Land Research – Arkadi Zaides

by Ayelet Dekel, Midnight East Blog — 08/12, (EN), about work: LAND RESEARCH

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.

Dance that is Live and Kicking in 'Land-Research'

by Ruth Eshel, Haaretz — 08/12, (HE), about work: LAND RESEARCH

For a few decades now, the body has turned into a place where dance is written. It's not a body telling a narrative with a libretto, not a body in the service of the whims of the soul, but a body of bones, flesh and blood that speaks in its own voice. It's a body that shakes itself loose of dance genres, of phrases of movement, of rhythms; it sheds everything familiar, in a desire to produce only what the body writes. The body in Zaides' work cries out in distress. His movement is not humane, in not attentive to natural abilities or the desire for what is pleasant and good for the body; rather, it is cruel and screaming. All the solos are finely performed and characterized by a restlessness – one that projects the sense of seeking, with repetitive motions strewn within as a refusal, as the body's unwillingness to express itself "properly". 

Dancing the Image: Complicity, Responsibility and Spectatorship

by Noa Roei, for 'Bodies That Still Matter. Resonances of the Work of Judith Butler’ edited by Annemie Halsema, Katja Kwastek, and Roel van den Oever — 04/21, (EN), about work: ARCHIVE

In Giving an Account of Oneself (2005) as well as in Precarious Life (2004), Judith Butler theorizes the notions of ethical responsibility and risk in relation to a subject who is not selfgrounding, and who can never give a coherent and final account of herself. Butler’s understanding of subjects as fundamentally vulnerable, fundamentally “given over” to each other’s mercy, forms the basis of what she calls “collective responsibility” (2004, 29). Prevalent responses to injury, such as rage or guilt (“bad conscience”), work against such responsibility as they withdraw the subject into narcissism and foreclose the primary relation to alterity (2004, 29; 2005, 99-100). As an alternative, Butler offers vulnerability to (and risk of) loss as primary tools for “living otherwise” (2005, 100). “Mindfulness of this vulnerability,” Butler argues, “can become the basis of claims for non-military political solutions, just as denial of this vulnerability through a[n institutionalized] fantasy of mastery can fuel the instruments of war” (2004, 29). 

Against a choreography of privilege

by Paola Granato, Dinamopress — 12/20, (IT), about work: NECROPOLIS

«Abbiamo iniziato il lavoro su questo progetto – mi racconta Arkadi Zaides – quando abbiamo scoperto la lista di United, un network di organizzazioni che dal 1993 ha iniziato a raccogliere dati su persone che perdono la vita nel loro viaggio verso l’Europa. Nel 2013 questa lista contava 3000 morti, l’ultimo aggiornamento della ne conta 40.000 e sappiamo che si tratta di un numero parziale, ci sono casi non riportati». Partire dai dati, interfacciandosi con varie discipline per un’investigazione forense realizzata a partire da giornali, fonti orali, database ufficiali, archivi urbani, autorità cimiteriali e ospedali utilizzati come fonte per ricostruire la storia dei defunti, molti dei quali senza nome. Un progetto artistico che, per mezzo di una rigorosa pratica di ricerca, ha come obiettivo, anche, quello, di implementare la lista elaborata da United. «Fino a ora abbiamo condotto l’indagine in Belgio, Francia, Italia, Spagna, Svezia, Svizzera – racconta Zaides. «In ogni luogo è diverso: in alcuni paesi si tratta solo di pochi casi, in altri, come in Italia, ce ne sono moltissimi. In ogni paese viene condotta una ricerca specifica sul territorio e ogni nuovo ritrovamento permette di implementare il nostro database».

Arkadi Zaides’ Necropolis in the digital version of Atlas of Transitions

by Daniele Vergni, Artribune — 12/20, (IT), about work: NECROPOLIS

È stato trasmesso online Necropolis, del coreografo Arkadi Zaides, nell’edizione 2020 di Atlas of Transitions Biennale, dal chiaro titolo WE THE PEOPLE, curata da Piersandra Di Matteo per ERT in collaborazione con Mediterranea Saving Humans. Il lavoro si sofferma su diversi aspetti burocratici, medico-scientifici, sociologici, politici, in una parola umani, che riguardano la dolorosa questione delle morti dei migranti in rotta verso l’Europa. Un aspetto centrale della nostra contemporaneità, spesso passato sotto silenzio, riguarda le assenze che questi corpi vengono a creare, non solo quelle ovvie dei corpi non più vivi, ma quelle di soggettività innominabili – non conosciamo il nome del 95% di questi corpi, ci ricorda Zaides nel talk che ha seguito la messa in onda, coordinato da Piersandra Di Matteo. Così il coreografo bielorusso realizza una cartografia di queste morti senza nome cercando di ricostruirne i dati essenziali (nome, età, provenienza, motivo del decesso): una cartografia collettiva del lutto che diventa non solo strumento-archivio ma “rito e grido”, come giustamente sottolinea la curatrice della manifestazione.

Incorporating/excorporating the images of a conflict (Arkadi Zaides)

by Anne Bénichou, in "Replaying the Live. Reenactments as (in)actual cultural and artistic practices" — 11/20, (FR), about work: ARCHIVE

Dans ces répertoires en régime intermédial que sont les reenactments

artistiques, quelles relations les corps et les images entretiennent-ils ?

