Mediterranean Heterotopies focuses on ClubMed Achziv, a site which failed to maintain itself as a utopia for visitors from across the world. A piece of land that is repeatedly being abandoned.
Achziv (in Hebrew: I will disappoint) coastal strip lies between the Israeli northern city of Naharia, and the Lebanese border. Achziv strip contained the ruins of a Palestinian village الزيب), Az-zeeb), an abandoned ClubMed camp, a nature reserve, bathing beach open to the public, and a self-declared micronation (Akhzivland), founded in 1972 by Eli Avivi.
Evidence of human settlement at the site dates back to the 18th century BC. By the 10th century BC, it was a prosperous and fortified Phoenician town.
This beach is part of the landscapes I could see from my window as a child, and which were of fantasies, imagination and familiarity, sometimes colored in terror and bombing. The perception of that strip was always boarded by the sea from one side, and the northern Lebanese mountains from another.
I am approaching this piece of land as a distantly related visitor, trying to capture a few moments initiated in different eras, and curate them in one spatial sense. using the stage to rethink them. bringing together different narratives and perceptions, forgotten memories and myths. Questioning the ability of a place to set free out of its own destiny.
Documentations of the unique architecture, interviews with past workers, archeology study group, visits to the sites as it stands abandoned today – are all part of the rehearsal process. making choreography about a place in order to study a place. Remembering it as a performative action.
The project's first output: “Hands Up!” was presented on Kelim Festival at Kelim choreography Center, Bat Yam, Israel (May 2022).
Performers: Noa itzhaki, Uri Duvdevani, Eynav Rosolio.
Sound design: Galia Einey.
Light Design: Baruchi Shpigelman.
Light Object: Ofer Laufer.
Special Thanks to Nethanel Rinon.
The piece was supported by Yehoshua Rabinovitch Tel Aviv Foundation for the Arts.
Pics by Tamar Lamm and David Kaplan.
Archive pics by Steve Tomas.
Nature of the Beast
As a statoscope which listen to the pulse
of a certain living environment, this is a stage
which is both a performance and an Image of a conciseness zone.
End of a night,
end of a fire, dawn.
In this process I have gathered materials
which echoes obsessively into my works but always as guests. A synthetic living environment which contain these materials, and allow the rhythm and duration to observe them – a slight gaze, obscure happening,
that does not rely upon explained textual meaning. At the heart of the piece
lies an invitation: to touch
zero from all its angles and sides, to establish a new ground in “areas of
minimum” - of body, of rustle, of expression, of image and transfiguration.
Areas of little control and coherence which holds a potential for solidarity
through the corporal images that rises. Moods, states of matter, positions and spontaneous
dances, charged in a catching quality.
Research and context:
In our encounters with the world, there
are sites in which our experience forms verbal knowledge, and therefor they are
considered as valid (profession, family, sexual and political identity, etc.) In
these sites we place our position by an external set of rules, which is
superior to us and definite. Our
encounters with other beings are also formed by this set of rules. by it, we
perceive ourselves as well as the other. under this disposition, the existence is
embodied in action. According to that,
non-action is a state of absence.
Other encounters with the world, sites of
intimacy, which words fail to describe, are therefor in-valid to the absolute
set of rules and are not regarded as sites of knowledge. They necessarily exist
outside the languages.
In theater, lies a very
intimate connection to the world. In it, one recognizes herself and the other,
in a way which overcome the limits of the human verbal ability. It succeeds to
be intimate because it is not obliged to the contextual sense.
In this work, spectators are invited to
a site which examine the tensions between action and non-action. This
site allows processes of recognition, experience and internalization.
The piece is part of an ongoing research
which deals with expanding the meaning of the term Passivity. As part of
the research the following works has been created: Antarctica (2015) But he hesitated (2018) Nothing
happend (2020).
Performers: Michal Arad, Nir Vidan and Eynav Rosolio
Light and set design: Ofer Laufer
Sound design: Niv Gafni
Object and costumes design: Yasmin Steinmetz
Assistant director: Galit Criden and Nurit Dreamer
The piece is supported by Mifal HaPais (Israel).
2.10.22 - Catalysi Festival, Teatro Comandini, Cesena.
7-8.11.22 - Autumn Cult Festival, Hazira, Jerusalm.
10.1.23 - Hazira, Jerusalem.
Pictures by Eyal Lally Bitton
לא קרה כלום I Nothing Happened
Video. 6 min.
Directing and Performing: Eynav Rosolio
Videography and editing: Nivi Lehavi
Presented on:
Hazira - עקרות בית נואשות בין יאוש למימוש
ON HOLD online exhibition
HARAMA Magazine #30
Exit through the sideways door by LOCULUS Collective
Two Gardens
by Eynav Rosolio and Carmel Bar
Performers:
Celeste Messina Agostinelli, Eleonora Bonino, Nitzan Raich
Dima Utro, Carmel Bar and Eynav Rosolio.
Sound design: Niv Gafni
Lighting design: Ofer Laufer
Costume design: Yasmin Steinmetz
The work includes video images from the piece “Neshel” by Yasmin Steinmetz.
Pictures by Amit Mann
With thanks to Fabio Ruggirello, Claudia Castellucci, Giacomo Battaglia, Dominque De Martiis, Ahmed Ben Nessib, Michal Evyatar, Yaara Rosolio.
Premiered on The Gathering Festival by HaZira.
Jerusalem 2019
The work was supported by Mifal HaPais Council for the Culture and Arts and the Italian Culture Institute.
Libagione נֶסֶךְ
Attorno ad un fiume abitato da ninfe cacciatrici, scrutiamo tra i cespugli questo mondo familiare e proibito, tesi, sospesi, affamati.
Directed by Carmel Bar and Eynav Rosolio
Participants: Celeste Maria Messina Agostinelli, Ahmed Ben Nessib, Carmel Bar, Eynav Rosolio
Sound: Niv Gafni
Video: Yasmeen Steinmetz
Special Thanks to Claudia Castellucci, Giacomo Battaglia, Dominque De Martiis
Scuola Conia, Teatro Comandini, Cesena 2019
