Intervju za onlajn magazin SUPERVIZUELNA. Razgovor vodio Žolt Kovač

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RAZGOVORI / Branko Milisković / ATTENTION ! HERE I AM

Prva samostalna izložba Branka Miliskovića u Beogradu je održana u galeriji G12Hub od 18. novembra do 2. decembra. Pored postavke u galeriji Branko je izveo tri performansa tokom trajanja izložbe. Njegovi performansi su visoko estetizovani i često na granici teatra, opere i performansa. Za Branka je sve važno: kostim, šminka, kretanje, svetlo, interakcija sa publikom, sadržaj, izvedba i zato on za sebe kaže da nije samo performer, već da je “direktor celog koncepta i izvođenja”. Razgovaramo o performansima koje je izveo, o reakciji beogradske publike u odnosu na publiku iz Brisela, Hamburga i Marseja, o stanjima u koje performer dugotrajnih performansa ulazi i o novim planovima.

http://www.supervizuelna.com/razgovori-branko-miliskovic-attention-here-i-am/

Razgovor vodio i transkribovao Žolt Kovač

THE SONG OF A SOLDIER ON WATCH (WW3 LILI MARLENE) @G12 HUB

Camera by Tina Marić

THE SONG OF A SOLDIER ON WATCH ( WW3 LILI MARLENE )

In the piece “The Song of Soldier on Watch (WW3 Lili Marlene)” he seems to incarnate both, the figure of the mythical heroine from the song as well as the figure of the soldier who wrote it. In 1915 Hans Leip, a German poet and playwright called to join the army and fight on Eastern front during World War I, wrote lyrics for the song than entitled “The Girl Under the Lantern” which later on, especially during the World War II, became extremely popular by the name Lili Marlene. During the Nazi occupation of Yugoslavia in 1941, Radio Belgrade became Soldatensender Belgrad and broadcasted programs to entertain the German armed forces. This song was played frequently and was also very popular on both sides of the front line. “Lili Marlene’’ was presumably one of the first songs of which one thought it could lead to an individual and collective resistance of the soldiers on the front.

Part of a text written by Dobrila Denegri for an exhibition Theatre of Life, CSW/CoCA, Torun, Poland 2012. p. 89

Concept & performance by Branko Milisković
Performed on the 02nd of December 2014 , 19:00 – 21:00 / Duration: 2 hours
Song: “Lili Marlene”(Lili Marleen), written by Hans Leip (1915), set to the music by Norbert Schultze (1938), firstly recorded by Lale Andersen (1938)
Instrumental composed by Anton Karas.
Thanks to Radio Belgrade and Dejan Ivanović for rare audio materials.
Thanks to G12 HUB, Milica Pekić, Jelena Piljić, Ivan Bulbuk, thanks to Branislav Pećaranin
Special thanks to Anđela Grabež, Jelena Bokić, Helen Schröder and to my parents for various organizational as well as financial supports.

Past performances:
October 2011 at Bains Connective, Brussels, Belgium
November 2011 at Les Petit Bain, Paris, France
May 2012 at CSW/CoCA, Center for Contemporary Arts, Torun, Poland
June 2012 at Kampnagel, Hamburg, Germany
July 2013 at Zeitraumexit, Mannheim, Germany
June 2014 at Gallery Metropolis, Paris, France

Upcoming performance:
8th February 2015, FRAC #6, Comedie de Reims-Centre dramatique national, Reims, France

www.g12hub.com

HERR MILISKOVIC (Leben eines Eindringlings )

Camera by Robert Falckenberg / edited by Branko Miliskovic

Branko Miliskovic is searching for theatre co-productions worldwide interested in touring HERR MILISKOVIC ( Life of Intruder ) . Thank You ! 

photo by Anja Winterhalter

Photo by Anja Winterhalter

© Anja Winterhalter

Kampnagel Premiere ´´HERR MILISKOVIC´´ Der serbische Künstler Branko Miliskovic hat Hamburg zu seiner Lieblings und Heimatstadt erklärt . Regelmäßig tritt er hier auf Kampnagel auf und zeigt seine meist ebenso verstörenden wie anmutigen Performances . Am Donnerstag feiert sein neues Stück ´´Herr MILISKOVIC ( Leben eines Eindringlings ) Uraufführung.