Comment les corps peuvent-ils s’emparer des images, et les images se saisir des corps ? Des dialogues se tissent-ils entre les représentations médiatiques et l’expérience kinesthésique ? Comment s’opèrent l’incorporation des images par les corps et l’excorporation des corps vers les images ? Quels gestes et quelles représentations émergent de ces échanges ? L’oeuvre chorégraphique Archive (2014) et l’installation vidéographique Capture Practice (2014) du chorégraphe israélien Arkadi Zaides constituent un terrain privilégié pour explorer ces questions. Dans ces oeuvres, Zaides rejoue la gestuelle des colons, des soldats et des policiers israéliens filmés lors d’affrontements avec les populations palestiniennes dans les territoires occupés. Il cherche à saisir comment les conflits résonnent dans les corps et à comprendre les images que les corps affectés par la violence produisent.

Bodies as Evidence

by Sandra Noeth, for the Tanz Im August Magazine — 08/20, (EN), about work: NECROPOLIS

Movement is the primary starting point of the research, movements of people who are systematically and brutally stopped by border policies. This is about thousands of bodies that are absent, silenced, drowned. It’s about a collective body, haunting us. Another aspect lies in the material itself, in a gesture performed by all of us involved in the project “NECROPOLIS”, and I’d like to call this a choreographic gesture. Wherever we are, we scroll through the list put out by UNITED for Intercultural Action – a network of hundreds of anti-racist organisations in Europe, and one of our central sources of data – and there or nearby, like now in Berlin, we try to find the burial places of migrants and undocumented asylum-seekers who couldn't reach Europe alive.

Body becoming archive. Archive becoming body.

by Alice Ciresola — 05/20, (EN), about work: ARCHIVE

This article aims to explore how archival material belonging to a specific time and place, in this case The Occupied Territories in Palestine, is activated through performance and dance in the work Archive by Arkaidi Zaides. [1]

In 2007, the organization B'Tselem (The Israeli Information Center for Human Rights in the Occupied Territories) began distributing video cameras to the Palestinian population, allowing them to document the daily violations of human rights in the Occupied Territories. The video material is now available on the organization's website under the name Camera Project [2], which constitutes a document of the conflict from a Palestinian perspective.

On Archive

by Caroline Masini, in conversation with Alix Morant, Chroniques #01, La Vignette — 10/19, (FR), about work: ARCHIVE

Archive : document, trace, enregistrement, acte, témoignage, empreinte, vestige, preuve, les synonymes sont multiples et la définition du terme est vaste, elle renvoie d'abord, dans son premier sens antique, au « lieu où l'on conserve des documents officiels » (arkheia) 1.

Voilà plusieurs années maintenant que le traitement d'archives sur

les scènes du spectacle vivant est apparu de façon significative. Si les hypothèses pour comprendre ce type de pratiques sont nombreuses et ici non exhaustives (symptôme du vertige du passage d'un siècle à un autre peut-être, influence de la toute- puissance du présent des sociétés contemporaines 2 engendrant un besoin d'offrir des preuves à l'histoire ou nécessité de débattre de la

« vérité historique » en fouillant par exemple dans : « les archives (...) dissimulées ou détruites, interdites, détournées,“refoulées” 3 » , comme on l'a vu notamment avec le travail de Walid Raad et l'Atlas Group autour des archives de guerre au Liban), on peut se demander ce que l'art fait aux documents et à l'Histoire dont il s'empare.

Myths Machine

by Merav Dagan — 10/19, (HE), about work: TALOS

זיידס הוא יוצר ישראלי שחי ופועל בשנים האחרונות באירופה והעיסוק הבולט שלו בפוליטיות של התנועה הן במרחב של הגוף הפרטי והן במרחב הציבורי בא לידי ביטוי גם ביצירה זו. טאלוס הוא מופע ופרוייקט אמנותי שיתופי שיזם וייצר זיידס בשיתוף עם קבוצת אמנים וחוקרים. המופע מציג פרוייקט מחקר של האיחוד האירופי שהתקיים בין השנים 2002-2008, הנושא אף הוא את השם טאלוס, ושבמרכזו עמדה השאיפה לבחון ולפתח מערכת רובוטית אוטונומית לניטור והגנת גבולותיה של אירופה. טאלוס פרוייקט המחקר האירופי מתייחס בשמו לטאלוס הדמות המיתולוגית, על כן הן היצירה של זיידס והן המחקר שלי מתעסקים באופן ניכר במימד המיתי של השיח המדעי/טכנולוגי וכפועל יוצא גם במיתולוגיות הנוכחות בשיח הניאו-ליברלי.

אבקש לבחון כיצד באים לידי ביטוי המיתוסים של המכונה/השיח הטכנולוגי והמיתוס הניאו-ליברלי ביצירה, ואיזו עמדה ביקורתית אם בכלל מבנה השימוש בהם. אעשה זאת ע"י סקירה של המיתוס על המכונה בחלק הראשון, בחלק השני אבחן את המיתוס הניאו-ליברלי דרך הזיהוי שהוא מקיים בין חופש לתנועה ובחלק השלישי והאחרון אדון ביצירתו של זיידס דרך ההתגלמויות המיתיות והממשיות הקיימות

ביצירה.

