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November 22nd to 25th 2012.

After the huge success of the first LIMIT Live Art Festival held last year, Dom omladine Belgrade proudly announces the second edition for November 22-25, 2012. Tickets are available at all EVENTIM outlets, from 300 to 800 dinars.

This year’s program includes performances that even more radically explore the borders of performing arts. The performances offer just one approach for interpreting artistic innovations, and remind us of some crucial changes made in this artistic discipline.


LIMIT – Live Art Festival promotes innovative artists and art troupes whose work broadens the borders of performing arts. The phrase live art doesn’t denote the artistic forms and genres, but rather the goal of the festival – to promote the principle of continuous experimenting in artistic processes and practice.

The biggest star of this year’s festival is playwright Raimund Hoghe, closest associate of the famous Pina Bausch during her most creative years. The twentieth anniversary of his independent work is being celebrated across Germany and France. Hoghe will present the play L’apres midi, a new interpretation of Nijinsky’s Afternoon of a Faun.  

LIMIT will host the project The Orchard Ballads by Ingri Fiksdal, one of the most famous Nordic choreographers; Who is Next? by the always provocative Janez Jansa; and the Zagreb project Dogs by Belgrade director Bojan Djordjev based on Hervé Guibert novel Les Chiens.

The spectacular Night of Performances will again be held, presenting artists Miljana Babic, Stipe Kostanic, Bojana Radulovic, Alen Sinkauz, Nenad Sinkauz, Miroslav Piskulic, Via Negativa and Uros Kaurin.

The additional program will include the unusual installation ILLUMAT by students from the Bauhaus Art School, as well as a fashion performance by author Mladen Tusup. There will be a promotion of the book Public Theatre between the Market and Democracy written by Dragan Klaic, the well known theatrologist of the region who recently passed away.

The LIMIT Art Live Festival
, in accordance with Dom omladine Belgrade’s mission and program, will introduce the audience to experimental, border-line, and radical performing art forms which are rarely seen on the domestic scene. Milan Lucic is this year’s play selector, while Zvonimir Dobrovic, curator of the Night of Performances, will also be representing the Perforacije Festival, a partner organization from Zagreb.

Sponsors of the LIMIT Festival are the Secretariat for Culture of the City of Belgrade and the Goethe-Institut.



"Today, coming up with a festival program is an ungrateful task, just as writing an introduction to it is. This task is not difficult only in Serbia, but everywhere in Europe. There is an ongoing global financial crisis. The society is in crisis, politics is in crisis, and there is a general feeling of hopelessness – at least from our perspective. Truth be told, it’s difficult to organize a second edition of a festival and achieve the same or similar success as with the first one. It seems to me that the disproportion and gap between what we want to achieve and what we can has never been so wide, at least in the financial sense.

This position was the starting point and motive for setting up the concept of this year’s Limit. Taking all into consideration and finding myself before a “blank paper” prepared for writing the program plan, a very simple idea arose. In the past (if there ever was such a time), similar events were the only true and ultimate landmark when it came to new performing arts. Today it seems impossible to make a list of names and plays, and say that they present something innovative. Artists are now being creative everywhere. Those who are innovative are usually outside the institutions and there is no way to get a complete look at every single work. In this sense, the basic ambition of this year’s Limit is only to offer one of so many possible approaches to the experimental and innovative practices in performing arts. Belgrade has several excellent festivals with a similar concept. The ambition of Limit is not to compete or compare itself with them, but to contribute to the “discussion” on performing arts from its own specific position – the one Dom omladine Belgrade has as an institution within the system.

With all this in mind, the way of writing up the program was actually very simple and obvious. This year’s Limit has a clear line-up. It will host four plays and the traditional Night of Performances. The festival will open with Afternoon (of a Faun) by Raimund Hoghe, one of the main actors responsible for making contemporary dance a vital and important element of performing arts. He did this both through his work as a playwright and associate of Pina Bausch, and through his independent choreographies that are different but still in touch with Bausch’s work. After this Pasolinian look at the history of dance, we’ll be presenting the play The Orchard Ballads by Norwegian author Ingri Fiksdal, who through Nordic precision and charm, plays with display forms and offers an innovative structure that combines dance, scenic and audio installations. The play Dogs, which caused a lot of commotion, is a stage bomb directed by Bojan Djordjev which combines the use of body and words and “awakens the sleeping spirit of Jean Genet” through the performance of actor Stipe Kostanic. The festival will be closed by Janez Jansa and his six performers in Who is Next?, a work that pursuits to answer some crucial questions regarding contemporary art and performance in general. We will also be seeing the Night of Performances that will most probably surpass its first edition held at Limit, through performances that were presented in New York City, Zagreb and Skopje. For this I owe a special thanks to Zvonimir Dobrovic.

Finally, in regard to the forthcoming reforms in the theatre, we hope that events like these will impose questions on aesthetics, since the status of contemporary theatre must have a serious structural framework.