Hamburger Morgenpost 12 Jan 2014

Für die Uraufführung HERR MILISKOVIC – LEBEN EINES EINDRINGLINGS hat der ursprünglich bildende Künstler Branko Miliskovic eine messerscharfe Bildsprache gefunden. Diese absurde, schwarz-weiße Kunstwelt entpuppt sich erst nach und nach als Tanzparkett mit doppeltem Boden.

http://www.Kulturkurier.de

HERR MILISKOVIC ( Seecult.org )

Photo by Anja Winterhalter

© Anja Winterhalter

Branko Milisković, mladi beogradski umetnik koji živi i radi u Hamburgu, premijerno će izvesti 16. januara u centru Kampnagel performans za teatar “Herr Miliskovic” (Život jednog Uljeza), koji simboliše dva entiteta jednog tela, postavljajuci i šira društvena pitanja.

Opservacijom političke konotacije tela, Milisković tim performansom za teatar nastoji da, deobom svog bića, dođe do novih tela hibridnog karaktera, zasnovanih na fuziji oba pola na relaciji čovek-životinja-mašina. U saradnji s nemačkom performerkom Helen Schröder, koja u komadu prezentuje racionalno moderirano telo Miliskovića, sam umetnik na istoj sceni predstavlja svoje iracionalno, androgeno, izvitopereno, promiskuitetno, socijalno neprihvatljivo i emocionalno prenapregnuto telo. Opirući se prolasku vremena, ono ostavlja konstantan utisak rodne, starosne, vremenske i socijalne nedefinisanosti, naveo je Milisković za SEEcult.org povodom novog performansa, koji će izvesti i 17. i 18. januara u Kampnagel centru za slobodnu koreografiju i performans.

Performans “Herr Miliskovic” sadrži elemente moderne koreografije, densa, fizičkog performansa i opere. Glavna premisa je odnos, saradnja i sukobi između dva različita entiteta Miliskovica, (ne)mogućnosti međusobne korespodencije, konstantna socio-politička rasprava na pitanje: “Ko je počinio genocid?

Komad “Herr Miliskovic”, prema navodima autora, dobija na težini samom činjenicom da je rađen van prostora bivše Jugoslavije i na taj nacin dobija priliku da na tuđoj teritoriji postavi ovo notorno pitanje, posebno važno za nacije koje i danas nose žig genocidnih naroda.

Vizuelni i strukturalni stil komada “Herr Miliskovic” nije istorijsko-dokumentarnog karaktera tako da je svaka informacija svedena na jezik vizuelnih simbola, konotacija i asocijacija koje često nemaju logičan linijski tok dešavanja. Situacije se prepliću, bivaju izmeštene iz konteksta, pa se opet pojave kao repovi na nekoj drugoj strani, prateći filozofiju Dejvida Linča, gde mnoge svakodnevne situacije kao u snu vrlo često nemaju racionalno objašnjenje, niti logičan tok. Vokalne deonice u komadu čine veći deo sadržaja. Pevanje ili izgovaranje određenih fraza je repetitivno u kontinuumu. Deonice traju i po deset minuta bez pauze izazivajući kod publike hipnotički efekat mantre.

Kako navodi Kampnagel u svom programu, Milisković svojim kontroverznim i gracioznim radovima pleni publiku spojem specifičnog šarma i “razoružavajućeg prisustva” (Mannheimer Morgen, jul 2013).

Komad “Herr Miliskovic” konstituisan je minimalistički, a za scenski dizajn angažovan je nemački umetnik mlađe generacije Swen-Erik Scheuerling.

Milisković je u Kampnagelu u Hamburgu prvi put izveo performans “The Song of a Soldier on Watch” (WW3 Lili Marlene) u junu 2012. godine, kao deo Live Art Festivala, čije su kustoskinje bile Nadine Jessen i Melanie Zimmermann. Potom je u septembru 2012. pozvan da reizvede svoj performans iz 2008. godine “Tempos for Metronome, Ball and Participants” u okviru hamburške “Noći teatra”.

Milisković se predstavio i 2013. godine u okviru Live Art Festivala, čiji je koncept bio determinisan kao “Lange Nacht der Befreiung ZOO 3000 Free-Species”, a izveo je novu živu instalaciju “Endling” koja je u ekstremnom sloumošnu trajala puna dva sata. Nakon toga je u septembru 2013. godine reizveo svoj performans “Couvre-Feu” (Ausgangssperre), u okviru hamburške “Noći teatra”.

