Marta Keil | Independent Researcher (original) (raw)
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Papers by Marta Keil
Didaskalia. English Issue, 2022
The article, which is a revised and expanded version of a chapter of the doctoral dissertation De... more The article, which is a revised and expanded version of a chapter of the doctoral dissertation Devising Institutions. Institutional practices in contemporary performing arts, applies institutional critique as a perspective for reflection on modes of production and distribution of the international performing arts circuit. Based on an analysis of hypermobility as the prevailing political condition among artists and artworkers active in this field, the text introduces the notion of situated instituent practices as a tool to reflect those artistic approaches that challenge the prevailing modes of production and distribution. The examples of works by Sarah Vanhee and Benjamin Verdonck are presented as a gesture of ‘active withdrawal’ from the dominating working modes and rhythms that opens up for a political potential of the process of ‘home making’.
the pandemic, the roller-coaster, the grief and the sun: notes on more-thanhuman dramaturgy danie... more the pandemic, the roller-coaster, the grief and the sun: notes on more-thanhuman dramaturgy daniel blanga gubbay 15 choreography: strategies daniel blanga gubbay 7 This question and the following section are adapted from: Sarah Gottlieb, 2018. "Myths to Break Down: Moving Toward Ethical Communication and Ethical Sexuality in Ci." Published on Contact Improvisation Blog, http://contactimprovblog.com/ myths-to-breakdown -movingtoward-ethical-communicationand-ethical-sexuality-in-ci/ (last accessed: 25.10.2021).
I believe that a genuine and effective campaign for art as a democratic instrument can only succe... more I believe that a genuine and effective campaign for art as a democratic instrument can only succeed if the methods and conditions of producing art are rendered more democratic; and the programme of social emancipation ought to begin with a critical examination of the mechanisms, structures and internal relations in force within the organization we are responsible for. I am in no doubt that public arts institutions remain a priceless good, requiring care and attention, but in my view the campaign for their survival will only be efficient insofar as we reflect critically on how these institutions are organized, how they operate, and whom and what they realistically benefit. In this context, I understand institutional critique as a critical enquiry into the practices, structures and methods of working in art. I find it equally important to expose the institutional framework and the process by which it is delimited – in doing so, I am especially mindful of the fact that defining borders...
In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatr... more In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatre in the context of political and social changes. We analyse conditions for freedom of artistic expression and of mechanisms of censorship; we observe significant conflicts and struggles in theatre life, and scrutinize the entanglement of economic, political and aesthetic determinants. We query the possibility of making theatre institutions into social laboratories in which cultural practices for the new democratic order can be developed.
RESHAPE, 2021
This essay is the programme document of a research project Porozumienie (Agreement) at the Powsze... more This essay is the programme document of a research project Porozumienie (Agreement) at the Powszechny Theatre in Warsaw, about the participatory transformation of the public theatre ‘Powszechny Theatre’ in Warsaw into a feminist cultural institution. A year of research and interviews with employees resulted in texts and practical steps, such as the establishment of an arts and programme board. The project has been led by Agata Adamiecka-Sitek, Marta Keil, and Igor Stokfiszewski.
We recommend that you download the publication and open it using a pdf reader. You can then click... more We recommend that you download the publication and open it using a pdf reader. You can then click on the web links and consult the resources. Alternatively, you can also copy and paste with a right click the web links of the resources that interest you in your browser's URL field. As this guide is quite long, we advise you not to print it.
The conversation was conducted by Agata Adamiecka-Sitek and Marta Keil with the management of the... more The conversation was conducted by Agata Adamiecka-Sitek and Marta Keil with the management of the Zygmunt Hubner Powszechny Theatre in Warsaw several weeks after the premiere of Klątwa [ The Curse ] directed by Oliver Frljic. Its basic premise was to try to map the situation of the company faced with the extremely tense situation surrounding the production, violent protests from the right-wing media and the ‘siege’ of theatre by right-wing hit squads. It was particularly important for us to take a look at the institutional consequences faced by the management, both in terms of day-to-day running of the company, employee relations, relations with the audience, as well as the overhaul of the institution’s existing program strategy.
