0002 | birdville

Having just returned from a danceWEB scholarship in Vienna, choreographer Simona Deaconescu continued her series of interdisciplinary performances that research the development of dance in relation to science. The show materialized over the summer, throughout two artistic residencies at WASP – Working Art Space & Production and Battery Dance Studios in New York. An interactive technological extravaganza speaking about both the desire to improve and fragility, 0002 | birdville is a new virtual room that belongs to the series initiated in 2013 through 0001 | The Dream Factory.

“Our body is a constantly evolving archive, that still presents mysteries in efficiency and perishability. It’s probably the most technological thing we’ve ever known. With each step we take, we take part in building the universe. Every time we move, we change the world. As we begin to understand these processes, we realize that we are being danced as part of an organization of activities that we do not author. 0002 | birdville is populated by hybridized dancers, with augmented bodies, that live in a virtual world created and organized independently of their desire.”

– Simona Deaconescu


Choreographer: Simona Deaconescu
Dancers: Răzvan Stoian, Denis Bolborea, Galea Bobeicu, Mira Cook/Alexandra Balasoiu, Clement Mensah
Multimedia & Interactive Platforms: KOTKI Visuals
Sound Design: Denis Bolborea
Producer: Tangaj Dance
Co-producers: 4Culture Association, Life Long Burning, WASP – Working Art Space and Production, Battery Dance Company New York.

Performed in Bucharest, Cluj, and Craiova as part of the eXplore Dance Festival.

*Performance financed by Life Long Burning, the Administration of the National Cultural Fund (AFCN) and ARCUB – The Bucharest Council Cultural Center, “București 555” programme, as part of the Camera 0002_Dance to Kinect project.

**This project is partially financed through the generous contribution of the American people through the United States State Department. The content falls into the responsibility of Tangaj Dance and doesn’t necessarily reflect the opinions of the US State Department or those of the American Government.


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