Poslednjih sedam godina Milisković izvodi performanse na mnogobrojnim internacionalnim festivalima i rezidencijama. Do sada je izlagao u više gradova i zemalja (Italija, Srbija, Norveška, Finska, Francuska, Belgija, Holandija, Austrija, Nemačka, Poljska, Izrael, SAD…). Njegovi radovi su u većini slučajeva u formi performansa/žive instalacije u trajanju, ali se kreću i u formi teatra, kabarea i filma.

Milisković je studirao od 2003. do 2007. godine na Fakultetu likovnih umetnosti u Beogradu, u klasi prof. Mrđana Bajića. Potom je prešao na Kraljevsku akademiju umetnosti u Hagu, gde je kao stipendista holandske vlade diplomirao 2009. Na Master programu na odseku “Time Based Medias” na Akademiji umetnosti HFBK u Hamburgu, u klasi Jeanne Faust, diplomirao je 2012. godine.

(SEEcult.org)

http://www.seecult.org/vest/herr-miliskovic

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COUVRE-FEU ( personal overview )

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COUVRE-FEU ( Curfew ) is one of the most difficult performances I have ever dared to perform due to it´s high level of unpredictability and ephemerality. It depends on so many factors , such as the amount of the public , the venue´s nature , the current socio-political situation , how do you feel that very day and the most incredibly of all , the weather conditions. That night was the full Moon and clear sky , so it gave me an incredible power to deal with the entire public using them as a social sample. I must admit that I am extremely picky concerning the time and space in which I am setting my work. I usually think very far in advance ( if appropriate ) , so there is everything under the control , from my side. In COUVRE-FEU I was using my ‘’Military Body’’. In my artistic practice I usually have three sort of bodies : Political Body , Military Body and Social Body as well as several other branches. Usually I combine them in the majority of characters I am building up , but apart of all , those characters and bodies are actually the bodies I already posses. I am not acting any of those materialized characterizations, but rather more intending to get a certain body out of my physical body, regarding my personal history and ongoing situation I am dealing with. I have been working on COUVRE-FEU for more then six months in which there was no possibilities to combine different bodies. It´s an incredible strict military character which is following his main duty to establish certain rules during the specific time using current sample of the society ( the audience ). But I knew in advance , since I was performing similar piece at Kampnagel in Hamburg , that there are certain parts in this aggressive performance / social experiment, which would make the public laughing or protesting frenetically. The moment with security control and later The Divisions for instance, those are moments that , naturally , unprepared public find themselves in a very unpredictable situation , they don´t know what is my plan , so laughing is simply natural defensive system. For me frankly, those moments are some of the most precious moments  an artist can ever get while performing. One of the curators said there was a bit of mental violence making her feeling periodically  a bit uncomfortable . Well , you know, I depend on the entire energy of the public. It´s simply my fuel I have borrowed from the public  in order to make myself ´´super charged body ´´. As much as they are angry, frustrated , frenetically excited , I am getting 3 x more. So, when I was watching the entire video afterwards, I said to myself : It´s just ridiculously brutal from my side , but after all I don´t have such a feeling that the audience didn’t enjoy being there. As a contrary, I got several remarks the day after , saying that it was just incredible experience for them, and even they were fully conscious what they are doing, they simply couldn’t resist not to do it. I call it ´´mesmerization ´´. However, some of them left the performance in the very beginning , because they couldn’t cope being invited over and over again to go on stage. And I completely understand them. Some of them resisted to go on stage and remained on their seats collectively banging and shouting. Those are already predicted dissidents exploiting their rights for being socially disobedient. My action also provoked one guy to leave the space and then to return twenty minutes later to give me such a strong French kiss in front of everyone. I met him later and he complained I made him extremely angry and anxious, so he had to do it. One of curators even said I made him and the entire public looking pretty stupid , while being shaped and reshaped on stage. I believe everyone should conduct his/her social body in whichever circumstances it may occur.

As i already pointed out, COUVRE-FEU was one of the most demanding works of mine ,and when I got back to Hamburg I dropped in some sort of depression and anxiety which is still quite intensive. It´s just an enormous energy I got there , so I have to cope with that when I am alone and not socializing. However , I will continue working in this manner , as it is my nature. I must make the audience really get out of their everyday routine. Whatever it may cause and provoke It´s simply the concept I shall follow and there is no excuse.

Branko Miliskovic

video still by Christopher Hewitt

p.s / For native english speakers. If you find any mistakenly written phrases, words or grammar , please don’t hesitate to let me know. Thank You.