Future read in Concrete and Stone

Monument to the battle of Sutjeska, Tjentište, Bosnia and Herzegovina,  photo: Ivan Hrkaš

Monument to the battle of Sutjeska, Tjentište, Bosnia and Herzegovina, photo: Ivan Hrkaš


Future Read in Concrete and Stone is a gaze into communist art and politics of the 20th century, a trip through the partisan forests of Yugoslavia, a picnic at Kozara, Sutjeska and Kadinjača, a voluntary labour action for building a future through temporary and contingent theatre experience. It is a performance structure made of invitations: invitation to imagine, invitation to look and decipher the society and, eventually, an invitation to physically engage collective body intelligence.

premiere: DasArts/Dansmakers, Amsterdam, 2015; 2016: Belgrade Youth Centre, Belgrade; Infant, Novi Sad; Impulstanz, Vienna; Platform/Kino Kultura, Skopje.

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photo: Ivan Hrkaš

concept and directing: Bojan Djordjev

in collaboration with: Selma Banich (choreographer), Fernando Belfiore (choreographer), Siniša Ilić (visual artist), Dragana Jovović (producer), Damjan Kecojević (actor), Ola Maciejewska (choreographer), Katarina Popović (graphic designer), Manolis Tsipos (choreographer)

performed by: Selma Banich, Fernando Belfiore, Bojan Djordjev, Damjan Kecojević, Ola Maciejewska and Manolis Tsipos

photography on location: Ivan Hrkaš; video and sound editing: Jelena Maksimović; sound advisor: Jakov Munižaba; costume advisor: Maja Mirković

In September 1917, just before the October revolution, Vladimir Ilyich Lenin claims in one of his writings, that the only way to stay truthful to the revolution is to treat it as art. Following this thought, the authors of Future Read in Concrete and Stone study and read the Yugoslav modernist memorials to the Second World War and People’s Liberation Struggle as traces of revolution but also as coordinates of a new society.

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photo: Thomas Lenden / Jelena Janković

Modernist memorials of the Second World War in Yugoslavia, built during the 60ies and the 70ies, are translations of a radical revolutionary gesture of the partisan movement into constructed landscapes, public spaces – stages of revolution. They were built and conceived so as to invite visitors to explore them, to interact with them through movement, as if they were choreographic scores set in concrete and stone, thus emancipating the entire memorial genre.. The Monument to the Revolution on the Kozara Mountain, by Dušan Džamonja, as well as Miodrag Živković’s monuments on Sutjeska and Kadinjača, are all treated in the performance Future Read in Concrete and Stone as a source of mise-en-scène and choreography principle which, during the performance, get discovered, collectively learned and performed. Theatre is claimed as a space of experiment, in which a temporary collective can interpret, translate and rehearse social choreography of radically new concepts from the progressive past.

production: TkH – Walking Theory and DasArts

Co-production: Belgrade Youth Centre and Lokomotiva – Centre for New Initiatives in Arts and Culture through projects “Nomad Dance Academy” and “Life Long Burning”. Part of research realised during residency at Akademie der Künste der Welt, Cologne.

Financial support: Ministry of Culture and Information of Republic of Serbia and European Union – Program “Culture”


Interview with Lisa Ribar

Interview with Đorđe Krajišnik (in Serbo-Croatian)


Belgrade premiere photos