How is it possible that in Poland, so proud of its public financing for the arts, there are so fe... more How is it possible that in Poland, so proud of its public financing for the arts, there are so few public institutions statutorily supporting the development of contemporary choreography? Why is choreography still scattered among various organizations and private initiatives, and remains invisible for the large part of society? Together with Joanna Leśnierowska, dance curator and creator of the programme Stary Browar Nowy Taniec [Old Brewery New Dance], choreographers Ramona Nagabczynska and Maria Stoklosa, and curator and dramatist Mateusz Szymanowka, we try to map the territory of institutional choreography in Poland and to answer the question about the changes necessary for contemporary choreography to gain the status of an autonomous and rightful field in the world of Polish arts. We also discuss the presence of choreographers in Polish theatre institutions and outline the relationships – perhaps surprising for some readers – between the status of contemporary choreography and t...
Oliver Frljic, in conversation with Agata Adamiecka-Sitek and Marta Keil, talks about his strateg... more Oliver Frljic, in conversation with Agata Adamiecka-Sitek and Marta Keil, talks about his strategy of performing institutions, giving examples from the time he ran the National Theatre in Rijeka. Referring to the elitist nature of theatre, the director talks about his attempts to move the show and the discourse accompanying it outside the theatre-company building and to use theatre as tool for triggering a broad social debate. He also cites instances of censorship he has encountered in his work. By analysing political and social entanglements of art institutions, the director wonders as to whom theatre actually belongs. The conversation took place before the premiere of Klątwa [ The Curse ] directed by Frljic at the Powszechny Theatre in Warsaw, and was included in the production's programme book.
Taking as my starting point the assumption that art is a social practice, and how it is made and ... more Taking as my starting point the assumption that art is a social practice, and how it is made and perceived is always determined by the socio-political and economic context, I would like to propose that a festival be regarded as an art institution – and consider the implications of that perspective. The political ontology of the festival; the political and economic entanglements of curatorial practices; economic (self-)censorship and its recent manifestations at theatre festivals in Poland will be the main facets of my study. I will also enquire about how the festival today can be ‘taken over’, regained a space for critical activity. My consideration of the institutional practices of present-day festivals will be based on my own experiences as a curator; they will also be situated in the context of practicable institutional-critical activity as proposed by Gerald Raunig, and take as their point of reference the concept of an institution as a common good. The concept of the ‘performat...
I believe that a genuine and effective campaign for art as a democratic instrument can only succe... more I believe that a genuine and effective campaign for art as a democratic instrument can only succeed if the methods and conditions of producing art are rendered more democratic; and the programme of social emancipation ought to begin with a critical examination of the mechanisms, structures and internal relations in force within the organization we are responsible for. I am in no doubt that public arts institutions remain a priceless good, requiring care and attention, but in my view the campaign for their survival will only be efficient insofar as we reflect critically on how these institutions are organized, how they operate, and whom and what they realistically benefit. In this context, I understand institutional critique as a critical enquiry into the practices, structures and methods of working in art. I find it equally important to expose the institutional framework and the process by which it is delimited – in doing so, I am especially mindful of the fact that defining borders...
HowlRound Theatre Commons_Devising Our Future, 2021
It's 2021 and we're amid multiple pandemics that are revealing the structural failures, challenge... more It's 2021 and we're amid multiple pandemics that are revealing the structural failures, challenges, and opportunities facing the nonprofit theatre. Where do we go from here? What are we bringing with us through the portal, and what are we making anew? The Devising Our Future series asks theatremakers to consider a future theatre field where resources and power are shared equitably in all directions, contributing to a more just and sustainable world. This series is curated by HowlRound Theatre Commons as part of our tenth anniversary celebration.
