Kondenz 2017


Edition no. 10 (!!)

20 – 25 October

Join us in celebrating the amazing 10th edition of Kondenz!

Come hang with us at Ostavinska gallery, at the festival centre (starting on Oct 20) or catch us on Friday, Oct 13, at the crowdfunding party @Petak

>October 20

Jovana Rakić

@Bitef teatar, 20h

Scrape showed up as a hint, as a feeling – of skin, somatic.

It became the articulation of the state when bodies mix, dance and other bodies. Flinch, pain, numbness which exist only if there is someone else to feel them. Bodies emerge and disappear on the border zones of light. Mirage when looking outside of a car by night. The principles of analysing a dancework proposed in Marko Pejović’s research “Four Discursive Points of Dance Practice“ have been used during the entirety of the production process.

Concept and choreography: Jovana Rakić

Dramaturgy: Marko Pejović

Performance and artistic collaboration: Jana Milenković, Milica Pisić, Natascha Schmelz

Sound design: Bojan Palikuća

Costume: Boris Čakširan

Graphic design: Katarina Popović

PR: Sanja Ljumović

Production: Ksenija Đurović

Co-production: Station Service for contemporary dance with the support of Departures and Arrivals (DNA) network through the Creative Europe programme, Ministry of Culture and Information of the Republic of Serbia, Bitef Theatre, Magacin in Kraljevića Marka 4 and Dom kulture Studentski grad

>October 21


Stina Nyberg

@CZKD, Birčaninova St. no. 21



Thunderstruck walks in the footsteps of the genius and madman Nikola Tesla. In the end of the 19th century, the Serbian-American inventor Tesla invented several of our centuries important innovations in electricity and communication. He also invented the tesla coil, an electrical resonant transformer circuit used to produce high-voltage, low-current, high frequency alternating-current electricity. Basically, a device that produces lightning bolts that can be used for entertainment in live electricity shows.

Thunderstruck departs from the 19th century phenomena of touring electricity shows. At a time when electricity was still a scientific novelty it was displayed in public performances as acts of magic. Today, a contemporary heir to the electricity magic show is the tesla coil performance, making use of the spectacular sound and light effects produced by the coil, but often wise performed in hyper-masculinized, technique-masturbatory and rock‟n‟roll-fetishistic shows. Thunderstruck is a feminist take on the tesla coil show. It departs from an interest in a choreography of movement, sound and objects on equal grounds – where both the live performer, the lights, technique and soundscape act as main protagonists. It will create an alternative to the existing macho-spectacular tesla coil shows, pairing effective technical innovations with a long-term research on science and magic.

Thunderstruck returns to a time when the artist and scientist believed in transforming the forces of nature into the forces that propel society, harnessing natural energy for crafting nearly magical devices.

During autumn 2016 a research with the archivist Sandra Linnell took a look at the gendered history of electricity, the cult of the genius and the potential of magic. The solo performance Thunderstruck is created during the autumn 2017 and will premiere at Kondenz festival in Belgrade on the 21 October and at MDT the 28-29+ 31 October 2017.

Choreography and performance: Stina Nyberg

Research: Sandra Linnell, Zoë Poluch

Choreographic assistance: Andros Zins-Browne, Halla Ólafsdottir

Composition and sound design: Maria W Horn

Light design: Josefin Hinders

Producer: Frida Tiger / MDT

Tesla coil: Finn Hammer / Hammertone

Technical support and security: Katti Alm / MDT

Technical consultant: Roya Nikjoo

Administration: Interim kultur

Residency, co-production and performances: MDT in Stockholm, Station/Kondenz festival in Belgrade and The National Touring Theatre of Sweden.