Disappearing Dance, Dancing Disappearance

by Krassimira Kruschkova — 09/19, (EN), about work: ARCHIVE

An almost empty stage, only two large screens in the background: a large white one on the right and a smaller black one on the left with a mixing desk in front of it. "Good evening. Thank you for coming. My name is Arkadi Zaides. I am a choreographer. I am Israeli. For the past fifteen years I have been living in Tel Aviv. The West Bank is 20 km away from Tel Aviv. The materials you are about to watch were filmed in the West Bank. All the people you will see in these clips are Israeli, like myself. The clips were selected from a video archive of an organization called B’Tselem." With this introduction the choreographer Arkadi Zaides starts his solo performance Archive (premiered 2014 in Avignon). For these short introductory words a young man (working at Tanzquartier Vienna where Achive was presented in 2016) stands close to Zaides and translates simultaneously every single sentence – in an act of collective responsibility as we could think instantly hearing this text. In the mere act of translating into German the young man must say of course also that his name is Arkadi Zaides. Thus, in the very beginning choreographic problems of authorship appear.

Repeat, extract, simulate, extrapolate, with Arkadi Zaides’ TALOS

by Frédéric Pouillaude — 03/19, (FR), about work: TALOS

1. Soit un projet de recherche financé par l’Union européenne : TALOS (2008-2012). T.A.L.O.S. : Transportable Autonomous patrol for Land bOrder Surveillance. L’acronyme est bancal. Les majuscules ne tombent pas là où il faudrait. L’inquiétant « patrol » s’affaisse au milieu, minuscule et sans gras. Voudrait-il se faire oublier qu’il ne le pourrait point : substantif amputé de sa majuscule, on ne voit que lui. Quant à ce nécessaire objet de surveillance – la frontière –, il s’emphatise tant et si bien qu’il explose en l’O de bOrder :

The stage and non-fictional representations of History

by Frédéric Pouillaude, Politica — 12/18, (FR), about work: ARCHIVE

Ce type de traces filmiques peut aussi faire l’objet, non pas d’un commentaire verbal, mais d’une activation corporelle. C’est ce qu’accomplit le chorégraphe israélien Arkadi Zaides dans Archive (2014). À partir de vidéos émanant de l’association B’Tselem et documentant différentes situations d’affrontement et de violation des droits de l’homme en Cisjordanie, Zaides extrait un matériel gestuel qu’il recompose et reperforme de manière plus ou moins autonome. En un sens, c’est une conférence sans mots, sorte de commentaire kinesthésique du document visuel. En un autre, c’est presque déjà un reenactment. Plus exactement, ce serait l’application au champ chorégraphique de la pratique du verbatim compris en un sens large, c’est-à-dire comme citation et réactivation littérales d’actes de langage ayant eu lieu dans le monde. Ce qui, appliqué au geste, pourrait se nommer gestuatim

Artistic Activism

by Henia Rottenberg, from 'Moving through Conflict’ edited by Henia Rottenberg & Dina Roginsky — 10/18, (HE/EN), about work: QUIET

ריקוד פוליטי המתמקד בעימות הישראלי–פלסטיני בישראל הוא נושא מאמר זה. את המפגש בין האמירה האסתטית לבין הפוליטית ואת הדיון הפוליטי שהתקיים ביחס אליהם בדעת הקהל אבחן בשתי יצירות — יומן מילואים 89' (1989) של רמי באר ושקט (2009) של ארקדי זיידס.1 שני היוצרים הם כוראוגרפים פוליטיים– חברתיים המעורים במציאות המקומית ומגיבים לה ביצירתם. יומן מילואים 89' נוצר עבור להקת המחול הקיבוצית ועוסק בחוויותיו של באר כשהיה חייל מילואים ושירת בגדה המערבית באינתיפאדה הראשונה. שקט, שנוצר כשני עשורים לאחר מכן, הוא תגובה אישית של זיידס למציאות החיים, ורוקדים אותו ארבעה גברים מלאומים שונים ומרקע אמנותי שונה ובדרכי ביטוי שונות. עבודות אלו, המבוססות על מוסכמות המחול התיאטרלי המערבי, עוסקות במחאה ישירה, בוטה ומקומית.

המפתח החברתי–תרבותי המונח ביסוד הריקוד הפוליטי הכרחי למעשה הפענוח המודע של היצירה בשל התובנות הנוספות שהוא עשוי לספק נוסף על הממד האסתטי. לאור זאת, אבחן כיצד ובאילו אמצעים אמנותיים מובעת המחאה בכל אחד מהריקודים; אילו סוגים של יחסים פוליטיים עולים בריקודים — כוח, מחאה או התנגדות; אם הייתה השפעה לריקודים אלה על דעת הקהל בזמנם,

ואם כן — איזו השפעה ואם העיסוק בפוליטי השיג את מטרתו.

