Polemic of Two Metrics is an installation of choreographed sound and shadows casted by a geometrical sculpture. It is accompanied by an occasional movement performance. The installation centres on a large suspended object derived from ‘sodai’ (in Lithuanian) or ‘puzuris' (in Latvian): a traditional straw sculpture that consists of a double pyramid rotating around its axis. Used to mark moments of transition in life, such as solstices, births or weddings.However for IevaKrish this artefact is interesting for being commonly understood as a miniature depiction of the universe. In this regard, the ‘puzuris’ or ‘sodai' and it's shadows should not be read as a merely sculptural object, but as a shaping of the void into geometrical order, as a projection of an ideal space, as a projection of past shaping the future.
IevaKrish’s brass version of the ‘sodai’ differs from the traditional straw made ‘puzuris’ in that it has been split in half, creating two autonomous pyramids that rotate separately, coexist and influence one another in way that fails to be polemic.
It resembles the world that has been split into two, the world that is made out of metal and is hanging on a thin, invisible thread. Yet it structures and occupies an ideal (empty) space and projects a complex repetitions of shadow. The surrounding of the sculpture is filled with choreographed sound coming from circle of speakers.
Occasionally two dancers appear in the space to attune the expression of their body to the projected unknown, chasing the shadow and the flow of the sound.
Labrys is a humanly attempt to create imagined, architectonic constructions through movement and sound. The performance space is not used to create movement — the movement is modelling a space where two minds and two bodies have to constantly work together to perform mathematically complicated spatial combinations. In this attempt to construct an imagined labyrinth a notion of human imperfection and fragility is revealed.
The project is created by a support of the State Culture Capital Foundation of Latvia
Meet/-/Along (Satikt in LV) is a performance of immersive choreography and moving sound. Satikt (in Latvian holding double meaning - to meet and to get along) is a research into two-part dancing where simultaneously performed parts are rather similar but never the same. Communication of similar differences is highlighted. In Satikt a new technique of multi-part choreography-making is being developed. This technique is borrowed from Lithuanian sutartines singing tradition famous for its use of disonative cords. So in Satikt IevaKrish attempts to transform cords of minor and major second into two-part dance.
A void within reach / Rise up, come with me (“Tuvumā tukšums/ Celies augšā, nāc man līdzi”) was first created in 2017 and then recreated in 2019. A Void Within Reach… is an exploration of symbolism from the Gilgamesh epos and creation stories of Judeo-Christian culture.
A Void Within Reach is a collage of dreamlike archetypical notions presented in a format of a performance. The focus of attention is organised around perception of “reset” or being in between two states: destruction and reconstruction. A series of resets in a constant transition that shifts from system to system, from order to order, from chaos to order to chaos that spirals up and down and never stops. A Void Within Reach is about eternal soundlike movement somewhere in the void.
Choreography, scenography & dance: Ieva Gaurilčikaitė-Sants, Krišjānis Sants & Erik Eriksson
performance, 2017 – 2019
GOTCA is not a traditional workshop nor a traditional performance, but a very traditional hybrid balancing in its communication between both. It has an aim to create a two hours long shared performative space after which each participant would actually feel more inspiring to others and in turn empowered. GOTCA tries to understand how come not everything goes (even at occasions when anything goes) in a form of seriously relaxed absurd. GOTCA always had both elements present: it starts more like a performance, then turns into a workshop of massaging and being massaged, collective breathing and watching how artists, while doing the previously established breathing score, makes a traditional baltic cold beetroot soup and servers it to everybody present. The event has no particular ending, it just dissipates while everyone is eating and chatting with each other. Artists believe that feeling of belonging in certain community could put one in a so called flow state where everybody individually and separately can engage into a shared temporary reality.
Performative installation, 2018
Infade (“Uzdzist”) is a composition of natural physical movements and reactions in an unnatural environment where there is no determined and collective beginning or end. What for one might be midway, for another simultaneously is a finale. The vast number of individual histories exposes multiple views of self in the world, the observer in the world and the observed within numerous worlds. Thus the ambition of Infade was to create an exclusive experience for an individual that simultaneously and unknowingly would become part of someone else’s reality and an observation of a stranger's nature is enabled. The artists aimed for the participant and the space to be in constant dialogue. They concentrate on sensorial type of communication that potentially could evoke and challenge to rely on instinctive part of ones being, changing the way how the participants experience the environment. The scenography (which is also created by the artist duo) is manipulated by light, sound and video to evoke a personal dialogue with one audience member at a time.
A Digital reflection (13’)
Commissioned by Riga International biennale of contemporary art (2020)
This is a diary or a reflection produced when asked to share the view on current reality in April and May of 2020. The diary consists in a form of graphic video of choreographed quotes, texts, music and drawings present in the shared life during the very first self isolation.
“House of Labrys” is an immersive soundscape made by artist duo IevaKrish in collaboration with Latvian composer Jēkabs Nīmanis. It is a dance of four voices that isn’t offered to be experienced visually. Visitors will be asked to blindfold their eyes upon entrance and then escorted to an individual seat placed in a grid. Each and all will be surrounded by a composition of spatial sound carried and played by geometrically moving dancers. “House of Labrys” is a humanly attempt to create an imagined, architectonic constructions through movement and sound. In this attempt a notion of human imperfection and fragility is revealed.
For “House of Labrys” IevaKrish and Nīmanis in collaboration with software and hardware designer Pāvils Jurjāns have invented a new mobile instrument: a kinetic contra-point sampler. Four of those are carried in backpacks and simultaneously controlled by each dancer. 38 prerecorded sound samples are controlled, moved and composed into music by dancing performers. In result music written by Nīmanis follows live the rules and decisions of choreographic material invisibly manifested in space. Nīmanis has provided tools that enables IevaKrish to choreograph sound. In turn choreography itself next to Nīmanis will become the second composer of “House of Labrys”. The context of “House of Labrys” is designed for (but not limited to) visitors with visual disabilities.