Abonma Transferzala

The Old Power Station programme



August 19, 2017 August 20, 2017 August 21, 2017 August 22, 2017

August 19, August 20 and August 22
from 6.00 pm until 8.00 pm and from 10.00 pm until midnight, every 15 minutes
August 21
from 6.00 pm until 8.00 pm and from 9.00 until 11.pm, every 15 minutes

Tania El Khoury works in Beirut and London, creating interactive installations and performances in which the audience is an active collaborator. She is currently finishing a PhD on the political potential of interactivity. She particularly looks at live art after the Arab uprisings. Tania is a co-founder of the urban research and live art collective Dictaphone Group.
In As Far As My Fingertips Take Me, Tania commissioned artist Basel Zaraa to write a rap song inspired by his family’s history of displacement. During this One to One piece, Basel and one audience member will engage in a conversation through touch and sound.
We may be touched by the tragic fate of people caught in wars or displaced by them, but this “touch” remains a metaphor. These stories usually touch us through the medium of screens and print. But what if one story touched us for real, physically? If we reach out to Basel, do we allow ourselves to be touched at a deeper level? Certainly, we will not be able to immediately let go of this story. It stays with us, at least until we wash it away. In this piece, the artists critically reproduce an accurate situation: refugees are here, yet so far away.

Performance by: Tania El Khoury
Devised with and performed by: Basel Zaraa
Song by: Basel Zaraa (vocals, bass and keyboard), with Emily Churchill Zaraa (vocals), Pete Churchill (music production) and Katie Stevens (flute and clarinet)
Commissioned by: On the Move LIFT 2016 in partnership with Royal Court Theatre

Foto: Tania El Khoury

Reservation is mandatory.

Performance is in English.

15 minutes


John Kelly: TIME NO LINE (US) – work in progress

August 21, 2017 8:00 pm

John Kelly is a visual artist, director, dancer, and performer – a legend of the New York art scene with a forty-year career and numerous awards. Time no line is a solo performance which has been developing for quite some time and will premiere next spring in New York. It is about the author’s account of himself and of the four decades of his creative career – especially of the tragedy that struck the scene in the form of the AIDS epidemic. Kelly’s performances are often characterized by intimate dealings with major topics. This one is based on the disclosure of the ultimate intimacy – author’s personal journals.

In Houllebecq’s Submission it says that even in our deepest and most lasting friendships, we never speak as honestly as when we are faced with an empty sheet of paper and we are addressing a reader we do not know. During his 40 years of personal journal writing, Kelly has been regularly facing sincerity in front of an empty page, and finally transferred this sincerity to the stage. David Hockney, however, says that AIDS has changed the world. If all those people who died of AIDS were still alive, the world would definitely be a different place, he claims. And maybe Time No Line offers an idea of what the world would be like if it weren’t for premature demise of an entire generation of artists. As a survivor, Kelly can report on these events, on his artistic journey, and on the ways his career has changed the world.

Text, movement, video design, performance: John Kelly
Video design: CultureHub
Movement dramaturgy: Jon Kinzel
Music: Thomas Adès, Charles Aznavour, Hildur Guðnadóttir, George Frideric Handel, Jóhann Jóhannsson, Zoë Keating, Gina Leishman, Joni Mitchell, Henry Purcell, Ken Ueno
Archival Film Sequences: Me O Ye Gods (1992) in/and Painting on Glass (1984), avtor/by Anthony Chase
On video: Hucklefaery
Video technician: Yarie Vazquez
Photos: Steven Menendez, Dona Ann McAdams, Arthur Lambert

The performance has been developed through residencies at: Abrons Arts Center, MASS MoCA, Gibney Dance In Process (DiP) Program, Dixon Place, Stara mestna elektrarna – Elektro Ljubljana, La MaMa, CultureHub
Touring in Ljubljana: Fiona Templeton, The Relationship
Supported by: Good Works Foundation, Marta Heflin Foundation, The Persephone Gift
Guest performance made possible by: Trust for Mutual Understanding
Translation to Slovene: Ana Radović

The performance is in English with Slovene surtitles.

