The Kelim Choreography Center hosts choreographers and dance artists in a residency program that is unique in the Israeli landscape. Artists in Residence receive rehearsal space, artistic mentorship, production support, and the opportunity to produce a performance. These artists open their artistic processes to the public at various stages and participate in “Kelim in Community” projects.
2016 Artists in Residence: Ido Feder (Israel) and David Marques (Portugal), Orly Almi, Sigal Bergman, Ella Rothschild.
The 2015 Residency Program is hosted Moran Abergil, Kim Taitelbaum, Bosmat Nossan, Talia Beck, May Zarhy, Tami Leibovich, Nava Frenkel, Maayan Danoch, and Yuli Kovbasnian.
PALE FIRE is an evening length solo dance performance. It draws inspiration from Vladimir Nabokov’s extraordinary poem, Pale Fire, that appears as a text-within-a text in his novel of the same name, published in 1962. The poem, considered one of the most beautiful in the English language, deals with artistic creation and inspiration, with ageing and death, memory and artistic appropriation. The tension between the poem’s rigorous, almost mathematical, structure and its exuberant flights of fancy, are striking, serves as a rhythmic and thematic basis to my dance piece; I have also appropriated a few of the poem’s images into my work as well. The piece, like the original, is my own fictional autobiography, mixing movement, imagery, spoken word and song. Like the poem, my piece aims to create a house of mirrors in which fragments of my true self appear intermittently. As part of this series of reflections, my niece Lia Bergman, the daughter of my identical twin, joins me in the performance, playing a character that links my own past with the future embodied in her playful and youthful persona.
פוסט סטטוס فوسط سططوس Post Status
A collaborative artistic-political event, that deals with the ability to communicate at times of war.
This work investigates post-traumatic mechanisms of the Israeli society; the rising levels of verbal violence during heated violent times; and, in particularly, the ability of the body to offer empathetic discourse even during war time.
The work has been inspired by Facebook statuses I posted during the last war (Operation Protective Edge, July-August 2014). The action of the body vis-à-vis text is investigated through means of somatic practices, such as Yoga, the Alexander Technique, BMC (Body Mind Centering) and dance improvisation.
Body movement gives space to the rise of personal memories, as well as political ones.
The residency period is dedicated to working with this works’ collaborators; as well as to bring together the scenographic, dramaturgical, technological and compositional aspects into one coherent event.
Ido Feder (Israel) and David Marques (Portugal)…
In collaboration with Fransisco Camacho (Portugal) and Tamar Shelef (Israel)
This piece begins with an “arranged royal marriage”. Two great performers – Camacho and Shelef – who signify great local cultures of dance and also received international acclaim, will join together for the first time on stage. Feder and Marques desired this artistic and royal combination so they can create the last part of their trilogy about the figure of the ‘bête de scène’ (stage animal). In the past, they have researched the figure as the tension between truth and fiction and later as the tension between a live event and a photographed image. Now, they investigate it’s authority.
מרכז כלים שמחים לארח את הכוריאוגרפית טליה בק במסגרת תכנית ‘שהות אמן’ 4#, לקיום תהליך מחקרי לעבודה חדשה. בתהליך זה משתפת בק פעולה עם השחקן הפיסי הותיק צביקה פישזון והאדריכלים ליטל פולקמן ונדב ביגניץ.
“המפגש בין הגופים השונים של שני הפרפורמרים, המקפלים בתוכם, זהות, פרקטיקות, היסטוריה, תרבות, גיל ומגדר שונים, מסקרן ביכולתו לחשוף, לזקק, לאתגר ולגלות את הגוף האחר כמו את הגוף שלי עצמי, המדבר את עצמו, היסטוריה, זיכרון, שגרה, יצר. גופים חוויתיים המתערבבים, טועמים ומטעימים זה את זה. טקסטורות פיזיות ורגשיות מרובות רבדים המגששות, מתפרקות כל אחת לעצמה, לתוך השניה, ולתוך החלל. החלל והמרחב גם הם מתקפלים אל תוך הגופים ומייצרים טופוגרפיות שונות ומשתנות התורמות גם הן ליצירת התוכן.”
This piece deals with the phenomenon of the computer as an inseparable path of communication in modern life relating to its expression in the private and public realms. The work exposes our ongoing desire to place ourselves within a subjective reality constructed by us. By using the medium of Skype, selectively, we place and frame objects and by doing so, we influence the quality of our discourse. The form of communication creates the sound while voices echo and nourish it. Using a computer and conducting oneself with it during the performance reflects the molding of a body which bares the shapes that are derived from the cross-breeding of these two entities. We are interested in capturing the moments in which the line between human body and the body of the machine is breached.
Choreography and performance: Yuli Kovbasnian
Creative performer: Tamar Ben Cnaan
in this piece I build events around the figure of the New York musician Moondog, and his recordings: Homeless by choice, blind, avant-gardist with a classical education, a performer who wandered around town dressed in a Viking costume, singing his songs in the streets and gaining him an audience doing so.
As Moondog, I challenge the establishment structure of public space: Shortcuts, private experiences and marginal areas are used as practices that escape systematization and form eludes close relationship between the real and the embodiment.
הכוריאוגרפית תמי לבוביץ החלה את תכנית שהות האמן (רזידנסי) שלה במרכז כלים. עבודתה תציג בבכורה במסגרת פסטיבל “הרמת מסך” 2015.
“space-ballet” emerged out of the fascination of working with objects; observing, acting with and responding to their qualitative features, as well as the space they create or in which they are found. The interaction between the body, object and space exposes movement, image and story-telling potentials, and unravels the object as a body in itself as it moves (and being moved), transforms and transmits feelings. Thus, “space-ballet” is a choreographic work for human and non-human bodies, and more precisely for two dancers, four (rather large) pieces of nylon, two mint candies and a documentation of a man-made grove.
The choreography advances step by step, unfolds through precision and rigor, builds up layer by layer. Initiated actions reveal movements and rhythms, which assemble into an almost serial sequence of images. Each image is independent from the previous one but holds a common denominator, emphasizes the characteristics of each body and makes visible its poetic potential.
Zarhy, an Israeli choreographer who has been working in Germany in the past years, presented her works in numerous theaters and festivals worldwide, created, among others, within the collective MAMAZA (which was founded by Zarhy together with Ioannis Mandafounis and Fabrice Mazliah – former dancers of the Forsythe company). In the creation which Zarhy developed within her residency in Kelim, she asked to create a space, which allows intimacy and non-threatening physical proximity between the performer and the viewer. How can a piece of dance, as well as a piece of music, today be virtuosic today? One that embraces the technical, physical, vocal skills of the dancer and the singer, in order to create the settings for an experience, which derives from this virtuosity and intelligence carried within it, to unfold.
The piece “YES” was created in collaboration with Michal Oppenheim and had its premiere in the Diver festival in September 2015.