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Sobota, 17.10.2026 in nedelja 18.10.2026 17:00 - 18:10
Projektni prostor DUM, Kolodvorska ulica 6
Anja Bornšek: Premik v neznano pavzo (70 min)
Premik v neznano pavzo je voden proces vstopanja v spremenjen tempo telesnega in gibalnega delovanja, je odmik od vsakdanje delovne učinkovitosti s pripadajočo čutno redukcijo v jačanje telesne občutljivosti, čuječnosti, pozornosti, domišljije in zaupanja v čutne informacije v telesu in okolju. Premik v neznano pavzo individualno držo vsakdanjega delovanja uglasi z zaznavo mikro-sprememb v telesih in okolju, da bi telo zaznalo spremembe, da bi zaznalo čas in se uglasilo z drugimi telesi ter izostrilo zaznavo najmanjših telesnih sprememb. »Zaznava ni nikoli povsem individualna, ampak nastaja in se kalibrira v odnosu,« zapiše Anja Bornšek. Premik v neznano pavzo je kreiranje občutljivega skupinskega relacijskega telesa, ki lahko nastane zgolj tako, da se spremeni naša funkcionalna individualna in učinkovita drža, s katero se stare izkušnje reciklirajo, da nam ne bi bilo treba okolice in drugih teles zaznavati vedno znova. Premik v neznano pavzo je proces aktivacije našega čutnega aparata za uglasitev z rečmi, ki so nam lahko skupne in nastajajo med nami. Je praksa, ne proizvod. Delo z Anjo Bornšek, plesalko, koreografinjo in poznavalko različnih somatskih praks, bo potekalo v dveh srečanjih.
Anja Bornšek je zaključila študij sodobnega plesa na SEAD v Salzburgu ter magistrski
študij pedagogike sodobnega plesa MA CoDE na HfMDK Frankfurt. Je registrirana Body-
Mind Centering® Somatic Movement Educator pri ISMETA (International Somatic
Movement Education and Therapy Association), ter študentka telesno usmerjene
psihoterapije pri CIR INTP.
V svojem delu raziskuje presečišča somatskih in uprizoritvenih praks, kjer se individualno
in skupno skozi zaznavo preoblikujeta v odnosu med telesom, prostorom in časom.
Ustvarja situacije, v katerih se pozornost premakne od reprezentacije k neposrednemu
izkustvu ter odpira prostor za subtilne, še neartikulirane procese. Del njene prakse so tudi
formati, ki preizprašujejo ustaljene vloge gledalca in performerja ter umetniški proces
odpirajo kot prostor skupnega raziskovanja in izkušanja.
Že več kot deset let razvija in vodi formata za publiko Physical Introduction in Physical
Traces v mednarodnem prostoru. Med njenimi avtorskimi in soavtorskimi deli so Oči, ki
letijo, Pronicanja, Drug prostor in Premik v neznano pavzo. Leta 2021 je prejela nagrado
Ksenije Hribar za perspektivno koreografinjo.
O KOREOGRAFSKEM OBRATU 11:
V zadnjih letih je na področje sodobnega plesa in kulturne produkcije posegla vrsta pojmov, sintagem, terminov in opisnih poimenovanj, ki se nanašajo na razmerja med ekološkimi, kulturno-produkcijskimi in umetniškimi vprašanji: eko-koreografija, ples in ekologija, trajnostne oblike ustvarjalnosti in produkcije v sodobnem plesu, sodobni ples in zeleni prehod. Produkcijska in ustvarjalna okolja so se na plesnem področju soočila z imperativi, ki so jih meta-kulturni sistemi k nam odložili, kakor da bi bila razmerja med naravo, trajnostjo, ekologijo in plesom nekaj popolnoma novega.
