moving spaces
stopping time
refracting visible
it happens sometimes,
when suddenly,
something catches your gaze,
stops you for a moment.
your eyes seem to squint
in order to focus,
tune the connection…
the full understanding
hasn’t come yet,
but you’re already engaged
with what you see…
there’s that unnoticeable moment,
when things, let’s say,
are pending,
a split second before
the choice is made.
you haven’t fully yet realised
what is in front of you,
but somehow
it made you linger...
in such a moment,
the inexplicable and
unconscious
is present,
but ceasing to be such.
I wish I could
stretch that moment,
or capture it
as on a photo,
where light and shade
drew something
that has already
disappeared
from reality
I am a dance artist, choreographer,
film and movement director,
music maker.
my first education lies
in the field of physics.
for 7 years, I’ve been dancing at
tanztheater wuppertal
pina bausch,
and for 3 years at
gothenburg dance company.
the longer I explore the body and mind,
the more I find how diverse our tools of
cognition and existence are,
and how endless we are in our limitations.
the organism is such a mosaic of states,
qualities and structures, it gives us countless variations
for constructing, experiencing and expressing the movement.
this most infinite set of options is in my focus.
I’m interested to find how to achieve virtuosity
and unpredictability, complexity and simplicity
at the same time, the feeling that dance is at ease,
but not primitive.
humanity, habitat, human conditions and human impact on the environment are in the focus of my work, I explore that with and through the body.
I locate my research and creation in the territories between the real and
the invented, the documentary and the fictional, the political and
the poetical, the present and the absent, the illusory and the elusive.
things find its rhythm and composition within the space, including what is not given a focus, including silence. silence and space of emptiness are extremely ‘danceable’ for me. I am particularly fascinated by the notion that nothing can ‘hide’ from the gaze, and intentionally play with this.
I move towards the states in which conscious and unconscious choices
expand the room for manoeuvres.
space, body, and object - they are those elements that ‘dance’, and it is they that shape the outline and contain the mystery in my work.
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metnod
my choreographic language and method
is based on the observation of
the body in space and space in the body,
and in particular, I see the movement as
a synthesis between the architecture and
biomechanics of the body and
internal sensorial journey.
I always try to unleash the potential of the unknown.
I look at things from the point of view of their complexity and duality, inconsistency
and ambiguity, designating the polar qualities of the movement and
bodily states, framing their spectrum
and delving into the range.
I like to play with
defragmentation and re-assembling. non-linearly and non-trivially
alternate the natural movement with an unusual and peculiar, breaking the habitual
or predictable pattern and create a dance that is constantly shifting, and thus really "moving", even when it’s still.
I oscillate between improvisation and composition, gradually structuring and sophisticating the choreography/action. addressing contradictory tasks and states allows me to create
a kind of restrained movement forward, a balancing act, a volume, a state that
does not slip into a monotonous presence.
current
exciting ‘A MOTH ON A BOMB’ updates:
my short was selected for screening at
New York Tri-State International Film Festival
and Tokyo International Short Film Festival
TISFF also took an interview with me
SHORT FILMS MATTER wrote a beautiful review
a film ‘GRAPE MAESTRO’
I’m excited to announce that I am part of a creative team as a co-writer and choreographer in a short film ‘GRAPE MAESTRO’ directed and written by Alla Kovgan, director of photography Miko Malkhasyan.
We just finilised the shooting of the short in Italy.
This short anticipates the feature film ‘PURPLE RIVER’ which is planned to kick off in the 2nd half of 2025.
highlights
of professional
dance experience
THEATER BASEL
(BASEL, SWITZERLAND)
August 2023 - current time
TANZTHEATER WUPPERTAL
PINA BAUSCH
(WUPPERTAL, GERMANY)
December 2016 - July 2023
full engagement in the
repertoire of Pina Bausch
GOTHENBURG
DANCE COMPANY
(GOTHENBURG, SWEDEN)
July 2014 - December 2016
BOLSHOI THEATRE
(MOSCOW, RUSSIA)
March 2013 - June 2014
assistant of the choreographer Tatiana Baganova and soloist dancer in the original creation of “Rite of Spring”
PROVINCIAL DANCES THEATRE
(EKATERINBURG, RUSSIA)
March 2009 - June 2014
I collaborated on original creations with
Dimitris Papaioannou, Alan Lucien Oyen, Constanza Macras,
Sidi Larbi Cherkaoui, Richard Siegal, Saburo Teshigawara, Bobbi Jene Smith, Fabrice Mazliah,
Uri Ivgi & Johan Greben
I am interested in moving from the point of view that it is not I who create the movement, but the movement creates me, or even better, that the movement happens to me, to my body,
as if space and time dimensions materialize in one form or another through my body.
of course, it is I who create the movement and make choices, but somehow this shift in perspective allows me to embrace unpredictability and to be open to the unknown,
especially when I feel stuck and don’t want to start moving as usual.
as soon as I change this perspective, the feeling of being blocked,
stuck, and limited becomes paradoxically liberating.
my research usually starts with some intricate questions, e.g.:
am I a body with a mind or a mind with a body?
what is in me from me?
why am I what you’re saying that I am?
research
creation
the creations, I facilitate, circle around the themes of identity, belonging, displacement, homelessness;
then, shortcomings, tricks and traps of human mind “software”;
power and oppression and the problem of “I know what’s best for you”,
tabu and traditionalism and many others.
my experience shows me that within the time and place in which we create,
the personal people’s contribution and the concept that our bodies constantly reflect
the world’s events and carry the imprints of history and contemporaneity
will yield something more unique than if I, alone, insisted on my limited perspective. the only place where I'm persistent is in emphasising the spectrum and polysemy of things we explore.
thus, the work becomes a mosaic, a kind of constantly moving and transforming substance.
humour coexists with sadness, illusion with reality, simplicity with complexity, limitation with freedom.
music that I create is like an open conversation with a closest friend,
or oneself.
it's reflective
and intimate, sometimes dark. it's pulsing
and filled with atmosphere
and recurrence.
it’s moving and made for moving.
enjoy. share love.
smiles, turning wheels, poems...
my recent compilation
of never published music
that I composed over
the period of 2004-2011
about to become to be
my new album of original music,
includes some work, made for a piece
‘good bye, Montana’ by Jonathan
Fredrickson, and a film
‘a tiny cut shorter’ by Nathalie Larquet
hearts and gigahertz
my album of electronic beats
lost contours of memory shine
my 2nd album
in search of something elusive
my 1st officially released album
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