45 minutes


August 22, 2017 8:00 pm

Deborah Pearson is a UK-based and Canadian born artist; writer, performer, and curator with a PhD in narrative in contemporary performance. She is also a member of the collective Forest Fringe which organized the festival of the same name. The diversity of her positions and roles in theatre, and at the same time her commitment to constantly question her position, as well as position of other artists and art in general, gives her an extremely diverse spectrum of approaches to theatre.

History, history, history is a performance about different layers of a certain period: the history of Deborah’s family, the intimate history of the family through the words of three generations of women, the history through a work of art – a film featuring Deborah’s grandfather – and a layer of historical events. On October 23 1956, student demonstrations sparked the Hungarian Revolution, a rebellion against the Communist rule and the Soviet forces, which was led from Corvin Cinema. A performance about the fact that every historical event has its face, and every face has its history.

Author: Deborah Pearson
Dramaturgy: Daniel Kitson
Artistic advisors: Tania El Khoury, Laura Danneqin
The project was developed with the assistance of: National Theatre Studio
Produced by: A House on Fire, Theatre Garonne, BIT Teatergarasjen

Foto: Paul Blakemore

The performance is in English with Slovene subtitles.

90 minutes


Societat Doctor Alonso & Semolina Tomić: ANARCHY (ES)

August 22, 2017 10:00 pm August 24, 2017 8:00 pm

Societat Doctor Alonso opened one of the Mladi levi festivals as General Electrica. This time, they are coming with a performance by Semolina Tomić, actress, dancer, former drummer in a punk band, and head of the nonprofit Antic Teater in Barcelona. She travelled the world with the theatre group La Fura dels Baus, which also visited Ljubljana. An Osijek native, she has lived in Barcelona since 1985.

Anarchy has had a bad reputation for centuries, even though it does not really mean the absence of order, but only the absence of hierarchy. In her performance, Semolina reminds us of the important 1936 anarchist revolution in Catalonia during the Spanish Civil War, when all land was effectively and successfully collectivized, as well as of the failed anarchist experiments. Perhaps the performance Anarchy represents a rehearsal for better attempts to undermine the existing order and to establish new relations that are not necessarily based on hierarchy? It is a participatory performance – the audience is greeted by Semolina and 40 plugged‑in electric guitars. Will we establish a new hierarchy together? Can a different hierarchy emerge from anarchy? Or, in Semolina’s words: “If you want silence, you have to reach an agreement.” And: “Do what you will.”

Direction: Sofia Asencio
Playwriting: Tomàs Aragay
Choreography: Sofia Asencio
Creation and interpretation: Semolina Tomić
Lighting and set design: CUBE
Sound space: Alfonso Ferri
Production: Imma Bové
Distribution: Societat Doctor Alonso
Co-production: Festival Terrassa’s TNT, Antic Teatre
In collaboration with: City of Bàscara
With the support of: ICEC, INAEM
Translation to Slovene: Sandra Lebar

Foto: Alessia Bombasí

The performance is in Spanish with Slovene and English surtitles.

60 minutes



David Weber-Krebs: TONIGHT, LIGHTS OUT! (BE, DE)

August 24, 2017 9:00 pm August 25, 2017 9:00 pm

David Weber-Krebs is a visual and stage artist, a researcher and a writer. He lives and works In Brussels. In his creative process, he focuses on the relation between a work of art and the audience, therefore creating situations in theatre where the audience is involved in a “complex game between being absorbed by the performance or immersed in the work of art, and maintaining a critical distance.”
David Weber-Krebs begins his performance Tonight Lights Out with two stories: a true story about a campaign by German newspaper Bild, which invited people to turn off lights for five minutes on a certain evening and thus symbolically contribute to a better world; and another story, a legend of a Cairo boy who is persuaded by ghosts, arising from the confusion between Islamic and Coptic beliefs, to turn off lights, which triggers a miracle – a black cloud of pollution over Cairo disappears. Both stories are the basis for the author’s invitation to attempt a joint action – each member of the audience receives a light and a switch, and the experiment can begin. Will we end up in the dark, will we end up anywhere at all, and what follows after we succeed or fail to cooperate?

