[on view] A keynote presentation that examines the relation between movement, innovative technologies and the future of borders.
What kind of choreography arises in the proximity of borders? Which strategies of restriction define movement? This work sets out to explore a dynamic system of action and reaction, limitation and transgression, stasis and mobility. The piece is a response to TALOS, an EU-funded research project in the field of security enforcement for which an advanced system aimed at protecting European land borders was designed. TALOS was a collaborative project involving fourteen institutions from ten countries that was officially conducted between the years 2008-2013. It resulted in the conception of a surveillance system that could be rapidly deployed to any location. This system was to be based on mobile, semi-autonomous robots that patrol border areas and gain physical and performative presence. The TALOS project was never launched and remained an experiment, a test, and a demonstration of technological capabilities. Since 2016, Arkadi Zaides has gathered a team of choreographers, dramaturges, and video artists to develop a performance that questions the TALOS project.
[on view] A research-based project that focuses on structural violence and its influence on the body.
The term ‘structural violence’ refers to implied systemic and latent forms of exclusion or oppression that emerge on social and political localities. Violence of Inscriptions questions the potency of artistic, discursive, and action-based practices to critically reflect on this subject. The project examines bodies that are subjected to structural violence, and focuses on the performative and physical aspects that surface as a result. It examines the role of the body in producing, maintaining, legitimizing, representing, and aestheticizing structural violence.
The notion of inscription stems from choreographic concepts and practices of writing; inscribing in and into material and immaterial spaces. This notion draws viewers’ attention to the consequences of our individual and collective actions. It underlines the presence of structural violence - its narration and history.
Violence of Inscriptions is a collaborative project, facilitated by HAU – Hebbel am Ufer in Berlin. It is an ongoing dialogue between Zaides and dramaturge, curator and scholar Sandra Noeth. The project began in 2016 and will unfold in five chapters until 2018. Each chapter aims to break down the complexity of the topic by examining the ideological, personal, political and ethical dynamics that are at stake. Each chapter brings together artists, thinkers, and human-rights activists for an intensive work session. The diverse perspectives of each participant provide the initial material for the discussion. The sessions are followed by a public program at HAU – Hebbel am Ufer, which includes lectures, roundtables, screenings, and installations.
VOI (Violence of Inscriptions) #1 – On Experience & Representation, VOI #2 – On Resilience, VOI #3 – On Collectivity, and Its Boundaries, VOI #4 – On Responsibility & Responsiveness, VOI #5 – On Human Rights & The Performativity of Law
[on view] Recipient of the Emile Zola Prize for Performing Arts. Awarded to Zaides for demonstrating engagement in human-rights issues.
B’Tselem is the Israeli Information Center for Human Rights in the Occupied Territories. Since 2007, the organization has been operating its Camera Project, which distributes video cameras to Palestinians in high conflict areas in the West Bank. The project aims to provide an ongoing documentation of human rights violations, and to expose the reality of life under occupation to both the Israeli and the international public.
Throughout the work process, Zaides reviewed and selected footage that was filmed by volunteers of B’Tselem’s Camera Project. On stage, he examines the bodies of Israelis as they were captured on camera, and focuses on the physical reactions to which they resort in various confrontational situations. The Palestinians remain behind the camera, nevertheless, their movement, voice, and point of view are highly present, determining the viewer’s perspective.
Although the footage reveals a local reality, Archive raises broader, more universal questions: what is the potential of violence embedded in each individual body, and what price does the collective pay for governing the other. Zaides extracts and appropriates gestures and voices of fellow Israelis. He identify with the footage and engages in it, gradually embodying it. The mimetic choreographic practice raises questions of participation and responsibility as Zaides’ body transforms into a living archive.
Archive was premiered at Festival d’Avignon, 2014.
[on view] A two-channel video installation, based on the video archives of B'Tselem, the Israeli Information Center for Human Rights in The Occupied Territories.
In 2013, Zaides was granted access to the video archives of B'Tselem, the Israeli Information Center for Human Rights in The Occupied Territories. The archives contain thousands of hours of footage, documented by Palestinian volunteers for B'Tselem’s Camera Project. Zaides’ research resulted in two works: Capture Practice (video installation), and Archive (stage performance).
Capture Practice is a two-channel video loop, commissioned by the Petach Tikva Museum of Art in 2014. The work examines the bodies of Israelis as they were captured on camera, and focuses on the physical reactions to which they resort in various confrontational situations in the West Bank. The Palestinians remain behind the camera, nevertheless, their movement, voice, and point of view are highly present, determining the viewer’s perspective.