Supported by: The Swedish Arts Council, The Swedish Arts Grants Committee, Kulturbryggan, City of Stockholm, Stockholm County Council and [DNA] Departures and Arrivals network which is co-financed by the Creative Europe program of the European Commission

Thanks to: David Choi at makerspace Fat Cat Fat Lab NYC, Miroslav and Nikola at makerspace PRAKSA Belgrade, Erik Gabrielsson at KTH


October 21, 22:30

A libretto dedicated to workers trying to reclaim abandoned industrial facilities, to be sung a capella or accompanied by working machinery, ambient noises, street brass bands, the harmonica, or noises issuing from inside factory walls

Bojan Djordjev
@Magacin, Kraljevića Marka 4

Libretto by Goran Ferčec imagines new gathering of the workforce, reversing the process of de-industrialisation, but also de-politisation and pauperisation of the worker. Returning to the abandoned industrial facilities as the tamers of the machines, workers imitate a strike that is not-stopping but initiating and hijacking production – a choreography performed by many Greek, Argentinian, but also Croatian workers taking over their own factories. Public listening of the broadcast of the text recorded at Radio Belgrade, is organised as an audio/spatial installation in the space of Cultural Centre Magacin – itself a post-industrial space of Belgrade. Analogue radio, as means of communication about to be extinct, also belongs to the 20th century heritage, and is even in some historical events directly connected to organisation of resistance, struggle and revolutions. The installation uses transistor radios, slide projections by Siniša Ilić, and English subtitles.

Author: Goran Ferčec, direction: Bojan Djordjev
Space installation: Siniša Ilić, Katarina Popović and Bojan Djordjev
Voices: Ana Mandić, Milica Stefanović, Čarni Djerić and Miloš Timotijević
Production: Radio Beograd, June 2017
Sound recording and design: Milan Filipović
Editor of the Third Programme Drama series: Olivera Kolarić
Duration: 20 min

>October 22

October 22, 16h

Dragana Alfirević
@Magacin, Kraljevića Marka 4

Dragana Alfirević, a cultural worker in independent scenes of the Balkans, an artist, producer and curator of Cofestival, will present an interactive reading of the text about the Novi Sad New Dance Forum, as a possible example of cooperation between the independent and institutional art scene, with hope that the text will open important issues, widening the Forum example.


October 22, 18h
(showing of work-in-progress)
Darko Dragičević, Esta Matković, Vanja Smiljanić

@Magacin, Kraljevića Marka 4

Performance “Make it, make it, don’t fake it!” activates a variety of theoretical and artistic approaches aiming to show our increasingly toxic political, ethical and cultural environment. In search for alternative techniques of the self in a post-democratic society, Darko Dragičević, Esta Matković, Vanja Smiljanić are connecting, sharing and imagining the term “community” through the prism of a speculative dystopia.

Their artistic and critical research extends towards the general perception of terms trash,
vandalism, chaos and pharmakon. Through a detailed questioning of the content of their structures they create a pandemic performance where the audience can experience the feeling of a disorder both toxic and healing in itself.

Concept: Darko Dragičević, Esta Matković, Martin Sonderkamp, Vanja Smiljanić
Performans: Darko Dragičević, Esta Matković, Vanja Smiljanić
Dramaturgy: Jasmina Založnik
Coproduction: Lokomotiva – Centre for New Initiatives in Arts and Culture and Nomad Dance Academy in frame of Life Long Burning Project
Supported by: Culture programme of the European Commission, Quartier am Hafen (Köln), JSKD – Public fund of Republic of Slovenia for cultural activities and STATION Service for contemporary dance


October 22, 20h


audio-ambiental cruising performance

Bojan Đorđev

@Magacin (starting point)


Hunting for love can commence anywhere,
at swimming pools, near the railway stations or parking lots.
It is best to start at twilight, when visibility and possibility of orientation
are reduced to a bare minimum.

G. Ferčec, Arkadija


Traffic of Desire is a performance serial designed as a collection of monologues of characters from contemporary literature who wonder around the city in search for satisfaction – sexual, intellectual, existential. These stories echo all around us: from apartments, hotels, railway and gas stations, parks, streets, sex shops, present in the ether all the time, but only sometimes articulated. The discourse of desire precisely maps the city as well as the position of these subjects in contemporary socio-political context: their criticism, reflexivity and potential subversivity as the results of (self) marginalisation. The city is observed, but at the same time the city also observes. The anonymity of the crowd and the mass, so necessary to the Baudelairean figure of the flâneur, the stroller, this time is provided by the sound files composing an audio guide.