From Baruch Agadati to Arkadi Zaides

by Yael (Yali) Nativ, from 'Moving through Conflict’, edited by Henia Rottenberg & Dina Roginsky — 10/18, (HE/EN), about work: ARCHIVE

מתי מחול הוא פוליטי? חוקרי המחול מרק פרנקו ונורמן ברייסון מציעים לראות את המחול ואת ייצוגיו בהקשר היסטורי ופוליטי רחב. פרנקו למשל טוען שלמחול פוטנציאל להיות פוליטי כאשר הוא מתהווה בתנאים של שינויים פוליטיים חברתיים של ממש. ברייסון מפנה את המבט למדיום עצמו ומבקש לראות את המחול כשדה של ידע משמעותי המגלם ומייצג שינויים פוליטיים. לדעת שניהם, אפשר לבחון מחול פוליטי באמצעות ניתוח יחסי הכוחות בין אוכלוסיות המיוצגות ביצירות ובבדיקת האופן שהסיפורים ההיסטוריים מסופרים מתוך בירור מה מסופר בהם ומה מודר מהם. סוציולוגית האמנות ג'נט וולף, דנה באמנות ובייצוגיה כאתרים שתהליכים פוליטיים של עיצוב זהויות ואידיאולוגיות מקומיות וגלובליות משתנות מוטבעים בהם, ובו–בזמן כאתרים שבפעולותיהם משתתפים בארגון ובניסוח מחדש של אלה; טענה דומה משמיע תאורטיקן המחול אנדרה לפקי (Lepecki), השואל איך תנועת הגוף מעצבת אירועים פוליטיים וטוען שהבסיס לאירועים אלה מונח בחריגה עקבית ממסורות וממוסכמות דיסציפלינריות

ואסתטיות (לפקי, 2013).

Talos – Arkadi Zaides

by Sébastien Hendrickx, Etcetera — 03/18, (NL), about work: TALOS

Een project als Talos suggereert dat de blindheid zich al in een vroeger stadium manifesteert, een blindheid die zelfs constitutief lijkt voor een dergelijk initiatief: al van bij het begin moeten migranten ideologisch zijn geframed en ontdaan van hun menselijkheid. Idem dito trouwens voor een ander grimmig onderdeel van wat we vandaag smart migratiemanagement zouden kunnen noemen (eindeloos veel complexer dan slogans als ‘Build that wall!’ doen vermoeden), een onderdeel dat wél werd en wordt gerealiseerd, in een schimmig juridisch gebied en grotendeels uit het zicht van het brede publiek: de akkoorden die de EU sluit met bedenkelijke regimes net buiten haar grenzen, om migranten tegen te houden nog voor ze de oversteek kunnen wagen.

Performing the witness role, from literality to transfiguration: “Archive” by Arkadi Zaides

by Salvo Lombardo — 12/17, (IT), about work: ARCHIVE

Per raccontare meglio della prospettiva dell’artista come testimone in mezzo al proliferare di atti documentali e medializzati prendiamo in esame il coreografo israeliano Arkadi Zaides e in particolare la sua performance Archive che ha debuttato nel 2014 al Festival di Avignone. L’archivio in questione, in questo caso, si riferisce ad una mole di documenti visivi, di vere e proprie testimonianza filmate dal 2007 da un gruppo di volontari palestinesi in seno al progetto Camera del B’Tselem, che ha previsto la distribuzione di videocamere agli abitanti palestinesi dei territori occupati della Cisgiordania, perché potessero documentare abusi di potere e atti di belligeranza da parte dei coloni israeliani . Zaides, israeliano di Tel Aviv e originario dell’Unione Sovietica, crea la 2 sua performance a partire da una selezione di questi filmati (una selezione esigua rispetto alle centinaia di ore di girato di cui l’archivio dispone), e decide di riproporli in scena attraverso delle video proiezioni senza nessun tipo di post produzione, lasciandoli nella loro cruda immediatezza e privi di elaborazione artistica. Quello che rende “personale” la proposizione dei frammenti è pertanto la scelta degli stessi, la loro durata e in alcuni casi la dilatazione e contrazione della velocità del filmato (Zaides ha in mano un telecomando) e in qualche caso il soffermarsi attraverso delle pause e degli stop su una scena o su un’altra. Dunque di tanto in tanto assistiamo ad una sorta di congelamento dei frame durante i quali il performer incorpora le stesse posture e le stesse gestualità che vediamo nel video, dapprima in chiave mimetica. 

Body, Material, Border

by Idit Suslik — 09/17, (HE), about work: TALOS

מימדים אחרים בדינאמיקה שבין גוף לחומר עולים בעבודתו של ארקדי זיידס, "טאלוס", שנוצרה בהשראת פרויקט טכנולוגי של האיחוד האירופי הנושא את אותו - מערכת רובוטית שמתוכנתת לאתר ולמנוע חציית גבולות בלתי חוקית. העבודה בנויה כ-"lecture-performance" שבמסגרתה מתפקד זיידס כמנחה המציג בפני הקהל את המאפיינים הטכניים והמוטיבציות של מערכת "טאלוס", תוך שהוא מלווה בהמחשה גרפית/דיגיטלית של סיטואציות שונות של חדירת גבול. למרות שעל פניו נדמה כי העבודה היא אנטי-מחולית במובן זה שהיא מהווה הדגמה שיווקית ותדמיתית של מוצר - מערכת "טאלוס" - בפועל מתברר כי זיידס מציף סוגיות קריטיות הקשורות לתנועה ולכוריאוגרפיה, בהקשר הספציפי של חברה גלובלית, פיתוחים טכנולוגיים עכשוויים וגם תופעות חברתיות בנות-זמננו כמו הגירה.