Capture Practice features Zaides as he dances in a studio, on one channel, and footage from the B'Tselem archives, on the other. With his gaze continuously facing the other screen, Zaides mimics the movements of the documented subjects. He uses his own body to tie together the occurrences on both screens. By creating a perpetuate choreographic practice, he examines the somatic influence of the occupation over the bodies of those administering it. As an Israeli choreographer whose work engages in the occupation, Capture Practice raises questions regarding Zaides’ own involvement in the act.
[on view] The work is accompanied by a live performance of Dig Deep, a musical score for string quartet by Julia Wolfe.
In 2013, Zaides was invited to take part in the Aire De Jeu project at Les Subsistances, a research center for performing arts in Lyon. The project invited choreographers from across the world to create a work using live music by contemporary composers. For the project, Zaides chose Dig Deep, a composition for string quartet by American composer Julia Wolfe.
Wolfe is a founding member of renowned New York collective Bang On A Can. Her music is distinguished by intense physicality and relentless power. It pushes performers to extremes ands demand close attention from the audience. Her 1995 composition Dig Deep generates an intense sonic movement inwards. In A Response to Dig Deep, Zaides focuses on a state of ongoing oscillation, offering the audience a kinesthetic, non-narrative practice that examines the tension between restlessness and stability.
A work for four performers. Scenography by KLONE.
Quiet is a response to the violence and to the increasing sense of mistrust between Israelis and Palestinians who live within the shifting borders of Israel. In a political climate that allows little space for reflection, Zaides felt the urgency to promote honest communication. Quiet reacts to the state of shock in which both sectors of society often find themselves. The work functions as a safe zone; a place where one can let his demons out; where irrational responses are legitimized; where a broader perspective is sought and trust is gradually built.
Quiet features four performers that reveal a complex emotional landscape: aggression, compassion, confusion, and yearning that form an intensive dynamics. The creative process drew heavily on the diversity of the participants: Jewish and Arab actors and dancers from various backgrounds. In the heart of the work lies a will to embrace the complexities and find a quiet place.
Quiet was premiered in Tmuna Theater, Tel Aviv, 2010.
Five solo acts that explore the relation between the geopolitical landscape and the physical body.
The work ties together the relations between the geopolitical landscape and the physical body. On stage, five performers from diverse backgrounds take turns in solo acts. Through a series of physical tasks, each dancer undergoes an individual processes of transformation. Each solo is followed by a projection of images that depict local scenery. Shot by Israeli photographer Yuval Tebol, they capture the Israeli/Palestinian landscape. The images reveal the presence of concrete bearers within the landscapes, and allude to similar yet unpalpable bearers between each performer's personal narrative.
Land-Research began with interviews of the performers, conducted by cultural researcher Anat Cederbaum. The interviews included a set of questions that examined the congruence and conflicts between each performer’s personal and national narratives. The same questions were later brought into the studio and served as the starting point from which each solo was created.
Land-Research was premiered at Fabrik Potsdam in the frame of Tanztage Festival, 2012.
Recipient of the Kurt Jooss Prize. Awarded by the city of Essen and the Anna Markard and Hermann Markard Foundation in 2010.
Isabel Cruellas creates fragile sculptures of metal plants. Each detail is the result of an intensive work process, fraught with physical labor. Her sculptures testify to the transformation of matter: from hard metal to a surprisingly delicate outcome. Iris Erez is a dancer and choreographer. Her work is characterized by a laborious exploration of emotional inner worlds, brought forth into physical expression.
Solo Colores stemmed from the desire to initiate a dialogue between the two female artists and to converge the two disciplines into one platform. The work examines the inner strength and emotional resources that an artist needs in order to create. It underlines the intensity that takes place prior to a work’s completion as well as an artist's need to publicly expose her work.
The performance is set on a white, colorless stage that introduces Cruellas’ metal plants. A human figure (Erez) tries to relive past experiences, as if seeking to share her inner world with the audience.
Solo Colores was premiered at Tavi Dresdner Gallery, Tel Aviv, 2008.
[on view] Zaides’ first independent, internationally acclaimed work. A collaboration with video artist Shira Miasnik.