Three texts by Bender, Ferčec and Guibert, chosen for the pilot performance which addresses cruising (seeking out anonymous sex or sexual partners in public places – usually in parks, at night; gay slang) almost demand the sound coming out of the headphones, the one we “hear in our head”, as the ideal performative medium. The voice describes the scene we are looking at, or we should see, or perform. These texts are the descriptions of the image whose integral part we’re becoming, the image of the body in the city, that is being explored using detailed, thick description, observation. The dramaturgy of the body, “its borders as the only secure outline of the reality” (Arkadija), confronts the dramaturgy of the city that pulsates at the iconic points of desire and satisfaction – in this case, the park, train station, public transport, taxi, the streets… Taken as a whole, these texts dissect the city into a series of pornographic close-ups, locations yearning to be consumed.


Traffic of Desire has been performed in Belgrade 2013 and 2017, Zagreb 2014, Rijeka 2016, in various constellations and coproduced by TkH-Walking Theory, Centre for Drama Art, Zagreb; Drugo more, Rijeka and NKSS-Association of Cultural Independent Scene of Serbia.

The performance is inspired and dedicated to Pornography 1,2 …4 a show by Ana Miljanić performed in Partizan porn cinema in 2005 produced by Centre for Cultural Decontamination.

Concept and direction: Bojan Djordjev; Texts: Aleksandar Bender, Text with changing parts ; Olga Dimitrijević, Lets just say hello ; Goran Ferčec, Cruising and text I am the Queen of the Last Free Land East of Maria Luiza Boulevard based on video documentation by Marino Krstačić-Furić; fragments from Mausoleum of Lovers by Hervé Guibert; Voices: Dušan Broćić, Aleksandra Janković, Milan Jovanović, Nataša Marković, Aleksandra Stojaković and Miloš Timotijević; Production: Dragana Jovović, Lovro Rumiha, Petra Corva and Ksenija Đurović; artistic advice: Siniša Ilić; sound recording and design: Jakov Munižaba, Daniel Žuvela and Zoran Uzelac; graphic design: Katarina Popović

>October 23

October 23, 16h

Milica Ivić, Rok Vevar, Igor Koruga
Moderator: Marijana Cvetković
@Magacin, Kraljevića Marka 4

The act of archiving contemporary dance in Serbia continued throughout the 2015 and 2016. After several common models of archiving, one hybrid segment stood out – question of the institutional status/position of contemporary dance as an artistic practice, or, to put it in an even wider context – as an entire artistic world, whose core value and the political position in the local art scene has been its explicitly claimed independence from the cultural and art institutions. The main research line of this question had been drawn from the interviews with eight choreographers from the local independent scene – all of them having experience in working with local theatrical and dance institutions, mainly while collaborating with directors from the institutional drama theaters – and also from many informal conversations with other actors in the performing arts scene. By applying the theoretical model of the institutionalizing process of every art practice in the relation to this hybrid segment, we will present the very concise version of all the problems, findings, and dilemmas that arose during the research / Milica Ivić & Igor Koruga



OCTOBER 23, 18h
Dušan Murić
@Magacin, Kraljevića Marka 4

Moderated impro jam. We play music and videos from the Internet, and we dance, as in the living room, as at the party: “You have to hear / see this one as well!” It can be a review of the melodic hardcore of the 80’s, or meditation with obscure minimal techno, or cross-section of the Metric band, and it may also be ‘downloading’ the movement / choreography by Wim Vandekeybus or Akhram Khan or Dalija Aćin Thelander, or from videos of the Moloko, as well as the dancing on dada poetry or the beatnik poetry… Or, you may ignore all these external stimulations and move in your own rhythm – someone will join you.
Since this is a pilot, expect me to jealously guard the PLAY button / Dušan Murić


October 23, 20h


Marko Milić


Performer and author Marko Milić is researching how traumatic events shape our capability to observe the world around us. How the horrific experiences cause us to become hopelessly stuck in the past and what happens in our minds and brains that keeps us frozen, trapped in a place we desperately wish to escape? His performance LUMI serves as a catalysts to our tendency to superimpose our traumas on everything we see.

“We want to think of families as safe heavens in a heartless world and of our own country as populated by enlightened, civilized people. We prefer to believe that cruelty occurs only in faraway places like Darfur or the Congo. It is hard enough for observers to bear witness to pain. Is it any wonder, then, that the traumatized individuals themselves cannot tolerate remembering it and that they often resort to using drugs, alcohol, or selfmutilation to block out their unbearable knowledge?”