Reflections after the digital conference «How to be together? Conversations on International Exch... more Reflections after the digital conference «How to be together? Conversations on International Exchange and Collaboration in the Performing Arts» organised by Zürcher Theater Spektakel and Tanz im August, 27th-29th August 2020
Voices, ProduktionHaeuser, 2020
ARTIST‘ STATEMENTS ZUR AKTUELLEN COVID-19-SITUATION Die durch Covid-19 ausgelöste Krise trifft d... more ARTIST‘ STATEMENTS ZUR AKTUELLEN COVID-19-SITUATION
Die durch Covid-19 ausgelöste Krise trifft die Kunstschaffenden weltweit hart und unmittelbar. Für unseren Blog ::: VOICES ::: haben wir internationale Künstler*innen, die momentan nicht an unseren Produktionshäusern arbeiten können, eingeladen, uns durch Statements an ihrer aktuellen, individuellen und künstlerischen Situation teilhaben zu lassen. /// The crisis triggered by Covid-19 hits artists worldwide hard and directly. For our blog ::: VOICES ::: we have invited international artists who are currently unable to work in our production houses to make statements about their current, individual and artistic situation. Berlin, 05/2020
Didaskalia, 2018
Marta Keil uznaje opublikowanie listu otwartego byłych i obecnych performerek i performerów współ... more Marta Keil uznaje opublikowanie listu otwartego byłych i obecnych performerek i performerów współpracujących z Troubleyn Jana Fabre’a za jedno z najważniejszych wydarzeń krytycznych w sztuce ostatnich lat. Autorka przekonuje, że przyzwolenie na przemoc w instytucji wynika z „mitu wybitnego artysty, który ma specjalne prawa, bo stoją za nim piękne idee”. Keil podkreśla, że mit ten jest legitymizowany przez środowisko artystyczne w imię błędnie rozumianej wolności twórczej i przekonuje, że odpowiedzialność za przemocowe relacje w świecie sztuki spoczywa także na „piszących (…), zapraszających na festiwale, przyznających nagrody, budujących pozycję danego twórcy czy twórczyni bądź instytucji i lekceważących dochodzące (…) niepokojące sygnały“. Keil wyraża nadzieję, że pokłosiem rozważań wokół listu związanych z Troubleyn będzie zadanie pytania, do kogo należy publiczna instytucja sztuki.
Didaskalia, 2019
Agata Adamiecka-Sitek, Marta Keil, Igor Stokfiszewski. Materiały do porozumienia; Feminizacja – d... more Agata Adamiecka-Sitek, Marta Keil, Igor Stokfiszewski. Materiały do porozumienia; Feminizacja – demokracja – praca. W stronę uspołecznionej instytucji kultury; Zasady współpracy twórczyń i twórców z Teatrem Powszechnym im. Zygmunta Hübnera w Warszawie; Rada Artystyczno-Programowa Teatru Powszechnego im. Zygmunta Hübnera w Warszawie. Regulamin; Teatr Powszechny – feministyczna instytucja kulturyNa blok „Feminizm! nie faszyzm” składają się dokumenty będące efektem rocznego projektu badawczego „Porozumienie”, realizowanego przez Agatą Adamiecką-Sitek, Martę Keil i Igora Stokfiszewskiego w Teatrze Powszechnym w Warszawie. Celem było „kooperatywne wypracowanie tożsamości Teatru w oparciu o założenia demokratycznej instytucji kultury”. W myśl tego, przeprowadzono rozmowy z pracownikami i pracownicami teatru na wszystkich szczeblach oraz współpracownikami i współpracowniczkami teatru, analizowano dokumenty prawne regulujące funkcjonowanie teatru oraz nadzorowano tok negocjacji. Jak deklarują Adamiecka-Sitek, Keil i Stokfiszewski, „zdefiniowanie tożsamości Teatru Powszechnego (…) jako feministycznej instytucji kultury (…) nie kończy się wraz z publikacją poniższych materiałów. (…) tożsamość ta jest i będzie negocjowana na poziomie codziennych praktyk instytucjonalnych.”.
