Task 14


Concept and Performance Darko Dragičević, Martin Sonderkamp Task by Ivan Marušić Klif Music SND, Alexander Waterman Photography Maja Kljaić Supported by TALA dance centrum Zagreb, HR Premiere Platforma Festival HR, April 2014

Task 14 is a performance made up of 7 successive responses to 7 tasks given to the artists by Ivan Marušić Klif. The piece rested mainly on the idea to perform each response to each Task in chronological order and to only use as material which is already present between the performers: intimacy, attraction, nervousness, grief about someone's death as well as text and music they were exposed to during the rehearsal process.

Task 14 relies in exchanging tools and strategies between performers or rather to encounter the position, practice, tools, and logic of the other, which are implied in the discipline in which one is trained. The aim is not to overtake and switch the position of one another, but rather to open the process of one another. The performance with its process is oriented in transmission, with acknowledging that to be transmitted never explains its own transmission. Relay transmission implies both taking over and handing over. The take over is always a creation, but the act of handing over also requires a creation, the creation of an arrow, conveying and honouring what produced the one who hand over, and will produce others.

It pinpoints on encounter, which is understood as two lines that contingently discovered that they needed each other in order to cross a threshold. This threshold is not the same for both, but rather a distinct one for each, one both needed in order to escape suffocation of once practice. These exchanges could be understood as actualization of what it means to cross the threshold, when performing or rather perceiving the space is no longer the natural activity of the creator.

The space is understood and seen differently by visual artist and the dancer. If one perceived it through the visuals and creates spaces within the space with manipulation of visuals, the dancer creates them with its body or rather different intension created from within the body. What happens when these two positions are entangled, what when they switch into one another, turn under one another and are set up in a new order and new constellation. This process could be seen as a process of capturing and hijacking one position/practice/organization of the space that does not pretend to lead to mutual inter subjective understanding, but rather show their difference in positioning in the created space of the other.

In the process and the performance as such, we are interested to address: How can we share tools and methods in and through the performance? What kind of visual language and meaning can be created from extraction? How do the borders of our specific fields of artistic practice limit our agency in the other fields of practice? How can we expand the borders of our specific fields of artistic practice? What imagery/visual information does bodily practice produce in the visual artist? How does physical practice influence imagination? How can this imagination be visualized? How can we extract visual information from text?