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competition film
Dir Veronika Akopova
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Screening of works in the competition (3) + talks with artists

22.04 1 p.m.


1. Tomer Zirkilevich, SACHLICHE ROMANZE, DE, 2017, 08:00


Same old me, lying down, trying to get up, slowly

I can’t. Not today. Too heavy…

That’s what you said yesterday.

You’re weak.

Etta is playing. Is it the radio, is it me?

I get up, I fall. I walk around. I fall. I fall heavier.

I want to crash, I want to suffer, I don’t want help, I don’t need help.

I need to fall to be able to continue.

I’m scared to be alone...

Listening to Etta, realizing that I have the power, I have the control.

It’s a game, so play it! Throw yourself!

I’m throwing myself, I’m falling, crashing over and over...

Walking with no purpose.

Fighting against Etta

“When the reflection in the glass that I held to my lips revealed the tears that were on my face”

No tears, I know I can control it but I don’t know how. That’s funny.

Keep falling. No! Get up, you’re losing it!

I’m losing my mind.

Everything comes out...

Do you wanna hear a poem?



Tomer Zirkilevich is an Israeli choreographer, director, performer and teacher, based in Berlin. Graduate of The School of Dance Arts of Kibbutzim College, Tel-Aviv, he also studied theatre, dance and composition at Studio Play and at The Nissan Nativ Drama Studio within the frame of a preparatory course.
Choreographer of the piece Infidelity: A Love Story; choreographer and dancer in the pieces: Like Father Likes Son (Part 2), LOVERS1 together with Shlomo Lieberman, What Have I Got?; choreographer and director of the piece Auf Wiedersehn; co-creator and performer of the piece Tigers by Sharon Reshef Armony; creator and dancer in the piece Like Father Likes Son (Part 1); artistic director and choreographer of the educational theatre project Lechaim das Leben together with Sveta Azriel. Received a scholarship for outstanding dance-theatre students from the Caesarea Fund. Was awarded the Oded Kotler Prize for young artists in Ashdod.





2. Pavlo Kovach, MAM NA IMIĘ ZOJA, PL, 2018, 09:42


As of one of the first artists in Samara, Zoja Karnauchowa was active in the field of contemporary art. Her work was intuitive in nature due to “the Iron Curtain”, separating her from the world context. She probably was unfamiliar with the concept of performance, John Cage and his work 4.33. Despite the lack of relevant documentation, there exist numerous myths regarding her works. The stories of the witnesses to her actions were passed by the word of mouth, incorporating the Taoist idea according to which what is immaterial cannot be destroyed. The locals perceived her as mentally unstable. At 1956 New Year’s Eve, she put on a physically demanding performance piece, which, surprisingly (to the artist, above all) evoked wide interest. It was the first case in history when a piece of art became a miracle. As a result of lasting persecutions, Zoja Karnauchowa was forced to immigrate to Poland, where, according to some, she lives to this day.





3. Tanin Torabi, THE DÉRIVE, IR, 2017, 09:10


An exploration of social and cultural issues. A dancer moves among the people in an old bazaar in Tehran capturing their responses and reactions. Dance is prohibited in Iran.


Tanin Torabi طنین ترابی was born in 1992 in Tehran, Iran. She earned BA in Sociology in Tehran, and her MA in Contemporary Dance Performance from University of Limerick, Ireland. Torabi has made several award winning dance films and performances and currently works as a dancer, choreographer and dance filmmaker in Iran and Ireland. Her most recent works are The Dérive, Invisible Point, Ruby, Beyond the Frames and Immensity. She has received over 15 awards for her films to date and her works have been described by festival directors as rebellious, creative, inspiring, unbearably elegant and affecting, emblematic and poignant, empowering to women, and with an exceptional ambition that is layered with a complexity of personal and cultural nuance.





4. Benjamin Skop, TEMPORAL LINEATION, DK, 2017, 08:58


Temporal Lineation is an abstract movement piece that seeks to explore our perception of the body in motion. By reducing the complex form of the arms to simple geometry, a line, a new possible way of perceiving motion will arise. The perception of movement is challenged even further as time and space are manipulated. We no longer see a linear flow of time, but rather ‘mishmash’, a kind of temporal collage that enables us to see whole sequences of movements unfold at once and repeat themselves.


Benjamin Skop is an artist working with human movement as his primary interest.  He is concerned with movement as a primal constituting feature of reality and looks at how it is generated within a broader context of time and space. Skop is interested in how we perceive motion by way of our perceptual apparatus as well as through our active (motion-based) engagement in the world.

