Directions: Natalia Chylińska, Katarzyna Pastuszak
Texts: Natalia Chylińska, Katarzyna Pastuszak
Choreography: Natalia Chylińska, Katarzyna Pastuszak
Scenography: Natalia Chylińska, Katarzyna Pastuszak
Video: , Piotr Nykowski,  Natalia Chylińska, Katarzyna Pastuszak
Directions of lights: Natalia Chylińska, Katarzyna Pastuszak
Performance: Natalia Chylińska, Katarzyna Pastuszak
Duration: 45 min.
The performance was co-produced by Amareya Art Association as part of the project “Independent Without Borders: Pol(s)ka in Japan 2021” and supported by the Cultural Scholarship of the City of Gdańsk 2021.
In Anatomies, the artists play with the convention of the anatomy lesson. They shift the focus from the centrally positioned human being, towards the landscape that emerges at the interface between the human and that which is alternative to the human. They question whose eye is looking and what kind of landscape it creates with its gaze. They extend the perception to the sensitive ear, recording the processes of the inner soundscape. They seek a polyphonic anatomy.
Anatomies – two bodies that absorb the earth and introduce the first movement into taboo areas. They want to sow, fertilize, embrace with warmth, protect - the let the human and non-human agents pass through them. They listen to the condition of an individual human being - to the small personal cataclysms, and thus find the common ground with the natural landscape that has been destroyed by man.
are listening and clinging to explosions that tear apart the stagnant system
are reviving what has frozen on its way to the surface
allow dripping through the fissures
touch the sediments crystallized in the body, the remains of complex processes of accumulation
are an exercise in speculation
are the proximity that cannot fail to be political
are an attempt to embed oneself in a space that has violated the delicate tissue of intimacy
“The experience of touch is difficult to translate into words and awkwardly expressed. Its nature is ad hoc as if it wanted to remain, hence it slips out from under replacement signs and escapes secondary evocations. In any case, the conflict between touch and words is evident”. (Jolanta Brach-Czaina,
transl. K. Pastuszak, “Membranes of the Mind”, Warsaw 2003, p. 59).