Into the City, Onto the Stage: Unlikely Collaborations in the Performing Arts, edited by Ásgerður G. Gunnarsdóttir, Alexander Roberts, 2020
Text written by Sarah Vanhee and Marta Keil upon the invitation of Ásgerður G. Gunnarsdóttir and ... more Text written by Sarah Vanhee and Marta Keil upon the invitation of Ásgerður G. Gunnarsdóttir and Alexander Roberts, editors of the book "Into the City, Onto the Stage: Unlikely Collaborations in the Performing Arts", Venice 2020
Didaskalia. English Issue, 2022
The article, which is a revised and expanded version of a chapter of the doctoral dissertation De... more The article, which is a revised and expanded version of a chapter of the doctoral dissertation Devising Institutions. Institutional practices in contemporary performing arts, applies institutional critique as a perspective for reflection on modes of production and distribution of the international performing arts circuit. Based on an analysis of hypermobility as the prevailing political condition among artists and artworkers active in this field, the text introduces the notion of situated instituent practices as a tool to reflect those artistic approaches that challenge the prevailing modes of production and distribution. The examples of works by Sarah Vanhee and Benjamin Verdonck are presented as a gesture of ‘active withdrawal’ from the dominating working modes and rhythms that opens up for a political potential of the process of ‘home making’.
the pandemic, the roller-coaster, the grief and the sun: notes on more-thanhuman dramaturgy danie... more the pandemic, the roller-coaster, the grief and the sun: notes on more-thanhuman dramaturgy daniel blanga gubbay 15 choreography: strategies daniel blanga gubbay 7 This question and the following section are adapted from: Sarah Gottlieb, 2018. "Myths to Break Down: Moving Toward Ethical Communication and Ethical Sexuality in Ci." Published on Contact Improvisation Blog, http://contactimprovblog.com/ myths-to-breakdown -movingtoward-ethical-communicationand-ethical-sexuality-in-ci/ (last accessed: 25.10.2021).
I believe that a genuine and effective campaign for art as a democratic instrument can only succe... more I believe that a genuine and effective campaign for art as a democratic instrument can only succeed if the methods and conditions of producing art are rendered more democratic; and the programme of social emancipation ought to begin with a critical examination of the mechanisms, structures and internal relations in force within the organization we are responsible for. I am in no doubt that public arts institutions remain a priceless good, requiring care and attention, but in my view the campaign for their survival will only be efficient insofar as we reflect critically on how these institutions are organized, how they operate, and whom and what they realistically benefit. In this context, I understand institutional critique as a critical enquiry into the practices, structures and methods of working in art. I find it equally important to expose the institutional framework and the process by which it is delimited – in doing so, I am especially mindful of the fact that defining borders...
In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatr... more In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatre in the context of political and social changes. We analyse conditions for freedom of artistic expression and of mechanisms of censorship; we observe significant conflicts and struggles in theatre life, and scrutinize the entanglement of economic, political and aesthetic determinants. We query the possibility of making theatre institutions into social laboratories in which cultural practices for the new democratic order can be developed.
RESHAPE, 2021
This essay is the programme document of a research project Porozumienie (Agreement) at the Powsze... more This essay is the programme document of a research project Porozumienie (Agreement) at the Powszechny Theatre in Warsaw, about the participatory transformation of the public theatre ‘Powszechny Theatre’ in Warsaw into a feminist cultural institution. A year of research and interviews with employees resulted in texts and practical steps, such as the establishment of an arts and programme board. The project has been led by Agata Adamiecka-Sitek, Marta Keil, and Igor Stokfiszewski.
We recommend that you download the publication and open it using a pdf reader. You can then click... more We recommend that you download the publication and open it using a pdf reader. You can then click on the web links and consult the resources. Alternatively, you can also copy and paste with a right click the web links of the resources that interest you in your browser's URL field. As this guide is quite long, we advise you not to print it.
The conversation was conducted by Agata Adamiecka-Sitek and Marta Keil with the management of the... more The conversation was conducted by Agata Adamiecka-Sitek and Marta Keil with the management of the Zygmunt Hubner Powszechny Theatre in Warsaw several weeks after the premiere of Klątwa [ The Curse ] directed by Oliver Frljic. Its basic premise was to try to map the situation of the company faced with the extremely tense situation surrounding the production, violent protests from the right-wing media and the ‘siege’ of theatre by right-wing hit squads. It was particularly important for us to take a look at the institutional consequences faced by the management, both in terms of day-to-day running of the company, employee relations, relations with the audience, as well as the overhaul of the institution’s existing program strategy.
