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> Noordung Zero Gravity Biomechanical Theater
SOMNIUM SCIPIONIS - the way towards gravity
of motion
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Postgravity Art - ORBITA NOORDUNG
Dragan Ε½ivadinov, Dunja ZupanΔiΔ and Miha TurΕ‘iΔ
11.05.2008 - 08.06.2008
MAK Depot of Contemporary Art Gefechtsturm Arenbergpark
The presentation of "Postgravity Art - ORBITA NOORDUNG" at the flak tower in Arenbergpark is a kind of tribute paid to the visionary satellite and space technology pioneer Hermann PotoΔnik, who was born 1892 in Croatia and died 1929 in Vienna. Under the pseudonym of Hermann Noordung, he published as early as 1928 his ideas for satellites and space stations which informed the design and building of the geostationary Sputnik satellite.
The artists Dragan Ε½ivadinov, Dunja Ε½upanΔiΔ, and Miha TurΕ‘iΔ see in the Sputnik, on the one hand, a 20th century icon, and on the other, a Suprematist formation, Suprematism being a modernist style that derived from Constructivism and Futurism. In this sense, they contend, the Sputnik is the first supra-modernist entity, combining in itself both the Suprematist spherical form as well as, through its antennae, Constructivist functions.
Curator Janina Strobl
Project co-ordinatior Dunja Gottweis
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SUPREMAT
"Supremat is a new event in the series of the "farewell rituals"
performed by the actor Dragan Zivadinov over the recent years. This time,
his (sub)title references are those of the Neue Slowenische Kunst and the
NSK. The title itself naturally alludes to Malevich's suprematism, the original
inspiration of Dragan's theatrical work, and, to a slight extent - in connection
with several props in the performance - to a "super automaton",
and all kinds of "purification" enabled by the notion. The true, "in-depth" purification of Supremat takes place in
the field of art. Faith in art, as demonstrated by Zivadinov, is complete
and sacred; it is staged with the "staff" and instrumentary
of Russian formalism, and at the same time, with a suggestiveness as governing,
for example, the memories of Nadezhda Mandelstam. The true power of Supremat
lies in authenticity, drive, impetuousness, immediateness, and rapture
- in addition to its theatrical image, of course. The performance is thus
a constructivist machine: aided by visual and space design (conceived
in the workshop of Dunja Zupancic and co-workers), and sound (Kozma),
both the text (more effective than in some former Dragan's rituals) and
the mise-en-scene function like well-tuned mechanisms, with some idle
running perhaps only in the final part.The question about art, as set by the staging, is not only a matter of
aesthetics in Zivadinov's view, but overtly that of philosophy, of man's
existence and (its) metaphysics. Thus, Supremat is a performance dealing
with final issues - faith, death, the end of the world, and God. (...)(...) This is the position of a theatrical creator par excellence: a
manipulator and a tempter, a prophet and a messiah, a demiurge and an
exterminator, and most of all, a man whose art (for example, the ending
of Supremat, moments before the audience is banished from the hall), is
capable of shattering the most sceptical of spectators."Blaz Lukan, Delo, 27th November, 2002 |
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| The Noordung Cosmokinetic Cabinet, named after
the Slovene space scientist Herman Potocnik Noordung, evolved from
the Scipion Nasice Sisters Theater and the Red Pilot Cosmokinetic
Theater. In 1995, it presented the capital project "One Versus
One", a show that opened on 20 April 1995, with restagings
taking place every 10 years, the first one being on 20 April 2005.
The show will play until 20 April 2045. The place of those actors
who die in the meantime will be taken by a mechanical symbol, their
spoken text represented by sounds (melody for women, rythm for men).
In 2045 these symbols will be shot into zero gravity space in a
capsule. This action is intended to finally abolish mimetic theatre
and establish the rule of non-corporeal art. |
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