511bojana_cvejic

Bojana Cvejić

Social Choreography and Performing the Self

On Monday, Jan 23 at 7pm, Bojana Cvejić will present a lecture at Sector 2337. This event is co-organized with The Goethe Institut.

Bojana Cvejić (born in Belgrade/Serbia) is a performance theorist and performance maker based in Brussels. She is a co-founding member of TkH editorial collective (http://www.tkh-generator.net) with whom she has realized many projects and publications. Cvejić received her PhD in philosophy from the Centre for Research in Modern European Philosophy, London and MA and BA degrees in musicology and aesthetics from the Faculty of Music, University of the Arts, Belgrade.

Her latest books are Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance (Palgrave, Basingstoke 2015), Drumming & Rain: A Choreographer’s Score, co-written with A.T.De Keersmaeker (Mercator, Brussels, 2014), Parallel Slalom: Lexicon of Nonaligned Poetics, co-edited with G. S. Pristaš (TkH/CDU, Belgrade/Zagreb, 2013) and Public Sphere by Performance, co-written with A. Vujanović (b_books, Berlin, 2012). She has been (co-)author, dramaturge or performer in many dance and theater performances since 1996, with a.o. Jan Ritsema, Xavier Le Roy, Eszter Salamon, Mette Ingvartsen, and Christine De Smedt.

In 2013, Cvejić curated the exhibition Danse-Guerre at Musée de la danse, Rennes (in collaboration with C. Costinas) in the frame of which she made videos two videos “… in a non-wimpy way” (with Steve Paxton) and “Yvonne Rainer’s WAR” (co-authored with L. Laberenz).  In 2014, she devised a choreography and lecture program titled Spatial Confessions for Tate Modern’s Turbine Hall.

Cvejić teaches at various dance and performance programs in Europe, she is Associate Professor of Dance Theory at the Oslo National Academy of Arts and Professor of Philosophy of Art at Faculty for Media and Communication, University Singidunum in Belgrade. Her current research focuses on social choreography, technologies and performances of the self, and time and rhythm in performance poetics and Post-Fordist modes of production.

 

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