How is it possible that in Poland, so proud of its public financing for the arts, there are so fe... more How is it possible that in Poland, so proud of its public financing for the arts, there are so few public institutions statutorily supporting the development of contemporary choreography? Why is choreography still scattered among various organizations and private initiatives, and remains invisible for the large part of society? Together with Joanna Leśnierowska, dance curator and creator of the programme Stary Browar Nowy Taniec [Old Brewery New Dance], choreographers Ramona Nagabczynska and Maria Stoklosa, and curator and dramatist Mateusz Szymanowka, we try to map the territory of institutional choreography in Poland and to answer the question about the changes necessary for contemporary choreography to gain the status of an autonomous and rightful field in the world of Polish arts. We also discuss the presence of choreographers in Polish theatre institutions and outline the relationships – perhaps surprising for some readers – between the status of contemporary choreography and t...
Oliver Frljic, in conversation with Agata Adamiecka-Sitek and Marta Keil, talks about his strateg... more Oliver Frljic, in conversation with Agata Adamiecka-Sitek and Marta Keil, talks about his strategy of performing institutions, giving examples from the time he ran the National Theatre in Rijeka. Referring to the elitist nature of theatre, the director talks about his attempts to move the show and the discourse accompanying it outside the theatre-company building and to use theatre as tool for triggering a broad social debate. He also cites instances of censorship he has encountered in his work. By analysing political and social entanglements of art institutions, the director wonders as to whom theatre actually belongs. The conversation took place before the premiere of Klątwa [ The Curse ] directed by Frljic at the Powszechny Theatre in Warsaw, and was included in the production's programme book.
Taking as my starting point the assumption that art is a social practice, and how it is made and ... more Taking as my starting point the assumption that art is a social practice, and how it is made and perceived is always determined by the socio-political and economic context, I would like to propose that a festival be regarded as an art institution – and consider the implications of that perspective. The political ontology of the festival; the political and economic entanglements of curatorial practices; economic (self-)censorship and its recent manifestations at theatre festivals in Poland will be the main facets of my study. I will also enquire about how the festival today can be ‘taken over’, regained a space for critical activity. My consideration of the institutional practices of present-day festivals will be based on my own experiences as a curator; they will also be situated in the context of practicable institutional-critical activity as proposed by Gerald Raunig, and take as their point of reference the concept of an institution as a common good. The concept of the ‘performat...
I believe that a genuine and effective campaign for art as a democratic instrument can only succe... more I believe that a genuine and effective campaign for art as a democratic instrument can only succeed if the methods and conditions of producing art are rendered more democratic; and the programme of social emancipation ought to begin with a critical examination of the mechanisms, structures and internal relations in force within the organization we are responsible for. I am in no doubt that public arts institutions remain a priceless good, requiring care and attention, but in my view the campaign for their survival will only be efficient insofar as we reflect critically on how these institutions are organized, how they operate, and whom and what they realistically benefit. In this context, I understand institutional critique as a critical enquiry into the practices, structures and methods of working in art. I find it equally important to expose the institutional framework and the process by which it is delimited – in doing so, I am especially mindful of the fact that defining borders...
HowlRound Theatre Commons_Devising Our Future, 2021
It's 2021 and we're amid multiple pandemics that are revealing the structural failures, challenge... more It's 2021 and we're amid multiple pandemics that are revealing the structural failures, challenges, and opportunities facing the nonprofit theatre. Where do we go from here? What are we bringing with us through the portal, and what are we making anew? The Devising Our Future series asks theatremakers to consider a future theatre field where resources and power are shared equitably in all directions, contributing to a more just and sustainable world. This series is curated by HowlRound Theatre Commons as part of our tenth anniversary celebration.