אחד המאפיינים הבולטים ב-"טאלוס" הוא המתח בין גוף אנושי למכונה, ובין תנועה לנייחות. בחלקה הראשון של העבודה, למשל, עומדים מאפייני הגוף הפרטיקולרי של זיידס - שהוא תלת-ממדי, קונקרטי וחומרי - בניגוד לצורתם הגנרית והשטוחה של העיגולים חסרי הפנים שממלאים את ההדמיה המוקרנת על המסך. אך דווקא העיגולים מתגלים כ-"ישויות נעות" שמתפרסות על פני המרחב, בעוד זיידס עצמו מצמצם את תנועת גופו למחוות מינימאליות שמתקיימות בחלל מצומצם יחסית. בדרך זו נוצרת הפקעה של תנועה שנתפסת כ-"אנושית" מהגוף שלרוב מזוהה איתה, תהליך שמועצם עוד יותר לאור קטעי הקרנה אשר מתעדים את תהליכי הפיתוח של רובוטים דמויי אדם שמתוכנתים כך שיחקו תנועה אנושית ואפילו ישכללו אותה מעבר ליכולותיהם הפיזיות (ובמידה רבה גם המנטאליות והקוגניטיביות) של בני אדם.

INFINI 1-15 (BOOK)

by Jeroen Peeters and Jozef Wouters — 09/17, (EN), about work: INFINI#1

With contributions from: Anna Rispoli, Arkadi Zaides, Begüm Erciyas, Benny Claessens, Chris Keulemans, Jisun Kim, Jozef Wouters, Michiel Soete, Michiel Vandevelde, Rebekka de Wit, Rimah Jabr, Rodrigo Sobarzo, Sis Matthé, Thomas Bellinck and Wim Cuyvers.

With INFINI 1-15, Decoratelier created a performance around the following question: “which spaces must we show in the theatre today?” Fourteen artists entered into a dialogue with Jozef Wouters and Decoratelier, an eclectic group of builders and thinkers, and each conversation resulted in an infini: a unique interpretation of the painted backdrops that were lowered on pulleys, as a horizon for the imagination. The book INFINI 1-15 is a continuation of that dialogue, a translation of scenographic space and image into both words and layout. Published by De Nieuwe Toneelbibliotheek, the volume gathers together the makers’ performance texts, stage directions and spatial descriptions.

Record, Reproduce, Record...

by Nora Akawi, for 'Scenographies of Power' curated by Maite López-Pastor, La Casa Encendida, Madrid — 09/17, (EN), about work: CAPTURE PRACTICE

Facing incessant destruction, looting, and denial, Palestinians have maintained a steadfast resistance against the project of erasure and forgetting employed by Israeli settler-colonialism. Rituals and classes, theatres and photographs, walks and ruins, melodies and stories are all mobilized for the spectres of memory to stay woke.

In States of Fantasy, Jacqueline Rose writes that it is precisely that memory evaded, that archive burned, that place destroyed, that evidence buried which returns to haunt. In Capture Practice and Archive, Arkadi Zaides’ work becomes the channel through which collectively evaded memories are not only captured and inscribed, but also displaced, abstracted and released in their most haunting form; undeniable, indestructible.

Between the collective and the individual: The Israeli body as a site of conflict and resistance

by Zohar Yanko — 07/17, (PT/EN), about work: CAPTURE PRACTICE

A few months ago I went to see Capture Practice, a video installation by Arkadi Zaides featured at the Festival Temps d'Images, Lisbon. Standing in the big old palace in Principe Real with some of my colleagues from school, we were all seemingly observing the same thing: on the left screen images of humans in a conflict zone, on the right -the performer translated those images simultaneously into body language, using his movements to draw a cartography of conflict, violence and pain.

Dance Settles in the Museum

by Drorit Gur Arie, from 'Set in Motion, Dance- Art- Community’ edited by Drorit Gur Arie & Avi Feldman, Petach Tikva Museum of Art — 12/16, (HE), about work: CAPTURE PRACTICE

ב׳צעדים בוני אמון׳ הוצגה עבודת וידאו דו–ערוצית בשם ׳תרגול תפיסה׳ על שני קירות נמוכים שנבנו בחלקו הרחוק של אולם המוזיאון הפנימי. מתוך קטעי וידאו שצולמו בשטחים ונאספו מארכיון ׳חמושים במצלמות׳ של ארגון ׳בצלם׳, בודד זיידס קטעים המראים אך ורק חיילים ומתנחלים ישראלים – ואז צילם את עצמו בסטודיו כשהוא מחקה את תנועותיהם. שפת התנועה נפתחה בתוך כך לכיריאוגרפיה של היומיום הלא–מחולי והלא–מקצועי, תוך הצבעה על כך שהיומיום הישראלי הזה דווי אלימות ומתח הנטבעים בגוף ובתנועה.

Dancing Human Rights

by Dana Mills, from 'Dance and Politics: Moving Beyond Boundaries' — 11/16, (EN), about work: ARCHIVE

I focus upon the choreographic language of the work, which I have been calling the strong reading of political dance. The work powerfully and persuasively questions the concept of a spectator and an agent, sepa- rated by boundaries between two bodies. The footage used throughout this choreographic work is documented by Palestinians who carry cam- eras. Their bodies enable the creation of the archival material. Zaides is the Israeli spectator who mimics the movement of settlers and soldiers viewed on screen, sometimes violent, sometimes complacent. His body reacts to the screen, his movement embodies the motion of the Israeli structures as viewed by the Palestinian archivists. At the same time, the spectator, sitting in the auditorium, is spatially located in the embodied position of the Palestinian documenting the abuses shown.