Concept, text, performance: David Weber-Krebs
Sound: Coordt Linke
Concept of installation: Hans Westendorp
Technician: Martin Kaffarnik
Production and assistance: Marie Urban
Producer: Elisabeth Hirner
Thanks to: Maarten Westra Hoekzema, Mathias Domahidy
Produced by: A Stichting Infinite Endings
Co-prodution: Frascati, STUK, Zeitraumexit, Theater Zeebelt
Translation to Slovene: Ana Radović

Foto: Kasia Chmura-Cegiełkowska

Performance is in English with Slovene surtitles.

100 minutes


Christoph Wachter & Mathias Jud: TOOLS FOR THE NEXT REVOLUTION workshop

August 25, 2017
5:00 pm - 8:00 pm

The workshop is a journey into possibilities of expression in the communication society and uncovers the narratives and power structures behind it. Participants will create their own Internet independent Wi-Fi communication network, learn how to use it and how to extend the range of Wi-Fi Networks with self-built antennas.

Co-production: Zavod Aksioma, Zavod Bunker
The workshop is related to the exhibition: “…” an archeology of silence in the digital age, presented at the Aksioma Project Space from August 30 until September 29 2017.
The exhibition and workshop are realized in the framework of State Machines – Art, Work, and Identity in an Age of Planetary-Scale Computation project.

Supported by: Evropska unija – program Ustvarjalna Evropa, Ministrstvo RS za kulturo, Mestna občina Ljubljana, Swiss Arts Council Pro Helvetia

Information and application (before August 23rd): sonjagrdina@gmail.com


August 25, 2017 8:00 pm

Origamis, practically the only prop in the play, are a perfect metaphor for the performance itself, where a whole world emerges from paper, from the book. At the same time, origamis are a perfect illustration of the author, Pablo Fidalgo Lareo, a poet, playwright, director … A man who creates masterpieces from empty paper using only his imagination. A Spanish artist of the younger generation who entered the theatre through literature and is trying not to forget it. During creation of this performance, he felt more of a history researcher.

Every national history has blind spots – painful topics that are not being discussed or there is no agreement about their interpretation. In his performance, Pablo Fidalgo Lareo looks at one of the painful historical periods in Spain – Franco’s fascist regime – through the story of his grandfather’s uncle, who escaped from a fascist prison and fled to Buenos Aires. A play about wars that we are fighting for our own identities, about wars that we are fighting for true stories of history, identity of nations and states.

Written and directed by: Pablo Fidalgo Lareo
Performed by: Cláudio da Silva
Lighting design: José Álvaro Correia
Sound design: Coolgate (aka João Galante)
Production and touring: Amalia Area
Technician: Nuno Figueira
Music: Corrandes d’Exili, Lluis Llach, Alfonsina y el mar, Ane Brun, Mulemba Xangola, Bonga, Marisa Monte, Carlinhos Brown
Piano: Ásia Rosa
Co-produced by: Teatro Municipal Maria Matos, Festival TNT, Festival BAD, Festival de Otono a Primavera
Supported by: Espaço Alkantara, O Espaço do Tempo
Translation to Slovene: Sandra Lebar

Foto: Marta Pina

The performance is in Spanish with Slovene and English surtitles.

80 minutes



August 26, 2017 August 27, 2017

August 26 at 10.00 am (in Slovene), at 1.00 and 5.00 pm (in English)
 August 27 at 10.00 am, 1.00 and 3.00 pm (in Slovene)
➤ Sports society Tabor

Neja Tomšič is a visual artist of the younger generation. With her projects and academic research (documentary film in the gallery space), she is also active in the field of film, literature and theater.
Tea for Five: Opium Ships is a “visual essay”; the author combined visual art (painted ceramics) and tea ceremony, creating a micro‑performance in which she takes us for a journey with Opium ships, to the time when only Chinese knew how to grow tea, and only the British knew how to trade it. And since we are sitting, having tea in the present time, a new understanding of today’s post‑colonial world is revealed with every new Opium ship.