Reflections after the digital conference «How to be together? Conversations on International Exch... more Reflections after the digital conference «How to be together? Conversations on International Exchange and Collaboration in the Performing Arts» organised by Zürcher Theater Spektakel and Tanz im August, 27th-29th August 2020
Voices, ProduktionHaeuser, 2020
ARTIST‘ STATEMENTS ZUR AKTUELLEN COVID-19-SITUATION Die durch Covid-19 ausgelöste Krise trifft d... more ARTIST‘ STATEMENTS ZUR AKTUELLEN COVID-19-SITUATION
Die durch Covid-19 ausgelöste Krise trifft die Kunstschaffenden weltweit hart und unmittelbar. Für unseren Blog ::: VOICES ::: haben wir internationale Künstler*innen, die momentan nicht an unseren Produktionshäusern arbeiten können, eingeladen, uns durch Statements an ihrer aktuellen, individuellen und künstlerischen Situation teilhaben zu lassen. /// The crisis triggered by Covid-19 hits artists worldwide hard and directly. For our blog ::: VOICES ::: we have invited international artists who are currently unable to work in our production houses to make statements about their current, individual and artistic situation. Berlin, 05/2020
Didaskalia, 2018
Marta Keil uznaje opublikowanie listu otwartego byłych i obecnych performerek i performerów współ... more Marta Keil uznaje opublikowanie listu otwartego byłych i obecnych performerek i performerów współpracujących z Troubleyn Jana Fabre’a za jedno z najważniejszych wydarzeń krytycznych w sztuce ostatnich lat. Autorka przekonuje, że przyzwolenie na przemoc w instytucji wynika z „mitu wybitnego artysty, który ma specjalne prawa, bo stoją za nim piękne idee”. Keil podkreśla, że mit ten jest legitymizowany przez środowisko artystyczne w imię błędnie rozumianej wolności twórczej i przekonuje, że odpowiedzialność za przemocowe relacje w świecie sztuki spoczywa także na „piszących (…), zapraszających na festiwale, przyznających nagrody, budujących pozycję danego twórcy czy twórczyni bądź instytucji i lekceważących dochodzące (…) niepokojące sygnały“. Keil wyraża nadzieję, że pokłosiem rozważań wokół listu związanych z Troubleyn będzie zadanie pytania, do kogo należy publiczna instytucja sztuki.
Didaskalia, 2019
Agata Adamiecka-Sitek, Marta Keil, Igor Stokfiszewski. Materiały do porozumienia; Feminizacja – d... more Agata Adamiecka-Sitek, Marta Keil, Igor Stokfiszewski. Materiały do porozumienia; Feminizacja – demokracja – praca. W stronę uspołecznionej instytucji kultury; Zasady współpracy twórczyń i twórców z Teatrem Powszechnym im. Zygmunta Hübnera w Warszawie; Rada Artystyczno-Programowa Teatru Powszechnego im. Zygmunta Hübnera w Warszawie. Regulamin; Teatr Powszechny – feministyczna instytucja kulturyNa blok „Feminizm! nie faszyzm” składają się dokumenty będące efektem rocznego projektu badawczego „Porozumienie”, realizowanego przez Agatą Adamiecką-Sitek, Martę Keil i Igora Stokfiszewskiego w Teatrze Powszechnym w Warszawie. Celem było „kooperatywne wypracowanie tożsamości Teatru w oparciu o założenia demokratycznej instytucji kultury”. W myśl tego, przeprowadzono rozmowy z pracownikami i pracownicami teatru na wszystkich szczeblach oraz współpracownikami i współpracowniczkami teatru, analizowano dokumenty prawne regulujące funkcjonowanie teatru oraz nadzorowano tok negocjacji. Jak deklarują Adamiecka-Sitek, Keil i Stokfiszewski, „zdefiniowanie tożsamości Teatru Powszechnego (…) jako feministycznej instytucji kultury (…) nie kończy się wraz z publikacją poniższych materiałów. (…) tożsamość ta jest i będzie negocjowana na poziomie codziennych praktyk instytucjonalnych.”.