Dance as Documentary: Conflictual Images in the Choreographic Mirror

by Frédéric Pouillaude, Dance Research Journal — 08/16, (EN), about work: ARCHIVE

In a solo performance entitled Archive (2014), the Israeli choreographer Arkadi Zaides offers a physical and choreographic interpretation of videos collected by the Israeli non-governmental organization B’Tselem within the frame of an operation called “Camera Project”. The footage projected on stage shows only Israelis, but the viewpoint is Palestinian. Starting from this material, Arkadi Zaides performs, by extraction, imitation, and repetition, a (self-)analysis of the contemporary Israeli body,

Jozef Wouters/ Decoratelier – Infini 1-15

by Marijn Lems, Etcetera — 03/16, (NL), about work: INFINI#1

Jozef Wouters was toch heel erg duidelijk geweest. In zijn vraag aan een vijftiental theatermakers, choreografen en andere kunstenaars om na te denken over welk landschap zij in het theater verbeeld zouden willen zien, had hij gestipuleerd dat er in het eindproduct hoe dan ook geen tekst aan te pas zou mogen komen. Toen zijn enige eis massaal werd genegeerd en slechts drie makers erin slaagden om daadwerkelijk alleen met een beeld te komen, zag Wouters zich echter genoodzaakt om de regels aan te passen.

Deze schijnbare onderwaardering van de pure zeggingskracht van het beeld kon de scenografen met wie ik Infini 1-15 bezocht maar matig bekoren, en het moet gezegd: het is op zijn minst wonderlijk dat de ratio van beeld en taal in een project met de opzet van Infini zo ver naar de verbale kant is doorgeslagen. Aan de andere kant biedt de uiteindelijke voorstelling zo´n rijkgeschakeerde selectie van landschappen en vergezichten dat het onmogelijk is om lang stil te blijven staan bij eventuele gemiste kansen.

Choreographing Violence

by Ruthie Abeliovich, TDR — 02/16, (EN), about work: ARCHIVE

Israeli choreographer Arkadi Zaides’s solo dance performance Archive investigates the somatic impact of transgressions performed daily in the West Bank by Israeli fundamentalist settlers against Palestinians. The performance, which premiered at Festival d’Avignon in July 2014, activates the enduring habits of Israeli violence by weaving together two concurrent threads: video projections from an archive assembled by B’Tselem, 1 an organization that documents human rights violations in the occupied territories, and Zaides’s live performance in which he embodies the physical and vocal gestures in the video in order to re-present the Israeli aggressive position.2 While Archive has been performed in different venues around the world,3 it generates the

Settler Dance in Arkadi Zaides’ “Archive”

by Mona Kareem — 01/16, (AR), about work: ARCHIVE

ضمن مهرجان مسرح نيويورك للفنون الحيّة، افتتح الكريوغرافر أركادي زايدس برنامج العام بعمله التفاعلي "أرشيف". وصل العرض أخيراً إلى ساحل الأطلسي بعد أن أثار الصخب والعنف من القدس وتل أبيب إلى طولوز وباريس. كان أركادي قد انطلق في تقديم عرضه بدايات العام الماضي رغم محاولات عديدة لمنع ظهوره لأنه "يشيطن جنودنا" ويساهم "بنشر معاداة السامية" حسبما هتف حفنة من المتظاهرين هنا وهناك. في يناير ٢٠١٥، قدم أركادي ثمانية عروض متتالية لقاعة ممتلئة بالحضور في باريس بعد أيام من أحداث شارلي ابدو.

في هذا العمل، نجد محاولة فنية لاستعراض الواقع عبر الوساطة المريبة للصورة حيث يبني أركادي شريطه المرئي والجسدي بالتنقيب في تسجيلات الفيديو التي يمتلكها "مركز بتسيلم". يهرب الفن الإسرائيلي مرة أخرى إلى "بتسيلم" وكأنه معبداً للحقيقة فهنالك يقبع أرشيف طويل صورته كامرات المركز بأيدي “متطوعين” فلسطينيين ضمن مشروع توثيقي أسموه “shooting back”. يذكرنا أركادي في بداية العرض أنه إسرائيلي وأن الأبطال-الأشرار ممن يظهرون على شاشة عرضه إسرائيليين مثله. يسير العمل دون أن ننسى من جاء بتلك الكامرات ومن يمسك بجهاز التحكم.

Right-wing Protesters Attack Art Talk in Jerusalem

by Yonatan Amir & Ronen Eidelman, Hyperallergic Online Magazine — 11/15, (EN), about work: CAPTURE PRACTICE

WEST JERUSALEM — In retrospect, we were complacent. We thought that the opposition would fade away by the time of the event, or at most, the action would amount to a polite protest vigil. Even after seeing the distorted stories claiming that our event supported terrorism and called for the destruction of Israel we were relatively calm. We are accustomed to this language — the lies and distortions of the nationalist right in Israel.

