Martina Nevistić, biography / interview

martina autorica i kosa

Foto: Martina Nevistić

MARTINA NEVISTIĆ (HR) In 2000 graduated from the School of Contemporary Dance Ana Maletić, after which she was a member of The Studio Contemporary Dance Company. In 2006 finished her studies at Faculty of Economics and in 2008 her studies at the SEAD in Austria. During her schooling, she collaborated with well-known choreographers: Anna Macrae, Salva Sanchis, Jule Flierl, Libby Farr, Susan Redhorst, Ted Stoffer and Sanja Tropp Fruehwald. Received scholarship of Nomad Dance Academy where she created the piece WannaBe, for which she won the Audience Award at the Festival of Choreographers in Almada, Portugal. Since autumn 2009, lives in Zagreb where she works as a dancer, performer, author and pedagogue. In 2009 established O.N.E. Art Company in Zagreb. She is author and co-author of projects: Silver (2010), BLU (2011), Evolution revolution (2011), Black (2012) and Sisyphus Pink (2013). Her interest in choreography involves multimedia and interdisciplinary, where she questions movement through personal sensibility of the performers also conditioned by space and objects around them. In 2010 became a member of the Zagreb Dance Company, where she is involved as choreographer and dancer.



G: Where are you starting from and how?; which way are you going?; where are you going to?

MN: Certainly there is an internal drive, intention to work on the project and idea. The process of work creation, research, produces solutions that contribute to the concept of the project, support it, but also the ones that should be rejected or the ones that are really good, but for something else, like they are a part of some other concept. This way different ideas can be accumulated, that can serve as a starting point for some future project.

I work on the body. I finished dance education and movement is the basis of my work. I think about how the movement of performers can influence viewers. Interactivity is important to me. How to play with the viewers’ perception, but in a subtle way.

Through my work I enter into collaborations with visual artists. In the relationship between video and dance happens something like choreographing in real time and post-choreographing, the dividing line between that provides space for new insights, new creativity and space for approaching the viewer. Even Nietzsche talked about the position of the third – the one that watches.

What I am interested in, what I deal with and the direction I am taking is the relationship of multiple media with the aim to broaden the perception of the viewer and space. Medium of the body and video medium are like a dual action. A moving body that is in itself a moving image, i.e. body in movement is image in movement. The best example of space of choreographing and post-choreographing is the repetition of the movement that cannot be one hundred percent identical in real time and video recording.

Sisyphus Pink Project is a dance video installation, with a triptych-like structure, and it is shown in multiple locations in a circle. It talks about the amplified relationship between the whole and a fragment, due to various display locations there is a stronger relationship with the viewer, because through the perception of the seen leaves the space for one’s own creation, in its format it relies on repetitiveness, cyclicality and loop as the main building block.

In collaborations with visual artists a multimedia approach to dance became intriguing to me, in the sense that it “tickles my imagination“. :) I am interested in movement as creating space for creativity through given parameters for the final function of the format, also a video presentation that is not treated in the form of a film but as an installation, because of its conceptual structure. I am interested in that dividing line between choreographing and post-choreographing as something new that is being created, i.e. fragmented, refracted in the perspective and the function of which is to be the foundation for the continuation of creating. I would definitely like to develop this interest of mine through future artworks, and yet, in time, they might evolve into something else.