– Bessel van der Kolk: The Body Keeps the Score. Brain, Mind, and Body in the Healing of Trauma, 2015

Author: Marko Milić

Performers: Marko Milić, Predrag Mladenović

In collaboration with: Marcel Schwald, Andreja Široki, KaanBaltaci, Leif Persson, Milica Uric, Ana Dubljević, JelenaVuksanovic

Music: David Morrow

Animation: Milisav Banković

Support: Ministry of Culture and Information of the Republic of Serbia, Akademie Schloss Solitude and Station Service for contemporary dance

>October 24

October 24, 18h
Milan Marković Matthis
@Magacin, Kraljevića Marka 4

I invite you to a common reading and the talk about the text named Against “socially engaged theatre” – which is not necessarily a coherent batch of ideas and issues generated from the thinking about the need for redefining the political and distancing it from the field of (self)legitimization and identification. How can the “scene” communicate directly to the body of the audience – in what possible ways can we make that body move?
There are two types of people coming to the theater – those who believe in (wish for) “social engagement” and those who don’t. We developed the Dramaturgy of Betrayal out of a believe that we need to mislead the first group into thinking that they won’t get what they want and then tricking the second group into the possibility of might getting what they don’t want, because the problem we are facing isn’t only about achieving the political effect, but also about the urge of redefining what being political actually means.
“The starting point of every stage event is the unspoken “agreement” between the stage and the audience by which the stage gives the formal rules for watching the show and the audience inputs its participation – feelings, thoughts, attention, and even more than that. In the moment when the audience gets enough rules, and the stage gets enough of the attention needed, the deal is on, and the ritual of watching the performing act can start. (…) The one thing that the Dramaturgy of Betrayal differs from others is that it doesn’t suggest negation of this “agreement” or its change, but the awareness of the possibility that it can be broken and signed again at any time – moreover, that play with expectations that audience come to the show with, making the new expectations and then betraying them all over again, is the main focus of this kind of thinking about the dramaturgy / Milan Marković Matthis


October 24, 20h


Dušan Murić

@Bitef Theatre

For the sake of “surviving” (a very stretchable term) artists accept being part of various comercials, promotions, events which mostly serve to empower and perpetuate the capitalist machine and relations, just to return to their art where they promote high humanist ideals.

“Gigs” that use exactly those bourgeois, humanist and other ideals are especially interesting as a banal cotton to wrap their products and services in (i.e. banks). Can artists save their integrity, and how? What remains of their art, once it’s been touched by banalisation? A pirouette on a banana peal.

Author: Dušan Murić

Performers: Ana Ignjatović Zagorac, Jelena Bulatović, Tamara Pjević, Stefan Veselinović and Dušan Murić

Artistic assistance: Ivana Koraksić & Marija Bajčetić

Light design: Dragan Đurković

Sound design: Jugoslav Hadžić

A production of Festival of Choreographic Miniatures (Award Encouragement 2016)

>October 25
OCTOBER 25, 18h
KONDENZ X >retrospective
Marko Milić & Ana Dubljević
@Magacin, Kraljevića Marka 4


Marko Milić and Ana Dubljević are trying to condense 10 years of one festival into 47 exciting minutes


October 25, 20h


Frederic Gies


Good Girls Go To Heaven, Bad Girls Go Everywhere is a 3 hours and 38 minutes dance experiment facilitated by Frédéric Gies, in a space infused by the beats of a techno set by the Dj Fiedel (Berghain / Ostgut Ton) and filled with a floor installation by the visual artist Anton Stoianov. Berlin techno and club scene was the meeting place of the three artists, who started their collaboration with this experiment in 2014, and have since then created several performances together. Their experience and diverse involvement in this scene traverses every element that comes into play in this experiment, which is an invitation to individual and collective movements to come.

Concept and dance: Frédéric Gies / DJ: Fiedel / Floor installation: Anton Stoianov / Production: Weld

Thanks to Paz Rojo

Good girls go to heaven, bad girls go everywhere has been presented at Weld (Stockholm – 2014 + 2016), La casa encendida – festival What can a body do? (Madrid), Skogen (Gothenburg), Stockholm University of the Arts (Stockholm), Malta Festival – exhibition Let‟s dance! (Poznan), Centre for Contemporary Art Ujazdowski Castle (Warsaw)