Premiere Snježana Premuš "EVERY NOW IS TIME, SPACE"

Premiere Snježana Premuš "EVERY NOW IS TIME, SPACE"


Dance installation

Laboratory for closed groups / invited groups

25 September 2019 at 13h, SMEEL – Old Power Station, Ljubljana

26 September 2019 at 19h, SMEEL – Old Power Station, Ljubljana

27 September 2019 at 13h, SMEEL – Old Power Station, Ljubljana


Public presentations

30 September –2 October 2019 at 19h, SMEEL, Ljubljana

After the successful performances Physical Manifestations and Poiesis of Self, for which choreographer Snježana Premuš received the 2017 Ksenija Hribar Award, the author embarked on the continuation of her research, a search for tools and systems with the help of somatic practices in the choreographic-social project Physical Manifestations II, which she has been developing in the period 2017–2020 as her artistic opus.


Between 23 September and 2 October 2019, she will be joined by seven artists (Tina Valentan, Dragana Alfirević, Dejan Srhoj, Anja Bornšek, Gregor Zorc, Boštjan Perovšek, Špela Skulj) who will take over the spaces of SMEEL – Old Power Station. The creative team will present events in different formats, from laboratories for closed groups to a dance-installation presentation for the public.


In 2019, in the choreographic-social project Physical Manifestations II, the author with her collaborators retains her basic focus-thought of somatic practice as the material and system for revitalising the social body and enters into new relationships through the research of perception, in which – together with the audience – she experiences and observes what drives us and how somewhat imperceptible perceptual images germinate in common, so-called, simultaneous spaces.


For the presentation, Premuš has borrowed the title from a line in a poem by John Cage: Every now is time, space.Just as temporality finds itself in now, in this moment, in which every gesture belongs to a special-temporal continuum and memory realises itself through its creation.


In the theatre space of the Old Power Station SMEEL, the artists have drawn a map determined by coordinates that are not necessarily obvious and familiar. Yet they are readable, if you enter into them. For this reason, the invitation to the performance is most similar to an invitation for a walk. 



A walk through the space, which produces apparent horizontals, through which you move from one micro space to another, from the centre to the periphery, from the diagonal into a corner or hidden spot on the top of the risers, where you can mediate your message to the space, as if it would whisper into someone’s ear. Intimately and directly.



With this appear the vertical coordinates, which co-create the dramaturgy of the event and open up the possible forms of perception through the various contortions and deviations of the individual’s path (that which is central can become marginal and vice-versa) and through the choices made.

To put it another way, by inviting the visitor on a walk, we wish to open different forms of presence: of self-selected stops, observing, sitting or even lying down, listening, coming closer, associative remembering, recognising, reflecting. 



The body is also a space. A receptive space inhabited by memory. The body can at any time change into an image which is determined by some internal realisation, subjugated to some other logic of exchange.

Also, the internal coordinates (maps), which run through bodies are recoded. They represent “holds”, through which one’s own reservoir of presence and memory we settle in, since each gesture belongs to the temporal-spatial continuum and not only to the individual. Each response, even naked presence registers itself into the common and with that into the temporary community. We can follow the gestures, details, holds, which appear at first as repetition, then as modulation, and understand them through its temporal-spatial continuum. That which begins to clarify through individual performers, blends back and modulates the common space. 



The gaze connects us to the present yet touch and sound open the temporal continuum. 

Sound is a vibration of different frequencies. If the body moves, then with it also moves the field of vibrations; which it creates and/or receives. The intertwining of the three compositions, separated into body, light and sound, join together into a single sound-light-movement form. The division of individual elements into different sectors is one of the fundamental principles of composition of this performance, which does not finish with a predefined score, but rather respects the permutations of different performative states and the spaces in which they are carried out.



Or as translator Suzana Koncut describes the experiential laboratory, which the author has conceived with her team of creators:

I see the light falling on the body of the mover. I hear the sound redirecting his actions and resonating in his attention.I recognise the space, which two bodies squeeze together and then expand. It sounds like a vague statement about artistic events that position the body in the centre, yet this intensive experience is possible only alongside extremely skillful bodies, which are able to subtly detect their own perception, and alongside a refined redirection of attention, which assigns the spectator not only the role of witness, but also unobtrusively and self-evidently invites one into co-participation.



The events, towards which Snježana Premuš’s research strives, never emphasise a confrontation between the performers and the audience, but through the depth of experiencing the experience enable a common perception and suggest the construction of a common space of perception. Here, one could already speak about the ethics of a stage event that does not set itself as a cut and opposition or even a conflict between the two sides, rather it’s co-sounding, co-sensing, empathy, which perhaps contribute to the building of consciousness and feeling, which exceeds the mere space of art.



You are kindly invited to join us in this experience.



Concept, principles and artistic leadership of the project: Snježana Premuš

Cocreation and dance: Dragana Alfirević, Anja Bornšek, Snježana Premuš, Dejan Srhoj, Tina Valentan, Gregor Zorc

Sound landscapes and performance: Boštjan Perovšek

Light design and performance: Špela Skulj

Costumes design: Barbara Kapelj

Photography: Madster

Coordination and production support: Jasmina Založnik, Dragana Alfirević

Translation and proofreading: Jana Wilcoxen 

Production: Zavod Federacija and Nomad Dance Academy Slovenija

Co-production: Zavod Bunker, Lokomotiva Center for New Initatives in Arts and Culture


Residence 2019: Workshop foundation Budapest, Arteus studio Budapest

Project is supported by: Ministry of Culture of Republic of Slovenia, City Municipality of Ljubljana – Cultural departments, Co-funded by the Creative Europe Programme of the European Union under the programme line Creative Crossroads 2019/20/ Long Life Burning, Kino Šiška, Workshop Foundation Budapest

Thank you: Suzani Koncut, Sonda4 and Kino Šiška

30.09.19 - 02.10.19

Ljubljana (SI)

supported/organized by Nomad Dance Academy Slovenia