Kulturnih sistemov, ki si na področju kulturne produkcije z različnimi kriteriji prizadevajo izmeriti stopnje trajnosti, ekološkosti in trošenja naravnih virov, dejstva, da sodobni ples že desetletja sistematično raziskuje trajnostne oblike telesnih praks, ki do človeškega telesa pristopajo skladno s sodobnimi somatskimi dognanji, ne zanima.
Sodobni ples je na prehodu iz devetnajstega v dvajseto stoletje vzniknil kot umetniška praksa, ki so jo plesalke in koreografinje vzpostavile kot obliko »naravnega gibanja«. Svoja telesa so želele uglasiti z načini gibanja, ki so ga razumele kot resnično, neizumetničeno in telesu prijazno, skladno z njihovimi čutnimi zaznavami sebe, anatomije, kinetike in odnosa do družbe. Kmalu zatem se je naturalizacija v plesu začela ukvarjati z vključevanjem modelov mikromaterialnosti v načine plesnega skladanja ter na ta način vključevala dognanja naravoslovnih znanosti v odrska dela. Hkrati so se s selitvami iz urbanih okolij na podeželje začenjale rojevati prve umetniške rezidence. Zbirka primerov je obsežna.
Koreografski obrat #11 z naslovom Eko-koreografija krajin in teles si prizadeva razmerja med plesom ter naravnim ali tehnološko spremenjenim okoljem premisliti z izbranimi umetnicami in znanstveniki, ki koreografijo premišljujejo prav s tovrstnimi pojmi. Claudia Bosse, dr. Dimitrij Mlekuž - Vrhovnik, Anja Bornšek, Neža Kokalj in Jaka Bombač bodo na seriji dogodkov Koreografskega obrata #11 s svojimi znanji osvetlili prav ta razmerja. Pripravili smo multimedijski program, ki koreografijo in telo spaja z lastnostmi krajin. Ledvice žrtvene živali, pravi Claudia Bosse, so v obredju saharskih ljudstev vsebovale kozmološke informacije. V njih se je zrcalila krajina, ki je bila neprimerno razsežnejša od lokacije, na kateri so ta ljudstva živela, in ta stik s prostorom, ki je bil razsežnejši od enega samega življenja, je bilo treba počastiti. Da eno življenje ne bi trošilo drugega.
ENGLISH:
Saturday, 17 October and Sunday 18 October 2026
DUM Project Space, Kolodvorska ulica 6
17:00–18:10
Anja Bornšek: Shift into an Unknown Pause (70 min)
Shift into an Unknown Pause is a guided process of entering into an altered tempo of bodily and movement activity. It is a departure from everyday work-oriented efficiency and its associated sensory reduction, towards an intensification of bodily sensitivity, awareness, attention, imagination, and trust in sensory information within the body and its environment. Shift into an Unknown Pause attunes the individual posture of everyday activity to the perception of micro-changes in bodies and environments: so that the body can perceive change, perceive time, attune itself to other bodies, and sharpen its awareness of the smallest bodily shifts. “Perception is never entirely individual, but emerges and is calibrated through relationship,” writes Anja Bornšek. Shift into an Unknown Pause creates a sensitive relational group body, which can emerge only through a transformation of our functional, individual and efficiency-oriented stance — the stance through which old experiences are recycled so that we do not have to perceive our surroundings and other bodies anew each time. Shift into an Unknown Pause is a process of activating our sensory apparatus in order to attune ourselves to things that may be shared between us and that emerge among us. It is a practice, not a product. The work with Anja Bornšek, a dancer, choreographer, and practitioner of various somatic practices, will take place over two sessions.