Into the City, Onto the Stage: Unlikely Collaborations in the Performing Arts, edited by Ásgerður G. Gunnarsdóttir, Alexander Roberts, 2020
Text written by Sarah Vanhee and Marta Keil upon the invitation of Ásgerður G. Gunnarsdóttir and ... more Text written by Sarah Vanhee and Marta Keil upon the invitation of Ásgerður G. Gunnarsdóttir and Alexander Roberts, editors of the book "Into the City, Onto the Stage: Unlikely Collaborations in the Performing Arts", Venice 2020
Choreografia: strategie, 2021
Ta książka powstała w odpowiedzi na silną potrzebę spojrzenia na współczesną choreografię w konte... more Ta książka powstała w odpowiedzi na silną potrzebę spojrzenia na współczesną choreografię w kontekście wielości jej kontekstów i sposobów działania. Zgromadzone tu teksty podejmują próbę pokazania potencjału choreografii jako sposobu myślenia, działania i postrzegania otaczającej nas rzeczywistości. Jednocześnie gromadzimy w tej książce rozmaite ślady: tropy praktyk i gestów artystycznych, osobistych doświadczeń czy relacji – I spotykamy je z (auto)refleksją. W ten sposób przyglądamy się temu, jak współczesne praktyki choreograficzne mogą być rozumiane jako praktyki usytuowane. Co dostrzeżemy, gdy uważnie przyjrzymy się ich różnym kontekstom? Co je kształtuje? Jak wzajemnie powiązane pragnienia i uwarunkowania wpływają na nasze decyzje? W jaki sposób i z kim budujemy więzi współpracy? Jaki jest krajobraz relacji międzyludzkich i więcej-niż-ludzkich, w którym poruszamy się na codzień – i jak wpływa na podejmowane (artystyczne) wybory?
Reclaiming the Obvious. On the Institution of the Festival, 2017
The festival is invariably a political institution: it puts in place a certain way of perceiving ... more The festival is invariably a political institution: it puts in place a certain way of perceiving performing arts; it defines individual trends; it arranges artworks in a certain order and determines the requirements and criteria for producing new shows. After all, the very act of selection, and deciding how productions are shown, is in itself a political gesture – as is the shaping of context or formulating the festival message in conjunction with the audience. The choices made by those responsible for festival programmes are neither “innocent” nor neutral.
On the other hand, if we look at the festival from the perspective of its social and economic conditions, we will notice that it is not only a product of the neoliberal system, but that it also strengthens and preserves its order. Thus, how does this context allow one to think about the festival as an emancipatory political proposal? And how to unlock this potential?
My fundamental rationale here is to sketch a map of contexts conducive to thinking about the contemporary festival as one of the crucial contemporary art institutions. The book contains texts drawn from a variety of sources: manifestos, scripts, programme materials, interviews. All the texts were conceived by outstanding practitioners, curators, artists, and researchers analysing and critiquing the mechanisms of art production and reception from diverse points of view. Their proposals not only make us rethink what seemed obvious, but also let us ask a question how – in the face of social and economic complicities – we can appropriate festivals as a space of critical undertakings; how, to evoke McKenzie Wark, to hack them with a view to creating a space for new solutions: in particular, for ones that seem inconceivable for now.
Authors: Roberto Bacci, Franco "Bifo" Berardi, Silvia Bottiroli, Matthieu Goeury, Grupa Robocza TERMS, Daniel Blanga Gubbay, Frie Leysen, Oliver Marchart, Chantal Mouffe, Rabih Mroue, Maciej Nowak, Gerald Raunig, Christophe Slagmuylder, Tea Tupajić, Rok Vevar, Ana Vujanović, Petra Zanki
Editor: Marta Keil
Co-Publishers: Konfrontacje Teatralne (Lublin), Zbigniew Raszewski Theatre Institute (Warszawa)
Choreography: autonomies, 2019
Autonomy is construed here as sovereignty – the opportunity to freely decide about oneself, inclu... more Autonomy is construed here as sovereignty – the opportunity to freely decide about oneself, including the opportunity to voice one’s opinion, to decide upon the mode of self-organization, and to propose one’s own solutions, constituting an alternative to the dominant models - and this is how it constitutes the condition of proposing and establishing political changes. Choreography is working on its autonomy in a constant process of negotiation, in seeping between domains, fields and practices. Gaining autonomy relies here on working out one’s own language, on sketching the map of one’s own territory and on the quest of its agency forms. And it is in these three strands that we have chosen as the through lines of the present book.