“I am curious about the possible ways of expanding our understanding of the moving body through various technologies, in particular image- and time-based media. I find interest in the inherent geometry, proportions and shape of our anatomy, as well as how our physique relates to its environment and the wider framing of human life. Perhaps, by our acts of moving-in-the-world, we ourselves create a kind of moving architecture.”

Skop’s professional dance career saw him perform in many of the most significant theatres around Denmark, as well as in Sweden, England, China and France. After ten years of dance and theatre work, Skop shifted his knowledge and understanding of the ‘movement-world’ into the field of visual arts.

Through continuous experimentation with various mediums including photography, video, motion capture and 3D technology, Skop explores new ways for corporeal movement to be performed, understood, represented and expanded upon.




5. Vitalii Shupliak, LIVE VIEW, PL, 2018, 01:39


Mediated looking through a screen, desynchronisation of reality, rotating and uncontrolled watching.


Born in 1993, Ukraine. Mainly engaged in performance, video and installation, runs Pi Gallery.
Author of eight individual projects and participant in over fifty group exhibitions.




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  • Jury 2nd stage: Dara Friedman
    Dara Friedman (b. 1968, Bad Kreuznach, Germany; lives in Miami) uses everyday sights and sounds as the raw material for film and video artworks that reverberate with emotional energy. A former student of the famously rigorous Austrian filmmaker Peter Kubelka, Friedman engages tendencies in 20th-century experimental cinema that call for a radical reduction of the medium to its most essential material properties. In place of linear storylines, her films typically portray straightforward gestures and situations that unfold according to predetermined rules and guidelines.
    Yet for all of Friedman’s strenuous logic and discipline, her approach remains unabashedly sensual and emotive. Bearing rich imagery and a strong emphasis on bodily experience, her films generate moments of high-pitched, cathartic intensity as well as serene, even euphoric interludes. In recent years, Friedman has increasingly explored the charged boundaries between the public and private spheres, working with musicians, dancers, actors, and other individuals selected through casting calls and auditions. These experimental collaborations dovetail with the artist’s longstanding endeavor to use her work as a means of engendering empathy while pounding on the walls that separate viewer from subject, artist from audience, self from other.
    Dara Friedman studied at the Städelschule in Frankfurt, as well as at the Slade School of Fine Art, University College, in London; University of Miami, School of Motion Pictures; and Vassar College in Poughkeepsie, New York. Most recently (2017-18) she mounted a mid-career survey exhibition Dara Friedman: Perfect Stranger at the Perez Art Museum Miami with a catalog raisonné distributed by Prestel. Solo exhibitions of her work have been presented at institutional venues including Hammer Museum, Los Angeles (2014); Museum of Contemporary Art Detroit (2014); Center for Contemporary Art Ujazdowski Castle, Warsaw (2013);  Miami Art Museum (2012); Contemporary Art Museum, Raleigh, North Carolina (2012); Museum of Modern Art, New York (2010); Public Art Fund, New York (2007); The Kitchen, New York (2005); Kunstmuseum Thun, Switzerland (2002); and SITE Santa Fe (2001). Her work has been included in group exhibitions at institutions including Hirshhorn Museum and Sculpture Garden, Washington, DC (2013);  MoMA PS 1, Long Island City, New York (2010); Whitney Museum of American Art, New York (2009 and 2002);  Schirn Kunsthalle Frankfurt (2009); Museum of Contemporary Art, Los Angeles (2002); and New Museum of Contemporary Art, New York (2002), among several others. Her work is included in institutional collections, including those of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Pérez Art Museum Miami; Migros Museum für Gegenwartskunst, Zurich; Institute for Contemporary Art, Miami; and Hammer Museum, Los Angeles. Friedman is the recipient of the Rome Prize (2000).
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  • Jury 2nd stage: Anna Królica
    Anna Królica is a curator, critic and historian of dance. Her books include Sztuka do odkrycia. Szkice o polskim tańcu (An art to discover. Essays on Polish dance) (Tarnów, 2011) and Pokolenie solo (The solo generation) (Krakow, 2013). She was the editor and curator of the album Nienasycone spojrzenie. Fotografia tańca (The insatiable gaze. Photographing dance) (Tarnów / Warsaw, 2017).
