I, unfortunately, have to go to Baltimore this weekend. But if I were in town I would probably be trying to head out to Chez Bushwick for at least one of these programs of work by two Romanian which look fascinating, part of CB’s Force Majeur residency program:

“Hole In One”

By Brynjar Bandlien

Wednesday, August 13

“Preview”

By Manuel Pelmus

Thursday, August 14

“Poarta Sarutului”

Brynjar Bandlien & Manuel Pelmus

Collaboration, Dramaturgy & Text by Stefan Tiron

(North American Premiere)

Friday, August 15th

*All Performances Begin at 8:00pm*

Brancusiology, the study of the life and work of Constantin Brancusi has acquired over the years, especially in his native Romania, the trappings of a cult. It has the elitist dimension, the esoteric vocabulary and convoluted theory making associated with an occult society. The rituals involved in the cult of Brancusi lie at the heart of the tradition of modern art in Romania and abroad. Pledging allegiance and praising the perfection, supremacy and god-like nature of Brancusi and his work is functioning as an initiation ritual for generations of artists, art critics and art historians. Dealing with the heritage of Brancusi, competing for the most epic rendition of his life’s work, involves a lot of energy concerting this ode-producing activity in the right direction. It involved securing the right cultural links, the right connotations and the right spiritual and intellectual hierarchies. There is an orthodoxy of consent at the hub of all these modern rituals involving the work of Brancusi and his personality. One that tries really hard to keep his patriarchate unreachable, untouchable and eternal. Name dropping Constantin Brancusi in the preferred context – acted as a cultural ‘open sesame’, where doors open, recognition and admittance following to the modernist Valhalla.

Concept

The tradition described above is actually limiting and obliterating in effect. Instead of being inclusive and overt it acts as a blockade against interpretation. It blocks and expels everything that endangers its supposedly majestic scope. In the same time, with a lot of abuse involved, it makes Constantin Brancusi an instrumental figure in maintaining the cultural, political and social status quo. His works are read as perfect

examples of cultural superiority, of him and the nation that has given rise to such a miracle. “Poarta Sarutului”will unsettle this abusive reading and instrumentation of Brancusi and his work, also allowing and facilitating access to those meanings and aspects of Brancusi’s work that were never at the center of the Brancusiological excess.

about the companies

Manuel Pelmuş is one of the most well-known representatives of Romanian dance in the international context. He studied dance at the “Floria Capsali” Dance School in Bucharest and at the Hamburg State Dance School before starting his own work in 1998.  Since 1998, he has developed numerous own projects and dance performances, which have been presented internationally in theatres, alternative places, galleries or festivals such as Tanz im August Berlin, TanzQuartier Wien, De Singel Antwerp or Judson Church New York. He was invited as artist-in-residence by such institutions as DAAD Berlin, Tanz Quartier Wien, Centre National dela Danse Paris, etc. His latest collaborations include dancers and choreographers Mart Kangro, Isabelle Schad, Thomas Lehmen, Brynjar Bandlien, Bruno Pocheron and Frederic Gies. His latest works, such as “Outcome”, Punct Fix” and “preview” have been presented in festivals throughout Europe and the United States.

Brynjar Bandlien received his education in his native Norway at Staten Balletthøgskole in Oslo, and at Ballettschule der Hamburgische Staatsoper in Germany. In 1995 he joined Nederlands Dans Theater 2 in Den Haag with which he toured Europe, USA and South Africa. After 3 years in NDT 2 he started working as freelance dancer and choreographer with Manuel Pelmus (Punct Fix), Philipp Gehmacher (Mountains are Mountains), Raimund Hoghe (Tanzgeschichten, Young People, Old Voices and Swan Lake, 4 Acts), Vera Mantero (Until The Moment When God Is Destroyed By The Extreme Exercise Of Beauty) and Heather Kravas/Antonia Livingstone (———-a Situation for Dancing). He premiered his first group piece called “O” at Dansens Hus in Oslo