But when invitations for a demonstration against our event started appearing on the Facebook pages of extremist organizations the management of the Hansen House hired six security guards and notified the police. The night of the event, Monday, November 10, there were roughly 50 people inside to attend our event, while others were left outside after the guards locked the gates as a safety precaution. When police arrived, they recognized some of the protesters — and they suspected things may turn violent — so the police officers stayed at the scene and called for backup.

Arkadi Zaides, Archive, Salle Maurice Béjart

by Nicholas Minns, Writing About Dance Blog — 02/15, (EN), about work: ARCHIVE

The Palais de Chaillot in Paris is where, on December 10 1948, the United Nations General Assembly adopted the Universal Declaration of Human Rights. The Palais de Chaillot is now the Théâtre National de Chaillot, and in its basement theatre — Salle Maurice Béjart — Arkadi Zaides is performing Archive in which he borrows a Palestinian perspective to view transgressions of human rights by Israeli soldiers and settlers against the indigenous Palestinian population.

The significance of the place is not lost on Zaides but he doesn’t reveal it until the post-show discussion: the context of Archive is undoubtedly human rights but it is not the main focus of this work.

The Palais de Chaillot in Paris is where, on December 10 1948, the United Nations General Assembly adopted the Universal Declaration of Human Rights. The Palais de Chaillot is now the Théâtre National de Chaillot, and in its basement theatre — Salle Maurice Béjart — Arkadi Zaides is performing Archive in which he borrows a Palestinian perspective to view transgressions of human rights by Israeli soldiers and settlers against the indigenous Palestinian population.

Arkadi Zaides in Moving New Work

by Zvi Goren, Habama Online Magazine — 11/14, (HE), about work: A RESPONSE TO DIG DEEP

ארקדי זיידס הפך בשנים האחרונות ליוצר החתרני המשמעותי ביותר במחול הישראלי. הוא מקיים סדנאות, הוא מופיע במרכזי מחול בינלאומיים, תוך שמירה מוקפדת על זהותו הישראלית באמצעות יצירותיו הנוגעות בנקודות הרגישות ביותר, מעוררות המחלוקת, של ההוויה המורכבת והמסוכסכת שאנו חיים אותה ביום-יום.

השנה הוא לכד את תשומת הלב במופע "ארכיון" שלבש שני פנים, אחד במוזיאון פתח תקווה, והאחר במסגרת פסטיבל צוללן שהיה לא מכבר, ובמסגרתו העלה בתיאטרון תמונע  דו שיח עם תנועות הכובשים והנכבשים כפי שצולמו בשטח והוקרנו כסרטוני ווידאו.

זו לא הייתה הפעם הראשונה שהוא עסק במצב הצבאי הפוליטי, אך דווקא בה, אולי הקיצונית ביותר מבחינת הישירות שלה, הוא חזר אל עצמו כאיש במה, המחפש תמיד את הביטוי העצמי, כרקדן המבקש לבחון את גופו ותנועתו שלו.

עתה במקביל למפעל "הרמת מסך", שבמהלכו קיים סדנה, הוא קיים את סדרת המופעים שיזמה עמותת הכוראוגרפים במחסן 2 בנמל יפו, שבה יוצר מארח יוצרים אחרים, מקיים מפגשים ודיונים ומעלה יצירה חדשה משל עצמו.

Taking over the Occupation

by Dana Shalev, Erev Rav Online Magazine — 10/14, (HE), about work: ARCHIVE

Arkadi Zaides' work "Archive" brings the Occupation from the territories to the stage. By processing the reality as photographed in the Occupied Territories into a work of dance, Zaides asserts the impossibility of severing the ties between "here" and "there", between "reality" and "art", between "Left" and "Right". The Occupation exists in all our names, and thus it is necessarily omnipresent. The sense of responsibility prompts Zaides to a closer look at "the other" – settlers and soldiers. Instead of blackballing or ignoring them, he wants to get to know them. 

Dancing to His Tune, After the Music Stops

by Gia Kourlas — 10/13, (EN), about work: A RESPONSE TO DIG DEEP

One obvious idea behind Walls and Bridges, a French-American festival now running in New York, has to do with making connections — or building bridges — between ideas and art. On Thursday at New York Live Arts, the topic was the link between music and the body. As the writer and documentary filmmaker Elena Mannes, one of the evening’s speakers, said, “Scientists believe that we came into the world prepared to respond to music.”

Even so, this program, featuring the choreographer and dancer Arkadi Zaides, was perplexing. The stilted lecture portion, lasting nearly an hour, showed Ms. Mannes and the French philosopher Peter Szendy speaking about the body while standing awkwardly on the large, lonely stage.

Arkadi Zaides Digs Deeper Into Dance

by Stacey Menchel Kussell, The Forward Online Magazine — 10/13, (EN), about work: A RESPONSE TO DIG DEEP

“There is a certain feeling of ‘in-between’ that you inherit as an immigrant. My life as an artist has expanded this feeling,” said Arkadi Zaides in an interview with The Arty Semite. “Living all over the world, performing and choreographing, it is hard to say what constitutes my home. My home is everywhere.”

Zaides has always felt like an outsider, both artistically and personally. Born in Belarus, the choreographer moved to Israel with his family at age 11. Even after living for decades as an Israeli citizen, he has difficulty defining the concept of home.