    Her most important curatorial projects include: Maszyna choreograficzna | Choreographic Machine (2013–16, Cricoteka), Z perspektywy żaby | A Frog’s Perspective (2015, Zamek Culture Centre) and Archiwum ciała | Archive of the Body (2013, Zamek Culture Centre). She sat on the Polish Dance Platform jury in 2008, 2012 and 2017 and chaired the Programme Council for Dance at the Institute of Music and Dance (2011–13). She lectured at the Institute of Contemporary Art and the Performative Arts Department of the Jagiellonian University. She currently lectures at the Dance and Media Art Institute of the Adam Mickiewicz University in Poznan. Her texts were published in Dwutygodnik, Teatr and Didaskalia journals.
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  • Jury 1st stage: Krzysztof Kornacki
    Prof. Krzysztof Kornacki is a film expert specializing in the history of Polish cinematography and employee of the Culture and Art Department of the Polish Studies Institute at the University of Gdańsk. He is the author of Kino polskie wobec katolicyzmu 1945–1970 (Polish cinematography and Catholicism 1945–70 – book nominated for the Bolesław Michałek award) and “Popiół i diament” Andrzeja Wajdy (Andrzej Wajda’s Ashes and Diamonds –  2011“Pióro Fredry” Award for the Book of the Year). Kornacki also co-edited Poszukiwanie i degradowanie sacrum w kinie (Looking for and degrading the sacrum in cinematography) (2002) and Sacrum w kinie. Dekadę później (The sacrum in cinematography: a decade later) (2013). He co-founded the Loves of a Blonde Film Club at the University of Gdańsk and served as its first chairman; he also sits on the Editorial Board of the Panoptikum magazine on audio-visual culture.
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  • Jury 1st stage: Katarzyna Pastuszak
    Katarzyna Pastuszak (Ph.D/Poland) is a dancer, perfomer, academic, artistic director of Amareya Theatre (Gdansk, Poland); curator of Butoh Festival in Gdansk and Gdansk Dance Festival (2009-2014), honourable member of the Gdansk Culture Council (2009-2014), academic teacher at the Institute of Culture - Gdansk University. In 2015 received the prestigeous scholarship of the Polish Ministry of Culture “Młoda Polska” for the realisation of performance project “Kantor_Traces”; also in 2016-2015 she was nominated for prestigeous prize “Splendor Gedanensis”. In 2014 published her Ph.D dissertation entitled “Hijikata Tatsumi’s Ankoku butō – the theatre of the body-in-crisis”. Co-operated with such artists and groups as: Saburo Teshigawara, Waguri Yukio, Murobushi Ko, Kawamoto Yuko, Gekidan Kaitaisha, Peter Schumann – Bread & Puppet Theatre, Odin Teatret, Edivaldo Ernesto, Jozef Frucek and Linda Kapetanea and others. Presented her works at festivals in Poland and abroad: Tanzimpulse Festival (Salzburg), Redplexus Festival (Marseille), XV Alternative Theatre Meetings KLAMRA, SUKKOT Dance Festival in Adama Centre / Mitzpa Ramon (Israel), Festival of Asian Culture - MADE IN ASIA, Festival Streetwaves Gdańsk, Poland; International Festival “Sound Around Kaliningrad”, Russia; Redplexus Festival - Preavis de Desordre Urbain in Marseille, France; Shakespear Festival, Gdańsk, Poland; Villkvinneseminar Festival of Women Art, Mosjoen (Norway); TAGTAS Festival, Morishita Studio in Tokyo, Japan; Apart Festival, “Opening Doors III” festival organised by Workcenter of Jerzy Grotowski and Thomas Richards. Performance “Nomadic Woman” directed by Katarzyna Pastuszak together with Amareya Theatre & Guests was preformed at 11. International Dance and Theatre Festival in Theatre X Tokyo and also in Greenland National Theatre in Nuuk and Sisimiut Kulturhus. In 2016 "Kantor_Traces: COLLAGE" dir. by Pastuszak was chosen as "The Best OFF-OFF Performance" by Gazeta Świętojańska, in 2017 it won the II Audience Prize at Festiwal Klamra in Toruń. In 2017 "Nomadic Woman" dir. by Pastuszak was presented in Tokyo and Sapporo where 2 Ainu artists joined the presentations, broadening the cultural and political context of the piece - Tsugumi Matsudaira i Utae Ehara.
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  • Jury stage: Wojciech Zamiara
