In Land Research, Arkadi Zaides presents a stark landscape: images projected on a large screen at the back of a wide stage empty of all props, except a mic stand at the front left. Land Research was performed in Israel on July 30, 2012 as part of the Summerdance Festival at Suzanne Dellal in Tel Aviv, continuing his process of developing an artistic dialogue with artists from a variety of disciplines and backgrounds, into this landscape enter performers: dancer Yuli Kovbasnyan who immigrated alone to Israel from Russia in her teens, Ofir Yudilevitch, a dancer with an extensive background in acrobatics and Capoeira, Palestinian artist and actress Raida Adon, performer and video artist Sva Li-Levy, and dancer/acrobatics practitioner Asaf Aharonson.→
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.
Credits & CollaboratorsChoreography Arkadi Zaides Research, guidance and artistic collaboration Anat Cederbaum Dramaturgy Joanna Lesnierowska Performed by Raida Adon, Asaf Aharonson/Yuval Goldstein, Sva Li Levi, Yuli Kovbasnyan, Ofir Yudilevitch Photographer Yuval Tebol Video design Daniel Landau Music Tom Tlalim & Chen Wagner Light Bruno Pocheron Artistic advise Felix Ritter Costumes Nadav Svetlov Prouducer Hila Kaplan Co-produced by Theatre National De Chaillot (FR), Ballet National De Marseille in collaboration with KLAP (FR), Fabrik Potsdam (DE), Art Stations Foundation (PL), The Polish Institute (IL) Residency support The Acco Theater Center (IL), Amsterdam Master Of Choreography (NL)
Articles & Reviews
Arkadi Zeides possesses the prestigious dowry of being a former dancer in the Bat Sheva Dance Company, one who has worked with Ohad Naharin and later in Yasmin Godder's ensemble. When a dancer with such a record achieves a point in life where he asks himself "what's next", looking for a new meaning to his work in dance, and is also willing to "unlearn" all that he has learned to make room for something new – there's a possibility to create something deep, direct, and intensely focused, with the body at its center.→
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→
How can we rethink the documentary in art in terms of content, form and method? The School of Speculative Documentary is an interdisciplinary space for an encounter that seeks to question the documentary act. Creators take the floor to discuss uncertainty and guesswork, to confront the unfixable holes in their work and the messiness of reality.
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.→