Photo: Miroslav Halada 

PRAGUE, JUNE 16-26, 2011

Piazzeta of the National Theatre
at Narodni Trida 2, Prague 1

At Piazzetta between the National Theatre and New Stage Theatre (ex-Laterna Magika) you could find a dwelling of thirty white cubes/black boxes. This architectural maze was inhabited by performative projects by scenographers, performers, choreographers, film directors, drama theatre, installation artists, fashion designers, writers, painters...

This live exhibition talked to you only if you talked back to it. This living and breathing exhibition told you stories, and the more time you spent there the more it spoke to you. It tought you to dance, and asked you to listen. It required positioning and it let you get lost. If you were afraid of intimacy – you better wouldn't have entered.

PARTICIPATING ARTISTS: Nathaniel Mellors // Ana Borralho & João Galante // Markus Schinwald // mareunrol’s // Brett Bailey /the Third World Bunfight// Socìetas Raffaello Sanzio // Hooman Sharifi / Impure Company // Ilya and Emilia Kabakov // Monika Pormale // Hans Rosenström // Anna Viebrock / Till Exit // Josef Bolf // Josef Nadj // Guerra de la Paz // Monika Pormale // Terike Haapoja // Egon Tobiáš // Elevator Repair Service // Ioana Mona Popovici / Simon Vincenzi // Ulla von Brandenburg // Caroline Evans / Hansjörg Schmidt // Bohdan Holomíček / Eva Hrubá // Abbey Theatre // Harun Farocki // Dace Džeriņa // Paul Divjak // Dejan Kaludjerović




The Intersection projects' aim was to explore contemporary forms of scenography by looking at scenography as a discipline between theatre and visual arts and by exploring scenography through performative spaces and environments. In contemporary art, which takes the relationship between the spectator and art piece as one of the main issues, these performative environments are crucial.

Intersection further aimed to look at this relationship and the role of audience, both from the intimate (personal and psychological) and the spectacular (social, political, entertaining) point of view. Asking for instance, whether intimate relationships are possible in performance or whether the spectacular is always seductive.

The interactive installation/performance of the Intersection was also an exercise in exhibiting performance. For the audience it created an exhibition that could have been experienced, interacted with, and touched. The scaling down of space – the boxes were 3 m x 3 m in size on average – and the ‘stretching’ of time (8 hours a day for 11 days) created a new time/space relationship to be inhabited by the performances.


The interactive installation/performance presented a labyrinth of thirty boxes filled with installations and live performances that was open as a live exhibition over the course of eleven days.

The individual projects for the boxes were chosen in such a way to show the large span of disciplines in which performance and performativity appear as well as to show extreme an variety of themes connected to the idea of performance (war as performance, tango as performance, clothes as performance, etc.). The exhibition aimed to create the opposite of a definition of what performance (and performance design) today is – and to inspire audiences to question forms of performance in today’s world.

Visiting the labyrinth enabled audiences to create their own narratives both in the connection to the individual experiences of the boxes, but also through choosing the order of visiting the boxes and creating one’s own journey. One ticket enabled visitors to come back to the exhibition at any time while it’s open, creating a possibility for audiences to become co-inhabitants. 

PQ 2011 - Oren Sagiv´s Architecture of the Intersection project (dokument Adobe PDF)PQ 2011 - Oren Sagiv´s Architecture of the Intersection project

Illustration: courtesy of Studio Oren Sagiv

PQ web