Conceptualized, devised and painted by: Neja Tomšič
Ceramics: Anja Slapničar
Produced by: MoTA – Muzeja tranzitornih umetnosti
Thanks to: Zisha – čajna hiša

Reservation is mandatory.

60 minutes


Laura Kalauz, Maja Leo, Bojan Djordjev, Christopher Kriese: SAID TO CONTAIN (RS, AR, CH)

August 26, 2017 11:00 am 6:00 pm August 27, 2017 11:00 am

Bojan Djordjev was a guest of the 2015 Mladi levi with Not Red, But Blood, a performance of partisan, revolutionary and communist poetry. This year, he is visiting with Laura Kalauz, Maja Leo and Christopher Kriese. As usually for Djordjev, the artistic team is interested in a specific phenomenon, which is not esthetized, but rather deconstructed and exposed to critical thought.

Said to Contain is a contractual term used by shipping companies to record the content of shipping containers, as they are not verifying their contents but instead trust what is written. The artistic team tries to penetrate this membrane of confidence, to pierce the non‑transparent nature of container logistics, the foundation for the organization of our world. In March and April, the team travelled on a container ship from Hamburg to Buenos Aires, and then installed a container in Zurich and staged a performance in and around it. This performance is now coming to Slovenia, a country with a sea port and thus part of global shipping logistics. The artists perceive the container as an anchor around which they create an artistic event, as well as debates and meetings with different local stakeholders.

Authors: Bojan Djordjev, Laura Kalauz, Maja Leo, Christopher Kriese, Lisa Schröter, Miriam Walther Kohn
Local production: Bunker, Ljubljana
Local producer: Alma R. Selimović
Technical director: Andrej Petrovčič
In collaboration with: Nada Especial Tanz, neue Dringlichkeit (nD), TKH-Walking Theory
Co-production: University of the Arts, Theater der Künste (Zurich),
Magacin Cultural Centre (Belgrade), Art Space La Darsena (Buenos Aires)

Foto: Ivan Hrkaš

The performance is in English.

120 minutes


Anton Pavlovič Čehov & Maruša Kink: THREE SISTERS (SI)

August 26, 2017 4:00 pm

Meeting point: Parmova 23

Maruša Kink is finishing her master’s program of directing at Academy of theatre, radio, film and television; but she entered the theatre and theatre directing through acting. She works as a theatre director in Margareta Schwarzwald Institute which she co‑founded and where she works as Artistic Director. She is still acting and directing for youth and adults and cooperated with repertory theatres and the independent scene.
Chekhov represents a challenge to any author; how to stage this theatrical canon in a way that it becomes fresh and up‑to‑date again, and is not suffocated by the anon of all previous enactments. Three years ago, the Mladi levi festival was opened by the performance What if They Went to Moscow, a remake of Three Sisters by Christiane Jatahy, a play in a fresh format, with parallel and multi-layered film and theatre action, which was filled with yearning of Moscow, of something else, something different. The adaptation and staging by Maruša Kink is also bold, not afraid to intervene in the text. It transforms the protagonists to the present time, the actors switch between characters, and the play is moved outside of the theatre. It is performed in the premises next to the railway, close to the Railway Museum, which used to be one of the festival’s home places. In the performance about longing to leave, yearning for something else, the millieu of the play, marked both by the place and by the sounds of trains, may remind us that we are looking at life, here, in front of us, while trains are passing by.

Direction: Maruša Kink
Performing: Daša Doberšek, Jure Kopušar, Matija Vastl, Lucija Tratnik, Aja Kobe
Musician: Danijel Bogataj
Dramaturgy: Nika Leskovšek
Costumes and set design: Tina Bonča
Executive producer: Mija Špiler
Produced by: Zavod Margareta Schwarzwald, AGRFT

Foto: Željko Stevanić, Arhiv CTF UL AGRFT

Performance is in Slovene with English surtitles.

90 minutes