UPCOMING! January 14, 2017 in Montreal

Photo by Gabriel Otero 4
Photo by Gabriel Otero

Branko Milisković

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.

http://www.circa-art.com/En_Cours_AN.html

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UPCOMING !

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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

supported by:
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

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Extravagant Bodies (Crime and Punishment)

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Extravagant bodies is an international trans-disciplinary art festival initiated in 2007 as a
triennial project that deals with societal demarcations of normal and pathological physicality, appearance, behaviour, sexuality and/or life style.Fourth edition of Extravagant bodie subtitled Crime and Punishment takes as its topic the social, legislative, scientific and ideological constructions of criminality and social norms that delineate criminal from non-criminal behavior. The project views crime as indexical of all the cracks of repression hence criminals are the people who — by their own choice or by social and economical circumstance — have stepped beyond the boundaries of the existing system.
Compared to its previous editions,Extravagant bodies-Crime and Punishment is on the one hand shifting the focus from corporeal and psychological inscriptions of otherness to a broader view on socially proscribed morality and acceptable vs. non-acceptable lifestyles.. Once again the key question remains: what is outside the norm? How are the boundaries between the criminalized and the non-criminalized regulated and safeguarded? Does law equal justice, or is there also violence and injustice produced in the name of law? What are the ideological presuppositions behind the social and legal regulations of criminality? Are there socially desired crimes, and to whose benefit are their committed?
What in the cases of criminal privatization of public properties and expulsion of the poor, abuse of commons and occupation is happening on everyday level? Are the laws enough to protect public interest? What about the increasing radicalization of the ideological opposition between the liberal, democratic and secular concept of the law, and the law grounded in religion, which does not merely concern the Islamic states of the Middle East? What about Western democratic societies whose liberal legislations are constantly challenged by pressures of religious (mostly Christian) groups? Key issues here still pertain to the body and sexuality: abortion, sex work, homosexuality..
The final set of questions is linked to the new developments in science and technology. From recent scientific attempts to find neurological grounding of criminality, to the bio-ethical issues of the cloning of humans, and the stealing of identities. The question of how society deals with information that gets free will also be examined as one of the key questions of the post-Snowden era.

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exhibition, performances, workshops, theatre, lectures, films izložba,
November 18th to 25th 2016, Pogon Jedinstvo, Trnjanski nasip bb, Zagreb (HR)
November 20th to 21st 2016, Dom omladine Beograda, Makedonska 22/IV, Beograd (RS)

http://www.kontejner.org/en/project/extravagant-bodies-crime-and-punishment