“This disturbed fog of shadows, raging within, how can I dissolve it?” Raymond Queneau Zaides dances on stage, his shadow falls on a white screen at the back of the stage. As he moves, the shadow follows his steps, twitching or changing its form until no longer resembling a human figure. The mimetic practice reveals an inner struggle, an intensive dynamics that leaves Zaides lying on the ground in a state of exhaustion. A video projection portrays a dream-like scene: The shadow multiplies to creates hybrid shapes, while Zaides’ body hovers in mid air or bounces off the ground as if unconstrained by gravity. Solo Siento was premiered at the Curtain Up Festival, Tel Aviv, 2005.
A curatorial project that aims to broaden the discussion between body, politics, and society.
Moves Without Borders is a collaborative curatorial project between Zaides, Goethe-Institute Israel, and additional partners. The project took place between 2012-2015, during this time contemporary avant-garde choreographers were invited present their work and lead workshops in Tel Aviv, Jaffa and Bat Yam. The project provided local audience and performance practitioners a chance to get acquainted with different choreographic practices. List of participating artists included: Marten Spangberg (SE), Meg Stuart (DE/BE), Philipp Gehmacher (AT), deufert&plischke (DE), Myriam Van Imschoot (BE), Alain Franco (BE), and Rodrigo Sobarzo (CL/NL).
Moves Without Borders aimed to critically reflect on the political climate in Israel, a reality of borders and walls. Looking back at the participating artists, one can notice a clear Eurocentric orientation. Contrary to its original objective to promote a borderless cultural exchange, it seems that the project had reinforced the existing situation. The dialogue took place between artists from hegemonic countries, while the voices of artists from marginal countries remained unheard. Nevertheless, the tools that were acquired during the program will hopefully resonate within the Israeli dance community, and will pave the way to an engaged and radical dance scene.
How do operational systems manipulate people into obedience?
The work examines the ways in which brainwashing techniques are employed in order to oppress resistance among people; how social or physical systems manipulate us into blind obedience. Meeting Brian Wash was commissioned by the Performance Art Arena in Jerusalem, lead by the artistic direction of Doron Tavori. On stage, five performers alternatively assume the roles of a manipulating group and a manipulated individual. The performers subject each other to various experiments according to each person’s own pressure point. A totalitarian-like figure (played by Tavori) is projected on screen and monitors their every move. Meeting Brian Wash was premiered at Tmuna Theater, Tel Aviv, 2008.
Commissioned by Ohad Naharin for the Batsheva Ensemble.
“Pleasure is the secret. The secret is to become silent and listen; to cease from thinking; to cease movement; to almost cease breathing; to create inner silence, from which awareness and abilities can pleasurably be revealed.” Alain Macjalshan.
A Way was commissioned by Ohad Naharin for the Batsheva Ensemble in 2004. The work depicts an existential state rather than a narrative. Five dancers search for individual expression, each in his own way. They construct their movement on precise gestures that activate the body. Their language is convulsive and reflects inner contemplations, inciteful as they are painful. The process resembles an act of exorcism - a physical attempt to get rid of inner restlessness. The work culminates with a feeling of newfound freedom and composure - emotional extremes are reconciled and the five bodies finally come to an ease.
A duet with choreographer and performer Sharon Zuckerman. Accompanied by singer Riff Cohen.
Adamdam examines the creation and destruction of forms and ideas. The work relates to the human body as matter that can be shaped, controlled, used or misused. It is inspired by the tail of the Golem, a Jewish myth that tells the story of an anthropoid made of clay. The term ‘Golem’ first appeared in the bible and referred to an embryonic substance, a form not yet shaped. Zaides’ interpretation presents the Golem as a brainless entity that serves a repressive human master.
On stage, two dancers move slowly. They form a hybrid entity that appears to be activated for the first time. They test the Golem’s physical abilities using bulky gestures, then separate back into an individual state. Alternatively, they assume the roles of the master and his clay figure, trying to shape each other’s movements.
Adamdam was premiered at the Curtain Up Festival, Tel Aviv, 2006.
For all our Flemish and Dutch speaking friends, the Belgian magazine Etcetera has released an article by theater scholar Esther Tuypens discussing the use of empathy in performing arts. The article analyzes mechanisms of emotional identification in Arkadi Zaides’ creation Archive as well as in Milo Rau’s Empire. It is available online→
What influence do images have on migration policies? How do dictatorial regimes produce their imagery? Is there an ethical way to document war zones? USAGES GÉOPOLITIQUES DES IMAGES is a new publication that sets to examine these issues through the works of various contemporary artists. The book compiles the writing of twelve contributors, among them is Frédéric Pouillaude, whose essay examines Zaides' practice over the past years.→