Two female performers on a wooden brick platform. Leaving no visible signs of what could become a defined point in space, they develop a high precision, circular movement sequence that runs through the whole piece. Constantly suspending their arrival point, these movements seem to just leave into space something of the intensities at work inside the body when movement organizes its own potential. We watch them writing a movement code that is going to activate space from the material supporting them.

Mothers tell(s) stories of construction: two women are playing with space, inventing the work through minimal structures of action, memory and potency. Using elementary material, lego- like bricks transformed into protocols of movement, space and sound, they design their own cities setting in motion questions of heroism and transcendency. Strolling around, inventing new codes of action, Mothers are playing with the limits of their own designs.

Myrto Katsiki

Concept – choreography: Iris Karayan

Performers: Chara Kotsali and Ioanna Paraskevopoulou

Music: Nikos Veliotis

Visual fellow artist: Nikos Papadimitriou

Visual design - props: Vasilis Gerodimos

Lighting design: Elisavet Moraki

Costumes: Vassiliki Panayotopoulou

Artistic collaborator: Myrto Katsiki

Photos: Vasilis Xenias

Resolution reviews 2008

Dancer Marilena Petridou walks into a dimly-lit stage and begins a lecture-demonstration on her performance. An engrossing chain of images ensue as she begins the dance proper: a fascinatingly detailed floor-based sequence of writhing and shuddering, accompanied by painfully loud white noise which stops only when Petridou achieves an upright position; a trail of sticky notepapers distributed Hansel and Gretel style; a series of carefully performed gestures facing the audience. However, the totality is somewhat illegible. The choreography seems so abstracted from its source that understanding something about the subject of the performance, the self, is problematic. Despite this, the unusual movement language and attention to detail left a pleasing lasting impression.

Gillie Kleiman

ZITA dance company's Self Portrait, a solo for Marilena Petridou choreographed by Iris Karayan, aims to say something about the body in performance. She (de)constructs the dance's fundamentals and states objectives. Either addressing the audience or jerking through introverted motifs; changing into a multifaceted dress; writhing and scraping in fits and starts; flipping from soft call and response to robotics and martial arts. Petridou's proficiency is proven and there's something thrilling about a drum kit only used once. An artist is a schizophrenic thing, and maybe that's the point. The effect is slightly marred by eclecticism though, and feels impalpable in places.