Gizem Aksu - a tea party in an organic garden! - presentation

Created on Thursday, 28 January 2016 Written by Student Centre Zagreb

30th of January 2016 at 7pm - artist-in-residence Zagreb, Teatar &TD

with support of APAP and 0090 / work-in-progress presentation / Facebook event

This research would be an attempt to think and sense the life with a reference to visceral organs. It would not be about what organs are; but, about the complex correlations of organs towards the life. What they are capable of and what kind of relationships could be discovered when they are considered as a dynamic living reference for disjointed temporalities, spatialities and corporealities.

For me, they present a potentiality to cross separations related to time as past/present/future; to body as material/immateral,body/soul and to space as here/beyond,in/out. How could a performer surpass this perception of linear and progressive time and open herself to multiple layers of sensation and perception/ unique temporalities of intestines, for example? As Time claims an universality and externality, it silences the internal presence of the body. With my body with the organs, the organs with their unique time and space,  disrupt the linearity of past-present-future; for me, they blurs in/out spaces.

It seems so difficult for me to grasp them with the linguistic categories and socio-culturally produced attributions/challenges on body, such as  in/out, visible/invisible open/close,life/death,past/present, abject/beautiful,white/black, European/Asian, The West/ The East, nude/veiled, darkness/ enlightened etc...

As all these categories are coming closer to organs, there is something always gliding over the slippery ground of the visceral organs. None of these attributions could comprehend the dynamic living in them.Visceral organs, with their obscurity towards in-out; visible-invisible; material(fleshy)-immaterial(energetic); provide a radical way for diving into various layers of spatiality and temporality. 

Then, what kind of creation I could make in order to hear and talk to each other from our intestinal presence? Is it possible to have a tea in an organ-ic garden all we have? With/in the silence of the muscular ground, it may be time for the organs to dance, shake and vibrate the word and world.

This research is an attempt for a provocative and productive way of thinking about body, and life; the electromagnetic spheres all hearts/ intestines/stomaches resonate with, affect, meaning, reality and life.I would call questions on silence, darkness, unseen unhearable presence of deep-in-side of the body .These questions may find the traces of unthought ways for sensing, affecting and moving the body with a relation to the concepts of “deep compassion”, “fasci(a)nated attention”, “organic wisdom” which I have discovered during this research.

Meryem Bayram, inspiring visual artist/scenograph based in Antwerp would work with me  in Zagreb.

Gizem Aksu

Gizem Aksu is an independent choreographer and dancer currently living in Istanbul. She graduated from the Department of Political Science and International Relations at Bosphorus University and from the Department of Contemporary Dance, State Conservatory at Mimar Sinan Fine Arts University. She currently continues her post graduate education in Contemporary Dance ASD and is giving human anatomy seminars.

She has had the opportunity to study with world renown teachers and has been involved in productions with important choreographers, directors, visual and vocal artists in many international festivals and biennials since 2009. Aksu’s work problematizes the body as a site of interrelations between art, politics and philosophy. Her recent research and workshops have focused on the body’s energetic and ecological openings.

In the summer of 2015, the artist has participated in ImPulsTanz-Vienna International Dance Festival with the support of danceWEB fellowship. She worked with Marc Vanruxt (BE) for his recent work, Atmosphere and has been touring  in Belgium. She has been researching for her new work in Antwerp and Zagreb residencies supported by APAP (Advancing Performing Arts Project) ve 0090. Meanwhile, she has begun a research with Aakash Odedra Company (UK).

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.