GLAND

In “GLAND”, the choreographer and dancer Kat Válastur wanders through unknown landscapes created alongside her body. “GLAND“ is a projection of a landscape, in which a series of events is experienced in parallel universes, shifting from familiarity to the unfamiliar.

The tiger’s leap, the stillness of the statue, shining of the asphalt on a rainy night, all belong to the same category. Every gesture belongs to a constellation of thoughts about its meaning. What if there is no meaning but only gestures? “GLAND” is the first work in a series of choreographies by Kat Válastur entitled “The marginal Sculptures of Newtopia” and takes place in two complementary spaces: on stage (dimension a), and on the web (dimension b).

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(dimension a)

Concept, Choreography and Performance: Kat Válastur/ Set designer: Ulrich Leitner/ Sound: Lambros Pigounis/ Light designer: Martin Beeretz/ Video: Iosif Lycakis/ Costume: Lydia Sonderegger/ Artistic collaboration: Thomas Schaupp, Stephen Zepke, Nikos Flessas/ Assistant: Ania Nowak/ Press and Production: björn & björn

 

(dimension b)

Concept: Kat Válastur in collaboration with Lamb and Lamp/ Texts: Kat Válastur/ Sound: Lambros Pigounis/ Video: Iosif Lykakis/ Copy editing: Kyriacos Carseras/ Web design: Lamb and Lamp A production by Kat Válastur/ Co-produced by HAU Hebbel am Ufer Berlin and Tanzquartier Wien/ Funded by the Governing Mayor of Berlin, Senat’s Chancellery, Cultural Affairs and Fonds Darstellende Künste/ Supported by the Institut für Raumexperimente

“Il n’est pas aisé de décrire par les mots la subtile variété de moyens physiques engagés par l’artiste à cet effet. On ne décrira donc qu’une seule séquence, à titre d’exemple parlant. Après avoir parcouru les deux parois dressées en angle, dans sa position debout chahutée, Kat Válastur vient à se coucher sur le plateau. Elle y repose sur son côté, à angle droit du mur, et ses pieds sont donc plaqués contre la partie basse de celui-ci. Depuis cette position, elle se met à avancer en glissant sur le sol. Dès lors, ses pieds miment une marche contre le mur.”

« Gland » de Kat Válastur, Gérard Mayen (2015), dansercanalhistorique.fr

“GLAND (the margical sculptures of Newtopia)” is a brilliant piece that consists of two parts: a live performance (dimension A) and a narration embedded in a website (dimension B). Here the artist tells us about her journey through a mysterios cityscape that includes the tower of babylon, a chromatic river as well as a room full of masks. Válasturs “Newtopia” is a fictitious remnant of our culture with traces of Pablo Picasso and Franz Kafka, among others.”

Unter den Augen der Asphalt-Sphinx, Helmut Ploebst (2014), derstandard.at

“GLAND (dimension a&b) est la première pièce d’une série intitulée The marginal sculptures of Newtopia, initiée par la chorégraphe et danseuse grecque Kat Válastur. Ses matières : corps et espaces. Ce n’est donc pas surprenant de la retrouver parmi les participants du Institut für Raumexperimente (N.D.L.R., « Institut de l’expérimentation d’espaces ») de l’artiste de renom Olafur Eliasson, achevé cette année à Berlin. Pour GLAND, Válastur souhaite mettre à l’épreuve nos habitudes de perception et de compréhension.”

GLAND : sculptures d’une nouvelle utopie, Florence Freitag (2014), berlinpoche.de

“With every change of position, the persistence and precision of illusionist performer Válastur redefines what is above and below, underground and abyss, reality and fiction. The next dimension of the journey is online to coincide with the premiere of the performance. An online map conceals stories and pictures that inspired the choreography – the imaginary journey continues.”

Two, three, four dimensions Kat Válastur’s journey through new worlds (2014), tanzraumberlin.de

29 March - 2 April 2017HAU Hebbel am UferBerlin
6 - 7 OCTOBER 2015Théâtre de NîmesNîmes
1 OCTOBER 2015Crisalide FestivalForlì
23 JULY 2015MousonturmFrankfurt
30 AUGUST 2014Tanznacht BerlinBerlin
16 - 17 MAY 2014Tanzquartier WienVienna
6 - 11 MAY 2014 (Premiere)HAU Hebbel am UferBerlin
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Thoughts about GLAND… Lets say that when the work is vivid in the mind, when it is still a spiritual condition, it exist as an Utopia UTOPIA The word comes from the Greek: οὐ (“not”) andτόπος (“place”) and means “no place”. Yet we might say that this is a virtual place and since I can visualize it, it exists as such or it can be real when it will become a work for others to see. The moment utopia is materialized it is transformed into a place, therefore to a Land and since that is a land that ony I can  imagine,  it is a new place in the world. Lets call this place “Newtopia” What would it be if all the above  doesn’t exist in the sphere of the mind as a process but it is visual, mainly the work itself? What would it be if the transformation of Utopia to what I have named “Newtopia” is a not a virtual condition but a visual condition in which the body acts in order to transform utopia into a real place. Therefore the body itself can be named “Gland”( having in mind the function of the organ as such) because it becomes an active tool for this  transformation. Once we are in the space of Utopia means that the spirit is free to imagine a place which doesn’t exits, a body which doesn’t exist, a thing which doesn’t exist. Based on the above means that in the condition we want to create each “absence” needs to be presented. As a conclusion I could say that “Gland” is the active force of a body  which is consisted of glands acting inside a place that is called theatre, which is a body which includes Utopia, in which  a body acts  as a gland and  transforms the “not yet place” into a new place for the existence. It feels as if Alice  meets Fred Astaire and Spinoza in wonderland.

map for Gland
map for Gland

THE MARGINAL SCULPTURES OF NEWTOPIA

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THE ASPHALT SPHINX

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THE ROOM WITH THE MASKS

Dancing at the margins of Newtopia How far can I go by dancing? How far can a dance take me? I like to think my self as a wanderer when I make a dance piece. I visualize a special place and each of my choreography becomes the “event generator” of wandering in those places. In June 2013 after having completed the “Oh! Deep Sea”-circle, I started  to work on a new series of choreographies. I named this new circle “The marginal sculptures of Newtopia”. I felt that the margins and the sculptures were textures that could reflect the traces of my work so far. “Newtopia” is setting the place in which this traces could produce new creations. Lets say that when the work is vivid in the mind, when it is still a spiritual condition, it exists as an utopia. Yet we might also say that utopia is a virtual place and since I can visualize it, it exists as such or it can be real when it will become a work for others to see. The moment utopia is materialized it is transformed into a place, therefore to a land. Since that is a land that only I can  imagine,  it is a new place in the world. I call this place “Newtopia”. Imagine that it is not a virtual condition but a visual one in which the body acts in order to transform utopia into a real place. The body then is an active force inside a place that is called theatre, a space that includes utopia when a body transforms the “not yet place” into a new place for existence.

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