May 28, 2017. Roermond, The Netherlands
May 28, 2017. Roermond, The Netherlands
Soon, more info to come…
Filmed by Jonathan Miron Roy / Edited by Branko Miliskovic
CABARET of an INTRUDER, solo performance at CIRCA art actuel, Montreal, Canada / 14 January 2017, Photographs by Jonathan Miron Roy
Video teaser soon to come…
Cabaret of an Intruder
Performance January 14, 2017 at 3 pm
Discussion at 4:30 pm between the artist and CIRCA art
actuel’s director Émilie Granjon.
Tis some visitor…
tapping at my chamber door—
Only this and nothing more.
The Raven, Edgar Allan Poe
The performances of Branko Milisković know no boundaries—he is an ‘intruder’ par excellence. Throughout his oeuvre, in works such as Lili Marlene, Interloper, Couvre-feu, APPOINTED, Ceçi n’est pas UN garçon a la Pipe, he uses costume, make-up, song and character to break up the experience of the everyday and to create a disorienting spectacle for the audience.
In Cabaret of an Intruder he pushes the idea of a cabaret to the next level. Originally an informal form of theatre, performed in a pub or restaurant, with unconventional content, however in Milisković’s show, the artist breaks the fourth wall and forces his audience into often uncomfortable situations, singing directly to them, beckoning for them to approach him and crowd around him, imploring them to come closer than most audiences ever would.
For Milisković, the Intruder is someone who infiltrates a particular group of people with the aim of understanding and even ‘colonising’ them. In his words, the Intruder’s aim is “to adapt, assimilate as well as to become a member of certain group but somehow, sooner or later, an intruder is unable to make it all the way through, becoming very suspicious as an element that doesn’t belong to the group, clearly interfering.” In this performance, the Intruder doesn’t fit in from the beginning, appearing before the audience in gender-ambiguous stage make-up and quirky, albeit masculine clothing—a bow tie and suspenders. He invades the viewers’ personal space, singing old-timey melancholic tunes such as Irving Berlin’s 1923 ballad “What’ll I do,” while staring directly into the eyes of one of the audience members.
The performance starts with the artist reading Edgar Allen Poe’s classic poem, The Raven, which he uses as the “ultimate symbol of the Intruder, knocking on the door, bringing all possible fears, demons and anxiety to the storyteller.” As the Intruder, it gradually becomes clear that Milisković will make no attempt to adapt, but rather will continue to play on the fears and insecurities of the audience, not only putting them in awkward positions, but invoking their anxieties by providing them with a range of situations and experiences.
But what is the purpose of this Intruder in our lives? If it is through the ‘Other’ that the self is defined, then Milisković provides the perfect mirror to reflect all of our deepest and most hidden emotions. There is nowhere in the theatre to hide from this trespasser. In confronting him, we are forced to confront all of our demons. In exchange, the Intruder learns everything about us, and perhaps in this way he can ultimately fit in.
Text by Amy Bryzgel
Branko Milisković was born in the former Yugoslavia in 1982 and currently lives in Belgrade, Serbia. As a child, he was part of the last generation of Marshall Tito’s Pioneers, the Socialist Federal Republic of Yugoslavia’s political movement for 7-year-old children. In Belgrade, Serbia, Milisković pursued studies in architecture at the Architectural Engineering School, industrial design at Belgrade’s Polytechnic High School and sculpture at the Faculty of Fine Arts, University of Arts. In 2007, he was awarded the Dutch HSP Huygens scholarship and in 2009, he received a BA from the Royal Academy of Art in The Hague, the Netherlands. Three years later, Milisković completed his MA at Hochschule für bildende Künste, in Hamburg, Germany. His work and his performances have been presented in Italy, Germany, Belgium, France, Switzerland, Austria, Serbia, Israel, Russia, Poland, Finland, Norway, The Netherlands, Scotland, UK and the USA. He is represented by Les Halles in Brussels, G12Hub in Serbia and Kampnagel in Hamburg.
Dr. Amy Bryzgel is Senior Lecturer in Film and Visual Culture at the University of Aberdeen. Her research focuses on performance art in the former communist countries of Central, Eastern and Southeastern Europe. Her first book, Performing the East: Performance Art in Russia, Latvia and Poland since 1980 (IB Tauris, 2013), presented case studies of performative work from the region. Her next book, Performance Art in Eastern Europe since 1960, offers a wider picture of the development of the genre, and is forthcoming from Manchester University Press in 2017. You can follow her research on http://www.performingtheeast.com and @PerformTheEast.
Extravagant Bodies (Crime and Punishment)
20 November 2016
Dom Omladine Beograda
Curated by KONTEJNER | biro suvremene umjetničke prakse | biro suvremene umjetničke prakse, Kiosk Platforma Platforma, Milica Pekić
Photo by Katarina Markovic
Photography and postproduction by Sean MacLeod
Supported by MALI PRINC foundation
Embassy of Foreign Artists, Geneva, Switzerland
Kiosk, Belgrade, Serbia
While on an artist in residence program in Geneva, Branko Milisković’s main goal was to try to enter the United Nations quarter while following his basic concept, that of being an intruder (a foreign body). Milisković made several attempts to obtain legal permission to get access to the UN’s Ariana Park as well as to the main building complex in order to have a photographic session. However, after negotiating for more than two months with several UN bureaucrats responsible for accreditation, Milisković’s inquiries were turned down due to his inability to provide the required documents. In order to react to and strongly criticize the UN’s policy of separating themselves with armed security guards and a steel fence from the civilians, working as a secret society and simultaneously retaining the position of global peacekeepers, Branko Milisković decided to inagurate a new fictive Secretary-General of the United Nations, working and existing in its own dimension with an unlimited mandate. In his 2 hour-performance APPOINTED, Branko Milisković delivers the eight inaugural speeches written for the eight UN Secretary Generals since 1949.
Performance on 20 November 2016, 17:00 – 19:30 @Large hall of Belgrade Youth Centre
Foundation MALI PRINC, Geneva-Serbia
Embassy of Foreign Artists, Geneva
ADC association pour la danse contemporaine, Geneva
Curatorial team in Belgrade: Milica Pekić (KIOSK), Olga Majcen Linn (Kontejner)
Programme supported by regional platform for culture KOOPERATIVA
Kiosk, Kontejner, Kontrapunkt, Dom omladine Beograda, Kooperativa, Galerija12HUB