THE GREAT TAMER (2017) / a new work by Dimitris Papaioannou / trailer from Dimitris Papaioannou on Vimeo.

conceived – visualized + directed by DIMITRIS PAPAIOANNOU

with PAVLINA ANDRIOPOULOU, COSTAS CHRYSAFIDIS, EKTOR LIATSOS, IOANNIS MICHOS, EVANGELIA RANDOU, KALLIOPI SIMOU, DROSSOS SKOTIS, CHRISTOS STRINOPOULOS, YORGOS TSIANTOULAS, ALEX VANGELIS

set design + art direction in collaboration with TINA TZOKA
artistic collaborator for costumes AGGELOS MENDIS
lighting designed in collaboration with EVINA VASSILAKOPOULOU
artistic collaborator for sound GIWRGOS POULIOS
sound design and operation KOSTAS MICHOPOULOS
music JOHANN STRAUSS II, AN DER SCHÖNEN BLAUEN DONAU, OP. 314
music adaptation STEPHANOS DROUSSIOTIS
sculpture design NECTARIOS DIONYSATOS
costume – props painting MARIA ILIA
creative - executive producer + assistant director TINA PAPANIKOLAOU
assistant director STEPHANOS DROUSSIOTIS
assistant director + rehearsal director PAVLINA ANDRIOPOULOU

technical director MANOLIS VITSAXAKIS
stage manager DINOS NIKOLAOU
assistant sound engineer NIKOS KOLLIAS

assistant to the set designer – set painter MARY ANTONOPOULOU
assistants to the sculptor MARIA PAPAIOANNOU + KONSTANTINOS KOTSIS
production assistant TZELA CHRISTOPOULOU
tour manager + international relations JULIAN MOMMERT
executive production assistant KALI KAVVATHA

produced by ONASSIS CULTURAL CENTRE – ATHENS (Greece)
 
co-produced by CULTURESCAPES GREECE 2017(Switzerland), DANSENS HUS SWEDEN (Sweden), EDM PRODUCTIONS, FESTIVAL D’AVIGNON (France), FONDAZIONE CAMPANIA DEI FESTIVAL – NAPOLI TEATRO FESTIVAL ITALIA (Italy), LES THÉÂTRES DE LA VILLE DE LUXEMBOURG Luxembourg), NATIONAL PERFORMING ARTS CENTER – NATIONAL THEATRE & CONCERT HALL | NPAC – NTCH (Taiwan), SEOUL PERFORMING ARTS FESTIVAL | SPAF (Korea), THÉÂTRE DE LA VILLE – PARIS / LA VILLETTE – PARIS (France)

executive producer 2WORKS
with the support of ALPHA BANK
air carrier sponsor AEGEAN AIRLINES

trailer filmed by NIKOS NIKOLOPOULOS + edited by DIMITRIS PAPAIOANNOU

dimitrispapaioannou.com
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vimeo.com/papaioannou

design-is-fine: “Josef Frank, textile design Bows, 1960. Linen, cotton. Via Cooper-Hewitt. “Frank’s interest in pattern design was not unique among Viennese architects; like Josef Hoffmann, Koloman Moser, Otto Czeschka, and Dagobert Peche, he...

design-is-fine:

Josef Frank, textile design Bows, 1960. Linen, cotton.  Via Cooper-Hewitt.

Frank’s interest in pattern design was not unique among Viennese architects; like Josef Hoffmann, Koloman Moser, Otto Czeschka, and Dagobert Peche, he produced several early designs for the Wiener Werkstätte. Unlike other Wiener Werkstätte designers who created a unified design scheme by using the same pattern throughout an interior—on textiles, wallcoverings, and even fashion—Frank preferred an eclectic combination of fabrics in his interiors.

Work : Dance : Display (Part 2) from SINecdoche Dance on Vimeo.

SINecdoche Dance at Greenwich House Music School, July 9 2011.

Choreographer: Belinda He
Performers: Laurel Atwell, Ilona Bito, Erica Frankel, Mandy Hackman, Aya Sato, Alexandra Taylor
Pianist: Patrick Metzger
Total Length: 48 minutes
Excerpt Length: 12 minutes 47 seconds

*Excerpt is an edit of the final 13 minutes of the piece, by which time the dancers and dance audience members share the same space, and the boundaries between who is performing, and whom being watched, become blurred.

This is an evening-length work presented at Greenwich House Music School, where Belinda He was its inaugural choreographer-in-residence. 6 dancers and 1 pianist were involved in the 3-day, 5-show run. The work seeks to challenge conventional audience expectations, etiquette and participation by offering the dancers up to be viewed at varying levels of objectification. Audience members are invited to question their own interactions with the artwork that is placed in front of them. The dancers are variously seen as art objects on display, artists honing their crafts and dance-makers deep in their creative processes. Photographs of these dancing bodies in rehearsal line the walls of the gallery space where audience members first encounter the dancer-exhibits. As the piece progresses, the space itself slowly transforms into a stage, on which the identities of artists, art makers and art viewers conflate, so that the dance can be experienced as Belinda desires to experience all dance: in the trenches, involving all senses for a deep, visceral appreciation.

Martha Hincapié Performance Practice 20 min from Martha Hincapié Charry on Vimeo.

1. TRANSPARENTE Choreography: Martha Hincapié Charry. Video director: Diana Salcedo
2. DOUBLE SIDED Choreographer: Martha Hincapié Charry. Video director: Diana Salcedo
3. TO DIE FOR Choreographer: Martha Hincapié Charry
4. THE SECOND TIME IN BETWEEN Choreographer: Martha Hincapié Charry
5. DOMESTIC ANIMALS Research Director: Martha Hincapié Creation/Performance Martha/Gabriel
7. BACKWARDS 7 Creation/Performance: Martha Hincapié Charry
8. GARDEN CONVERSATIONS Choreographer/Performer: Martha Hincapié. Video director: Diana Salcedo

Pele - A performance from florido on Vimeo.

Um contato ritual das superfícies. Qualquer coisa que se molde ou algo que apenas seja. Seja corpo, mapa das nossas histórias, toda extensão de um território: pele. Sensível. O barro, a terra, que perdemos o contato: Eu quero retornar. Frio sobre o corpo o protege, cobre, remete as artificiais coberturas. Mas não, é barro. O barro como minha própria pele que descubro formas moldadas que desejo desfazer. Esfarela-se. Por outro lado, nos falam de uma cor certa, uma não verdade do ser. Um sufoco, um falso tecido. Marcas que não devemos ter. Uma certa beleza distante que desejo que desaproprie-se de mim. Isso que nos cobre, que nos distancia de nós mesmos.

Em Galeria Sede - 2015

Silk from Lilianna Kane on Vimeo.

Performance, choreography, and artistic direction by Lilianna Kane (BFA thesis project at The Ohio State University, Department of Dance)
Performed at Urban Arts Space in Columbus, OH
Music: “Unison” by Meredith Monk and “True Love” by Patsy Cline
Costume made by Lindsay Simon
Videography: Aubrey Elder

“Dance training and performance offers a space to practice our ability to listen to each other, see each other, move with each other, consensually touch each other, and exist peacefully together, regardless of where we come from, what we look like, how we identify, and whom we love … Dance celebrates and relies on difference, and teaches the practice of non-judgement. To dance, to witness dance, to love oneself and to empathize with one another are political acts. Dance requires experiencing another body in relationship to one’s own. Dance is a form of political kindness.” -Lilianna Kane