Join us at Studio Pekinpah (Trg prekomorskih brigad 1, 4th floor) as we mark the 10th anniversary of Tomaž Šalamun's death and 100 years of the Surrealist Manifesto. Through words, movement, and presence, we’ll summon the birds so they cease to fear — for death is but a mistake of naming, and dance is yet to come. Interventions by Miklavž Komelj and Leja Jurišić, with guests Tibor Hrs Pandur, Marko Rop, Dan Rosenberg, and more.

Matej Kejžar has been awarded the Croatian Theatre Award 2024 for House Bolero, recognised as the best performance in the dance category. Performed by an exceptional cast and produced by the Studio for Contemporary Dance, the piece highlights Kejžar's distinctive approach to movement and expression. With scenography and lighting by Petra Veber, this award marks a significant moment for contemporary dance. Congratulations to Matej and everyone involved!

Join us on Wednesday, November 6 at Studio Pekinpah in Ljubljana for the presentation of Djuna Barnes' Antiphon, now available in Slovene. The event will feature a blend of spatial installation, live performance, and reading, with a focus on engaging the translator in dialogue. A unique opportunity to experience one of the most enigmatic works of 20th-century drama.

Tatiana Kocmur will once again explore the topic of sexual violence in a provocative environment with her new project Meso⏐Flesh. Unlike The Following Body, which focused on the sheer brutality of trauma, Meso⏐Flesh focuses on the story of rekindling love after the traumatic encounter with sexual violence, presenting the audience with a story of regrowth through pain.

This is a story about oscillations between certainty and indeterminacy. Rejecting the traditional relationship between Dance and Choreography means attentively following the myth of Aphrodite’s birth. Born from foam, Aphrodite evokes images of irregular rhythmic patterns, the spectacle of movement over movement, and the voyage from one pattern to another. Will the cut between one and the other always mean the end of repetition, a kind of end of reproduction? How will we handle this change? Will we?

This is a story about oscillations between certainty and indeterminacy. Rejecting the traditional relationship between Dance and Choreography means attentively following the myth of Aphrodite’s birth. Born from foam, Aphrodite evokes images of irregular rhythmic patterns, the spectacle of movement over movement, and the voyage from one pattern to another. Will the cut between one and the other always mean the end of repetition, a kind of end of reproduction? How will we handle this change? Will we?

Notes to Antiphon by Petra Veber and Leja Jurišić is the conclusion of the first phase of reading The Antiphon, the great work by Djuna Barnes, as well as an announcement of the Slovenian translation by Miklavž Komelj, which will be published by cf.

Anamaria Klajnšček and her team blend music and dance to explore the potential of a ceaseless collective flow of thoughts. Movements trigger sounds that constantly drives new motions, all reflecting cognitive processes. An interlace of four individual entities, fighting for attention, diving into a whirl of shared thoughts with a single motive: to keep going on.

The dance piece 303 draws its title from the analogue synthesizer Roland TB-303 which was highly popular in the past decades but was later replaced with digital machines. Inspired by the intense digitalization of our lives during the pandemic, the project focuses on the relationship between our time's analogue and digital realities.

Filip Štepec in Jernej Potočan nagovarjata čas, v katerem Google brskalnik najbolje pozna naš notranji svet. Za izhodišče vzemata nereflektirano vskadanjost, beg med štiri stene, skrite fantazije, ki pa se paradoksalno zrcalijo v naših brskalnikih.

Ljudje posegamo v gozd, a je tudi moč gozda, da oblikuje ljudi, neizogibna. V gozd si gremo celit rane, v gozdu rane nastanejo, tišina gozda ni nenasilna, glasnost sveta prav tako ne. Z Rdečim gozdom Leje Jurišić se sooči pet plesalk in plesalcev, koreografinj in koreografov. Nastaja omnibus soočanj z gozdom in rdečo.

V začetku leta 2022 se je umetnica Tatiana Kocmur skozi umetniško perspektivo pričela posvečati raziskovanju zgodovinskih in aktualnih problemov telesnega in spolnega nasilja ter koncepcij in jezika (ali pač ne-jezika) o bolečini. The Following Body je prva vizualna artikulacija tega raziskovanja.

Spending Time Dancing presents Matej Kejžar’s artistic experimentation with Dancing discharged from the drive for choreography. In order to relieve dance from the burden, constructed in the concept of choreography, the burden of a carefully planned succession of movements as progress, the dancers indulge in the processes that defy the linearity of both movement and time. They compost.

A hybrid improvised music concert and dance performance by Beno Novak, Boštjan Simon, and Elvis Homan, awarded as the best performance of the 12th Biennial of Slovenian Contemporary Dance Art Gibanica 2023.

For quite some time, the dancer and choreographer Leja Jurišić has been developing her interest in the arts that in their time transformed the field of art, those that had cut into it, stirred it up, and redefined it. This impulse and focus can be observed in her creative work; she collaborates with artists from various fields to create pieces in which she can cross the conventions and boundaries of a dance performance. In the new piece entitled CONCERT, the horizon of the leap from the dance arts is even bolder, even bigger.

Strokovna in specializirana usposabljanja na področju kulture, s ciljem zvišanja kompetenc in mednarodnih zaposlitvenih možnosti udeležencev usposabljanj.

Projekt sta sofinancirali Republika Slovenija in Evropska unija iz Evropskega socialnega sklada.

A ‘favourite album’ as a choreographic frame where dance resonates between proto-knowing, rhythm, musical force, listening and hearing, narration and abstraction. From this ‘favourite album’ a new dance piece arises, a new dynamic territory. Within music, in a parallel which is precisely here.

A monument: a structure, a tangible structure, a lasting tangible structure as a reminder to a historical phenomenon, a fixation of a specific memory arising from the fear of loss of memory. Now: to make one who is movement itself into a monument.

Pekinpah’s first collaboration with Urška Medved has created three new variations of visual performance Consequence! A fresh take on body and textile and of the trails after the performance takes place.

Matej Kejžar, who in recent years has been shaping his notion of an emancipated form of dance is continuing to do so in LSLSLS. He asks: What is it with instructions that teach us how awareness needs to be habituated for us to insert ourselves within repetitive cycles? LSLSLS is a depiction of tension. It reveals the conditions for the necessary change. It is an open window that may render visible the infinite processes of tension.

The eight edition of the Spider festival of radical bodies, re-takes unconventional spaces and charges them with cutting performances from all over the globe to create the five days of the Zone of co-existing. With Marie-Pierre Brébant & François Chaignaud, Daniel Linehan, Matej Kejžar, Stina Fors, Deepak Kurki Shivaswamy, Urbana scena and many more.

The meeting of the musician and dancer on the stage, which is also a dance floor and a concert venue, resonates with the connection of the incompatible – the first joint project by Leja Jurišić and Milko Lazar acts as a hybrid experimental work, in which the artists engage in a creative dialogue to transcend their own authorial position.