Authors: Guy Cools, Anna Herbut, Satu Herrala, Marta Keil, Andreja Kopač, Bojana Kunst, Hanna Raszewska-Kursa, Wojciech Klimczyk, Joanna Leśnierowska, Ramona Nagabczyńska, Lisa Nelson, Jeroen Peeters, Laurence Rassel, Alexander Roberts, Frida Sandström, Katarzyna Słoboda, Maria Stokłosa, Mateusz Szymanówka, Christophe Wavelet, Katarzyna Wolińska
Editor: Marta Keil
Co-Published by Art Stations Foundation (Poznań), Dance and Music Institute (Warszawa), Zbigniew Raszewski Theater Institute (Warszawa) and EEPAP (Lublin).
Choreografia: polityczność, 2018
Polityczność to także decyzja o tym, jak ustanawiasz relację z widownią, jak podjąć temat albo ja... more Polityczność to także decyzja o tym, jak ustanawiasz relację z widownią, jak podjąć temat albo jak go porzucić, na co zwrócić uwagę, co puścić mimo uszu. To układ krzeseł na widowni — albo ich brak. To wybór tematu i kontekstu. Sytuacja społeczna i ekonomiczna, w jakiej pracujesz. Wybór, czyją sprawę dopuszczasz do głosu. To kontekst, w jakim spektakl jest produkowany i pokazywany. To także decyzja o szerokim udostępnieniu partytury lub scenariusza albo ścisłego zastrzeżenia ich prawami autorskimi. Albo decyzja, by porzucić projekt.
„Choreografia: polityczność” pod redakcją Marty Keil składa się z kilkunastu tekstów wybitnych europejskich i amerykańskich artystek i artystów oraz badaczek i badaczy przyglądających się współczesnym praktykom choreograficznym jako praktykom politycznym. Książka pokazuje choreografię jako jako narzędzie formułowania i wyrażania myśli, przestrzeń działań krytycznych i praktyk oporu. Znalazły się tu zarówno artystyczne manifesty, jak i naukowe analizy oraz zapisy procesu pracy. Zebrane materiały, w większości dotąd nie tłumaczone na język polski, wchodzą ze sobą w relacje, wytwarzają napięcie, czasem pozostają w niezgodzie. Stanowią próbę wykreślenia możliwej mapy ułatwiającej poruszanie się w przestrzeni współczesnej choreografii.
Autorzy: Jonathan Burrows, Boris Charmatz, Alice Chauchat, Bojana Cvejić, Mark Franko, Mette Ingvartsen, Gabriele Klein, Bojana Kunst, Rudi Laermans, André Lepecki, Randy Martin, Oliver Marchart, Nobody's Business, Jan Ritsema, Xavier Le Roy, Christine de Smedt, Ana Vujanović.
Redakcja: Marta Keil
Co-Published by Art Stations Foundation (Poznań), Dance and Music Institute (Warszawa), Zbigniew Raszewski Theater Institute (Warszawa) and EEPAP (Lublin).
TkH no. 23 / Journal for Performing Arts Theory, Apr 2016
The publication edited by Bojana Cvejić, Bojana Kunst and Stefan Hölscher follows the conference ... more The publication edited by Bojana Cvejić, Bojana Kunst and Stefan Hölscher follows the conference "The Public Commons and the Undercommons of Art, Education, and Labor", which was hosted by the institute for Applied Theater Studies (Justus Liebig University, Gießen) between May 29 and June 1, 2014. It was organized in collaboration with the Hessian Theatre Academy (HTA), the East European Performing Arts Platform (EEPAP), the Create to Connect Network (CTC), Frankfurt LAB (the conference venue), and supported by Deutsche Forschungsgemeinschaft (DfG).
Catalogue of the 21st edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil an... more Catalogue of the 21st edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil and Grzegorz Reske
Catalogue of the 20th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil an... more Catalogue of the 20th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil and Grzegorz Reske
Catalogue of the 19th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil an... more Catalogue of the 19th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil and Grzegorz Reske
Catalogue of the 18th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil an... more Catalogue of the 18th edition of the Konfrontacje Festival in Lublin, co-curated by Marta Keil and Grzegorz Reske
Polish Theatre Journal, 2017