Photo by Martyna Piasecka
TEMPOS FOR METRONOME,BALL & PARTICIPANTS
This is an interactive living installation dealing with human senses and concentration, intending to examine the ability of each single participant to engage into a non-verbal dialogue , bouncing the ball and following the pulses of a metronome. In this game you are entering an airplane and flying in unknown direction.
Branko Miliskovic ist serbischer Bildender Künstler und Performer, der Hamburg seit einigen Jahren als Homebase gewählt hat. Nachdem er zuletzt beim Live Art Festival auf Kampnagel mit einem Solo zu sehen war, lädt er nun sein Publikum in eine lebendige, interaktive Installation ein, die die Wahrnehmung und Konzentration aller Anwesenden fordert – mit dem Ziel, einen non-verbalen Dialog zu führen. Symbolisch für den dialogischen Vorgang steht ein einfacher Ping Pong-Ball, der im Takt eines Riesen-Metronoms die Seiten wechselt. Miliskovic‘s Spiel ist so meditativ wie herausfordernd und gleicht einer Reise mit unbekanntem Ziel.
September 8 , 2012 , Hamburger Theaternacht , Kampnagel , Hamburg / Germany
K1 , Kampnagel
1. The audience shall switch off all electronic devices
2. It’s not allowed to enter or leave the space during the cycle.
” I liked the simple structure that was unveiling so much. I saw in your photos that you had other reactions – people were triggered by your dominance and they were opposing it, somehow competing – it didn’t really happen in Poland. It is interesting how much choice each participant is actually given. They are trapped in a moment of being chosen by you to participate. We all are trapped from the moment of entering the room. Dominance. I wonder what was the most surprising to you in the participant’s reactions during all incarnations of this project?”
Justyna Scheuring – artist
A very formal and clean performance was presented by Branko Miliskovic (Serbia / Belgium / Germany) who almost forced members of audience to participate in his action that comprised of bouncing a ball in a rhythm dictated by a metronome. His posture and gestures did not leave any place for disobedience. He achieved an ideal symmetry when the last member of audience who had been made to take part in a performance left the stage through the left door leading to the backstage, while the artist left it through the ideally symmetrically placed right hand door. The situation was spontaneous and it caused an enthusiastic reaction from the public. It was interesting, how the audience was hypnotised by the “Marina Abramović look” so that even other performance artists did not attempt to rebel against him.
Malgorzata Kazmierczak, 2012-07-07