re adjustment s

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Three performers slide through a sequence of iconic images and movements, adjusting and arranging them again and again.

They commit to shape their thinking differently, shifting ways to relate to each other and to the images they engange with.

What do they construct together and apart?


Choreography and Concept:

Marina Colomina


Performance an co-creation:

 Marina ColominaLisa Vereertbrugghen and Marta Ziolek .


3of us
This piece was shown at Frascati Theater, Amsterdam (21rst, 22nd and 23rd of Marh and 2013 and 11th and 12th of June 2013), in Uferstudios, Berlin (4th of July 2013) and at the Volkspaleis, The Hague (19th of September 2013).

-around my work, around re adjustment s 

In my work I deeply have an inquiry. It’s not secret. I hope it’s not obscured. I aim to have enough transparency to make my concern and interest delivered and become part of the experience of the spectator. My questions are around the perception and representation of the body, action in perception, affect, presence and participation in a quiet observation.

The main interest in re adjustment s  is to expand the perception of our bodies by using prexisting images and adressing the attention to what is beyond their surface. Re adjustment s wants to shape differently our thinking by finding other ways to relate to each other and to the images we carry on our bodies. It explores the intersection of pop culture, art history, and the self through the engagement of the body and the mind.

I collect images from art and dance history and popular culture. I’m curious in how they are able to create movement by little readjustments in its in betweens.  My work evolves around the examination of potentiality through apropiating static and moving images, fragments of choreographies, songs and movie’s soundtracks appropriated from high and popular culture. I’m interested in working through a body practice capable of thinking the production of the new with how I deal with appropiation, in a personal postproduction of an associative logic, which operates in terms of form and content. I’m dealing with representation in order to fragment the notion of unity.

I’m fascinated by that friction that arises when bodies invest in their engagement with the virtual but simultaneously acknoledging the signs are being given. Crystalizing the materiality of the body in constant remodeling of the perception of what the body can be. The reality that the actual event presents is in a continuous negotitiation with the virtual, and then is when the body becomes more than human, a machine; the space embraces multiple dimensions and the time unfolds the crystalization of our specific lens to adress attention towards and expanded perception of the body.

Important questions for me in this piece: what else can recognition produce. What is the affect of it? What do the images do to us/potential viewer?

One comment

  1. Pingback: PicturEd #83 | Jegens & Tevens

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