of the body in motion, swinging between the balance and falling, between the conscious and unconscious, between the created world and the order of nature that carves its own way in curved or free-flowing lines (water, fire, gas).
This journey reminds of the artistic oeuvre by C. D. Friedrich, the solitary journey with tragic undertones, in search of what is hidden and may yet never be found. The search for the essence of the subject appears as a paradox, its truth being in a continuous progress.

Show me Heaven, 2017
The Dynamics of Space Trilogy - Pendulum, 2016-2018

The project is based on a study of the liminal space and its dynamics.
We are interested in creating dynamics in transient, peripheral or neglected spaces.
The project also deals with the issue of the edge in terms of space: how the edge can be moved, exceeded, manipulated.
It also addresses the dynamics of time. The problem is studied in three separate spheres, which, through their interaction, conduct the composition of the performance.
These three areas define the personal actions of each author in the field of artistic practice: the expression of a contemporary dance vocabulary, the articulation of visual and object dynamics, and the field of linguistic and written texts.
We investigate the liminality of these three fields and their cross-sections.

Pivot Point, 2018
The Dynamics of Space Trilogy - Pendulum, 2016-2018

Pivot Point explores the dynamic exchange between drawing and movement, with the focus on the process of formation, establishing a relationship to the final product.
The project is designed as a changing environment in which the body is located. The visual and kinaesthetic processes are focused on the line and the relations of the body towards creation of meaning.
The outset for the drawn, projected and carved sculptures are actually the drawings from the "Neverending" series (Polona Maher, 2010, archival ink on paper), where the sculptural body develops from an unbroken line.

The volume of the accumulated drawn material has been formed through seeming movement of the lines and the uneven inclination of the weight around the pivot point and the distancing from it. The drawing seems to be moving and always changing, like the body of the performer. Falling is the basic starting point of the movement, since the perseverance is present in the repetition of the body swing. Dance is placed in the gallery space so that it can share the same plain with the viewer.

The moving installation, among other things, deals with the notion of the horizontal that enabled Pollock to liberate the art of the upright canvas and introduce instead the performance-based art. The horizon, as Walter Benjamin wrote, is a flatland that contains signs, while the vertical is a plain of representation that contains objects. The research of the horizontal within the intersection of dance and visual arts is encountered also in some works by Trisha Brown that will make some reference material for the work. The Pivot Point of the axis revives and updates the question of the relation of the body in motion towards figuration, theme, meaning and its occurrence in the representation space. He is confronted with the questions about how to create a space without having to designate a territory, and how to create an event outside the politics of colonialism.

The Pivot Point traverse the relationship between the female and male principles, perseverance and passing by. The falling body, in dialogue with gravity, bends the linear perspective, creating through its constant action visual-kinetic comfort in the discomfort that is caused in the viewer through the feeling of a swing/pendulum.