Poiesis of self

Choreographer Snježana Premuš and theoretic Rok Vevar are opening the process of experiencing, articulating

and documenting the notion of different bodies - selves.

Dance-documentary performance uses different artistic means an elements (objects, images, body and language) and several somple kinesthetic principles and actions in space.

Performance is a series of situations in which the non-invasive activity of the audience and performers is subject to experiential possibilities of converting the body into language and vice versa

The Greek word poíesis, which had been gradually migrating into the literary field , only to end up as a label for the art of poetry, signified handicraft in the classical era of Greek antiquity: a manufacturing that implied certain skill, dexterity, or technē.

The self in the sum of relations-images, which are nothing more than our body, “a body as an image offered to other bodies” (Jean-Luc Nancy: Corpus).

One could argue that our modern daily life is subject to a suspension of the body, full of immunitary strategies, self-protections and anti-virus programs: our prosthesis of capitalism, roaming around the world through our biographies, has to be de-suspended, transformed – into body.

Concept and direction: Snježana Premuš
Co‑created and performed by: Snježana Premuš and Rok Vevar
Texts: Rok Vevar and Snježana Premuš
Set and lighting design: Miha Horvat/Sonda
Technical guidance: Špela Skulj
Sound for sound installation: Boštjan Perovšek
Photography: Marcandrea
Performance guests: Tina Valentan, Urša Rupnik, Liza Šimenc

Production: Federacija Institute Ljubljana
Coproduction: Bunker, Ljubljana
Residency 2016: Tanzfabrik Berlin

The Greek word poíesis, which had been gradually migrating into the literary field , only to end up as a label for the art of poetry, signified handicraft in the classical era of Greek antiquity: a manufacturing that implied certain skill, dexterity, or technē.

The self in the sum of relations-images, which are nothing more than our body, “a body as an image offered to other bodies” (Jean-Luc Nancy: Corpus).

One could argue that our modern daily life is subject to a suspension of the body, full of immunitary strategies, self-protections and anti-virus programs: our prosthesis of capitalism, roaming around the world through our biographies, has to be de-suspended, transformed – into body.

Poiesis of self was premiered in November 2016 and was touring:

Festival Nagib Maribor 2017

Festival Gibanica Ljubljana 2019

Festival Drugajanje Maribor 2019

Festival Kondenz Beograd 2019

Old Power Station Ljubljana 2016 - 20

sodelovanje s SŠVGUGL 2016 and 2019

Dom kulture Skopje 2020

​

​The Greek word poíesis, which had been gradually migrating into the literary field , only to end up as a label for the art of poetry, signified handicraft in the classical era of Greek antiquity: a manufacturing that implied certain skill, dexterity, or technē.

The self in the sum of relations-images, which are nothing more than our body, “a body as an image offered to other bodies” (Jean-Luc Nancy: Corpus).

One could argue that our modern daily life is subject to a suspension of the body, full of immunitary strategies, self-protections and anti-virus programs: our prosthesis of capitalism, roaming around the world through our biographies, has to be de-suspended, transformed – into body.

Poiesis of self was premiered in November 2016 and was touring:

Festival Nagib Maribor 2017

Festival Gibanica Ljubljana 2019

Festival Drugajanje Maribor 2019

Festival Kondenz Beograd 2019

Old Power Station Ljubljana 2016 - 20

sodelovanje s SŠVGUGL 2016 and 2019

Dom kulture Skopje 2020

​

The Greek word poíesis, which had been gradually migrating into the literary field , only to end up as a label for the art of poetry, signified handicraft in the classical era of Greek antiquity: a manufacturing that implied certain skill, dexterity, or technē.