Zaides examines his feeling of oscillation on a somatic level in his new piece “Response to Dig Deep” which has its North American premiere at New York Live Arts October 10.

Accompanied by French string quartet Quartour Leonis, Zaides responds to Julia Wolfe’s composition “Dig Deep” in a solo piece interpreting the poignant sound of violins, viola and cello.

“I chose the music because it was so physical. The strings bring out such intense emotion — they literally vibrate, crunch, and move. I mirrored the oscillation with my body and thought thematically about being suspended between two points,” Zaides said.

“Reponse to Dig Deep” was originally commissioned by the Aire de Jeu project at Les Subsistances, a center for choreographic innovation in Lyon, France. Wolfe, the famed co-founder of the musical organization Bang on a Can, contributed her compositions and collaborated with four international choreographers. Zaides first presented the work in France in January 2013.

Visions of a venomous, pulsating embrace by Arkadi Zaides

by Rosita Boisseau, Le Monde — 10/12, (FR), about work: QUIET

Un homme saisit la tête d'un autre par-derrière, l'immobilise et lui colle sa bouche derrière le crâne. Une attaque rapide pour un accès de violence tordue. La bouche vissée, ventousée, semble transpercer la peau pour s'accrocher à l'os. Elle crache des sons à peine audibles qui pénètrent et semblent irradier la boîte crânienne. Cette étreinte empoisonnée fait culminer la tension au coeur du spectacle "Quiet" mis en scène pour quatre danseurs par le chorégraphe israélien Arkadi Zaides, programmé pour la première fois à Paris, au Théâtre de Chaillot, jusqu'au 26 octobre.

Solo Colores

by Meanie Suchy, Ballet Intern — 04/10, (DE), about work: SOLO COLORES

The sculptures of Isabel Cruellas, - stylistic, waved grasses in a raw, give the space the wideness of a coastal or a deserted landscape. The woman appears like abandoned, not fitting in, making herself small on the floor. Buckling, shrinking, lashing out, touching herself like a foreign person at her head, neck, leg or sliding down on the other arm. Her neck is firm. A leg. A pressure on the breastbone. Or invisible light bulbs screwing into the heaven. She repeats phrases like nightmares. Works through something by creeping, running or on her knees. Inside and outside simultaneously, or actually inseparable, and gets sometimes calm, as would she sink inside herself, as would she be falling invisibly. Strong piece.

Enjoy the Silence

by Maayan Bonnie, Time Out Tel Aviv — 05/09, (HE), about work: SOLO COLORES

"Solo Colores" is a minimalist, intimate solo work, which reveals the wondrous abilities of the body.

About a year ago, during a trip to Spain choreographer Arkadi Zaides and dramaturge Itay Weiser came upon an intriguing sight. They saw a person hammering away at hunks of iron with a giant hammer, and only after the protective helmet was removed did they discover that she was a woman. This chance encounter between Weiser, Zaides, and the Spanish sculptor Isabel Cruellas led to the conception of the work "Solo Colores". Solo Colores combines a variety of art forms. On stage there are two sculptures resembling water plants, created by Cruellas. The sculptures are so delicate and fragile; it is hard to believe they “grew” from hard iron. During the entire work, dancer Iris Erez's feet shake the leaves.

Two additional woman collaborated in this work: the designer Sarah Brown, who created a simple cream-colored costume that underscores Erez's strong presence, and the musician Karni Postel, who wrote the music which is composed of an element that returns and interrupts the silences. Each of these talented creators contributes her own unique color, creating an amazingly harmonious result.

Five dancers within a trapezoid

by Zvi Goren, Habama Online Magazine — 12/04, (HE), about work: A WAY

The movement in the piece is extremely personal, deriving from the dancers, each with his own personality and in search of a way from the inner to the outer. There is no story, but rather an individual existential situation, albeit portrayed by a group, or in the background.

The creation takes place within a restricted white surface, shaped like a trapezoid, which is accentuated with the lighting – emphasizing that which is open, and no less the line distinguishing the inside from the outside. The five dancers do not move in the conventional manner of dance. Their dancing is built of small hand, leg and head gestures – even when the entire body is in perturbation or physical occurrence – much like a multi angled mirror of inner struggles, painful or exiting. This is a very strong piece, original, creating a strong tension between stage and audience, and does not allow you to remain indifferent.

A Way

by Merav Yudolevitch, Ynet Online Magazine — 12/04, (HE), about work: A WAY

On a black stage, with an asymmetric white linoleum square in the middle, lay five bent dancers. Movement has begun before the eye can distinguish. Body touches body, head pushes hand, and it seems the movement has a life of it’s own, stronger then the will to control it. Five bodies share one space and attempt, each in his own way, to extricate something that insists on staying in, as if trying to get rid of an obsession. Zaides’s lines are clean, which is also true of the stage design, costumes and movement itself.

It’s difficult to distinguish whether the dancers deform in pleasure or anguish, but that line, fine and deliberately unclear, leaves the audience attention. As his previous creations, this is also an abstract piece that makes use of sharp and mechanical movements, yet at the same time very emotional and sensual. At the end of the piece Zaides brings together all the edges of emotion that unfolded throughout and allows, for the first time in the evening, the calm to return.

25 March 2021
NECROPOLIS, Online lecture, S:PAM, Gent University, Gent, Belgium
30 September—2 October 2021