HI JACK. HIJACK!
ANDRONIKI MARATHAKI - ONASSIS CULTURAL CENTRE | April 28-29, 2018
Set Designer's Assistant
Onassis Cultural Centre
Exhibition Hall (-1)
Free admission on a first come, first served basis.
R u ready for a #dancejack at the Exhibition Hall of the OCC?
#Hijack Androniki Marathaki joined by 12 #Jacks invites us in this pirate venture, which activates the choreographic circuit, pursuing the minimal.
“Hi Jack. Hijack!” is a long durational performance where audience members can decide when to enter and when to leave, as well as their desired distance from and viewing angle of what is happening. In the first 5 minutes the core message of the performance has already been disclosed. Despite that, the performance lasts three hours.
Twelve performers move in circular orbits within a strict structure/ system. They aim at their coordination in flow, the acceptance of the self as part of an organic whole. Actions arise as a result of interaction of the figure and the background, the human beings and the nature. While in opposition to the western way of exploring reality this is far from being a novel approach. Nonetheless it activates differently performers’ in-situ choices and the invisible synapses’ (sensation, interaction, affect, synaisthisis) in varying ways.
Is this a maypole of events, a sea anemone or a bowl of fruit gel? The Jacks are like messengers of a way of thinking insulating an individual from the whole, separating the thinker from the thought, the cause from its effect, while simultaneously highlighting their inescapable inteconnectendness.
Co-creation (Jacks): Léda Dalla, Candy Karra, Matina Kokolaki, Gitsa Konstantoudaki, Emmanouela Korki, Vitoria Kotsalou, Loukiani Papadaki, Aris Papadopoulos, Maria Papadopoulou, Maria Paschalidou, Kostas Tsioukas, Filippos Vasileiou
“Hi Jack. Hijack” premieres within the program of OCC's 5th Young Choreographers Festival and is the epilogue of the fourfold research project of Androniki Marathaki that comprises “Love & Revolution” / “anomaly of the least” (2016), “Pros-euxes” (2017) and “one masturdating” (2018). The four performances evacuate the epic connotations of love and revolution, focusing instead on their minute, trivial and imperceptible everyday aspects.