    Wojciech Zamiara (born 1960 in Toruń) - Polish contemporary artist, interdisciplinary artist (creator of multimedia installations, performance and video art), educator. He studied at the State Higher School of Visual Arts in Gdańsk (current name of the university: Academy of Fine Arts in Gdańsk), he obtained his diploma at the Graphics Studio of prof. Cyprian Kościelniak in 1986. He has been working at the Gdańsk University since 1986, currently holding the post of second degree adjunct. He leads the studio Introduction to Intermedia at the Department of Specialization and Specialization at the Faculty of Sculpture.
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  • Jury 2. st stage: Marta Ziolek
    MARTA ZIÓŁEK is a choreographer and performer. Before starting her studies in choreography at the School for New Dance Development (SNDO) in Amsterdam, she studied at the Inter-faculty Individual Studies in the Humanities at the University of Warsaw. In her work she focuses on expanding the field of practice in choreography and the study of new forms of expression and embodiment. She operates in the language of new technologies and pop culture, she is interested in new rituals and performance studies of identity.
    So far, she participated in workshops, projects, and co-worked with such choreographers and theoreticians as Bojana Cvejić, DD Dorvillier, Deborah Hay, Maria La Ribot, Trajal Harrell, Benoit Lachambre, Ann Liv Young, Xavier Le Roy..
    One of her first shows as a choreographer after graduation was "Black on Black" which was produced by Hetveem Theatre  in Amsterdam, co-produced by The Museum of Modern Art in Warsaw, STUK in Leuven, Studio Theatre in Warsaw and Komuna Warszawa in Warsaw. Komuna Warszawa has also produced her two latest works –“PIXO” and "Make Yourself".In the meantime she initiated project called “Pamela”  that had three editions to date: "Pamela at the Gallery" as part of the exhibition "Better Self" Zachęta – August 2017 and Is "It Pamela/Incarnations" (Łódź of Four Cultures Festival – September 2017), "A Seance with Pamela"( a part of: „PTV. Performans TV”, odcinek 3 Ujazdowski Castle Centre for Contemporary Art ).
    Ziółek thus far, among other places, showed her work in the Netherlands, Germany, Austria, Switzerland, Romania, Israel, The United States and Poland.
    In 2011, she received the Dance Web scholarships from the ImPulsTanz Festival in Vienna. In 2012 she participated in the Springdance SPRING performing arts festival - Europe in Motion in Utrecht dedicated to young emerging choreographers. In 2013 she received a scholarship from the Amsterdam Fund for the Arts.
    Ziółek's main focus is exploring the boundaries between visual arts, performance art, film and choreography.In 2018 She created choreographic installation for Netflix’s Pavillion - “Altered Carbon” at Ehtos Gallery. In 2017 she collaborated with Sharon Lochart and created choreography for her film presented in the Polish Pavillion at the Venice Biennale.
    Ziółęk also cooperated in theatrical projects such as "Ewelina’s crying," directed by Anna Karasińska  and “Girls” ,"The Football Players" directed by Gosia Wdowik both at the TR theater in Warsaw. In addition, she participated in art shows such as "Let's Dance" in The Art Station Foundation gallery, "Frame Of Reference" in the Museum of Art in Lodz and in Warsaw's Sculpture Park under the Museum of Modern Art in Warsaw.
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Festival IN OUT
This year we introduced online application system!
12th IN OUT FESTIVAL 2018 dance/image
Experiments / Video / Documentaries / Animations
Since 2005, the In Out Festival has been regularly organized by the Łaźnia Centre for Contemporary Art. This edition will include lectures, film screenings, concerts and an open international competition for the best video works, experiments, documentaries and animations.
This year, the competition will be centred on the subject of dance/image.
The competition comprises two stages: until 9 April 2018, jury of the 1st stage will pick 20 artists, whose works will be qualified to the 2nd stage of the competition and screened at Łaźnia CCA. The artists will be invited to take part in the Festival in Gdańsk.
1st award: PLN 5,000 funded by the Marshal of the Pomeranian Voivodeship, Mieczysław Struk
2nd award: PLN 4,000 funded by the ŁAŹNIA CCA
The jury will also award special mentions. 
The competition is aimed at visual and film artists aged 18 and over.
Film duration: over 1 minute, under 20 minutes
Production year: the work should not be older than 3 years
The deadline for applying online is 25 March 2018. Do not hesitate to take part!
Link to the online registration form:
Rules and regulations:
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The next edition in:
-60 days
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