Concept and Artistic Direction: Anja Bornšek
Sound: Tomaž Tomljanovič
Lighting: Toni Soprano Meneglejte
With thanks to the participating performers for their contribution to the research: Tina Valentan, Jadi Carboni, Barbara Kanc, Ema Križič, Tina Benko
Production: NAGIB (represented by Petra Hazabent)
Project Partners: MKC Maribor, Plesna Izba Maribor and Tanz Graz
Financial Support: Ministry of Culture of the Republic of Slovenia and the Municipality of Maribor
Anja Bornšek completed her studies in contemporary dance at SEAD in Salzburg and holds a Master’s degree in Contemporary Dance Pedagogy (MA CoDE) from HfMDK Frankfurt. She is a registered Body-Mind Centering® Somatic Movement Educator with ISMETA (International Somatic Movement Education and Therapy Association) and is currently studying body-oriented psychotherapy at CIR INTP. In her work, she explores the intersections of somatic and performance practices, where the individual and the collective are transformed through perception in relation to body, space and time. She creates situations in which attention shifts from representation towards direct experience, opening space for subtle, not-yet-articulated processes. Her practice also includes formats that question established roles of spectator and performer, opening the artistic process as a space for shared exploration and experience. For more than ten years, she has been developing and facilitating the audience formats Physical Introduction and Physical Traces internationally. Her works include Oči, ki letijo, Pronicanja, Drug prostor and Premik v neznano pavzo. In 2021, she received the Ksenija Hribar Award for Promising Choreographer.
ABOUT CHOREOGRAPHIC TURN 11:
In recent years, a range of concepts, terms, phrases, and descriptive designations have entered the field of contemporary dance and cultural production, addressing the relationships between the ecological, cultural-production, and artistic questions: eco-choreography, dance, and ecology, sustainable forms of creation and production in contemporary dance, contemporary dance and the green transition. In the field of dance, production and creative environments have been confronted with imperatives imposed on us by meta-cultural systems, as though the relationships between nature, sustainability, ecology, and dance were something entirely new.
Cultural systems that aim, through various criteria, to measure the degrees of sustainability, ecological responsibility, and the consumption of natural resources in the field of cultural production are disinterested in the fact that contemporary dance has anyway, for decades, systematically explored sustainable forms of bodily practice that approach the human body in accordance with contemporary somatic knowledge.
At the turn of the nineteenth century, contemporary dance emerged as an artistic practice established by dancers and choreographers as a form of “natural movement.” They sought to attune their bodies to ways of moving that they understood as authentic, uncontrived, and pleasant for the body, in accordance with their sensory perceptions of themselves, their anatomy, kinetics, and relationship to society. Soon afterwards, the naturalisation of dance began to engage with models of micromateriality in choreographic composition, thereby incorporating insights from the natural sciences into their stage works. At the same time, as artists began moving from urban environments to the countryside, the first artistic residencies began to appear. The range of examples is extensive.
Choreographic Turn #11, entitled Eco-Choreography of Landscapes and Bodies, seeks to reconsider the relationships between dance and natural or technologically transformed environments together with selected artists and scholars who approach choreography precisely through such concepts. Claudia Bosse, Dr. Dimitrij Mlekuž Vrhovnik, Anja Bornšek, Neža Kokalj and Jaka Bombač will share their knowledge and perspectives on these relationships throughout the series of events comprising Choreographic Turn #11.
We have prepared a multimedia programme that brings choreography and the body into dialogue with the qualities of landscapes, while also inhabiting and investigating landscapes through bodies. The kidneys of a sacrificed animal, Claudia Bosse tells us, contained cosmological information in the rituals of Saharan peoples. They reflected a landscape that was incomparably more expansive than the location in which these peoples lived; this connection with a space extending beyond the scope of a single life had to be honoured. So that one life would not consume another.
Koreografski obrat 11 / Choreographic Turn 11 team:
Kuratorji / Curators: Dragana Alfirević, Jana Jevtović, Rok Vevar
Prevod / Translation to english: Jana Jevtović
Lektura / Proofreading in slovene: Iztok Ilc
Oblikovanje/ Design: Doro
Partnerji, tehnična podpora / Partners, technical support: DUM, Španski borci
Finančna podpora / Financial support by: Ministrstvo za kulturo R Slovenije; Mestna občina Ljubljana
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