Milan Lučić, artistic director of LIMIT - Live Art Festival

and Director of Cultural Center Dom omladine Beograda









“329 DAY OF YEAR” / 21:30h / DOB CLUB
“ONE TOUCH” / 22:45h / DOB CLUB  



NOVEMBER 22-25th / DOB

DOB  / 22.11. (19-23h) / 23.11. (19-22h) / 24.11. (17-01h) / 25.11. (19-22h)






In 1894 Debussy composed his Prélude à l’ Après-midi d’un faune, for many the starting signal for modern music. In 1912 this music was the backdrop for Vaslav Nijinsky’s legendary choreography.

A hundred years later Raimund Hoghe produced his version of the subject, set to Debussy’s music and several lieder by Gustav Mahler. L’ Après-midi is danced by Emmanuel Eggermont, who also appeared in Hoghe’s Boléro Variations (2007). This amazing solo is part of Hoghe’s cycle on the history of classical dance, with Sacre - The Rite of Spring (2004), Swan Lake, 4 Acts (2005) and Boléro Variations.

“Pier Paolo Pasolini wrote of throwing the body into the fight. These words inspired me to go on stage. Other inspirations are the reality around me, the time in which I live, my memories of history, people, images, feelings and the power and beauty of music and the confrontation with one’s own body which, in my case, does not correspond with conventional ideals of beauty. To see bodies on stage that do not comply with the norm is important - not only with regard to history but also with regard to present developments, which are leading humans to the status of design objects. On the question of success: it is important to be able to work and to go your own way - with or without success. I simply do what I have to do.”  Raimund Hoghe

Raimund Hoghe from 1980-1990 worked as dramaturge for Pina Bausch’s Tanztheater Wuppertal. Since 1989 he has been working on his own theatre pieces for various dancers and actors. His books have been translated into several languages and he has presented his performances all over Europe, as well as in Japan and Australia. He lives in Düsseldorf and has been awarded several prizes including the ‘Deutscher Produzentenpreis für Choreografie’ in 2001, the French Prix de la Critique in 2006 for Swan Lake, 4 Acts (in the category Best Foreign Piece).

Emmanuel Eggermont studied classical dance in Roubaix Choreographical Center (France) before studying contemporary Dance in Angers National Choreographical Center’s School (Year 1999). He then became a member of the Spanish choreographer Carmen Werner’s group for three years, living in Madrid (Spain).  Fascinated by Korean culture, Emmanuel Eggermont decided to live there and to create several pieces. Back to France in 2005, he became a member of Raimund Hoghe’s company.  In parallel, Eggermont develops his personal projects in Lille, France.



“A surprising and all-consuming experience. The performance rocks the premises for what dance and theatre can be.” Aftenposten (NO)

The Orchard Ballads is a collaboration between choreographer Ingri Fiksdal, musician Ingvild Langgård / Phaedra and scenographer Signe Becker. It combines choreography, concert and installation into an experiential performance inspired by motives of transformation from nature and mythology. These are manifested into physical and spatial states, where the transformation takes place in the perception of the spectator as much as in the performance. The music spans from aerial folk ballads and soulful melodies with multi-layered vocals, touching on percussion driven, synthbased pop, into darker, dystopic soundscapes.  The Orchard Ballads has previously been performed at a large number of Norwegian venues in addition to at Kampnagel in Hamburg, Inkonst in Sweden and at The Armory Show in New York City.

Ingri Midgard Fiksdal is educated at The Oslo National Academy of the Arts (MA choreography), and The Northern School of Contemporary Dance. She is a dancer and choreographer in various national and international constellations, and has worked and performed in Norway, Sweden, Finland, England, Mexico, USA and Zimbabwe. Fiksdal has recently received a production grant from the Norwegian Arts Council to create a performance trilogy in the period 2012-14. The trilogy will be produced in collaboration with Langgård and Becker.

Ingvild Langgård is educated from The Oslo Academy of Fine Art, and her work is shown in The Astrup Fearnley Museum of Modern Art, The Stenersen Museum (Oslo), Lydgalleriet (Bergen), Pulse Art Fair, The Armory Show and Chashama Gallery (New York). Since 2008 she has worked as singer /songwriter under the name of Phaedra, playing concerts and festivals, and releasing the album The Sea (Rune Grammofon 2011). The album has received great reviews in international magazines such as The Wire, Uncut, Classic Rock Magazine, and Signal To Noise.

Signe Becker is educated from The Oslo National Academy of the Arts and The Norwegian Theatre Academy. She works as a scenographer for VERK productions, Hege Haagenrud, Eirik Fauske and several other groups, alongside producing her own work as an artist (video/photography/installation). Becker won Heddaprisen, the Norwegian Theatre Award, with VERK in 2011 for the performance Det Eviga Leendet, which is currently touring internationally.

Tobias Leira is educated at “Dramatiska Institutet” in Stockholm, with a diploma in lighting design. At the moment he is combining work as a freelance visual artist, within theatre institutions or working with choreographers or contemporary theatre groups. Besides from making lights, he explores video and stage design and sometimes even participates on stage. Recently working in institutions such as the Nationaltheatre in Oslo, and The Royal Dramatic Theatre in Stockholm.


Dogs (Les Chiens)is a short text by Hervé Guibert that was created very early in his writing career, containing open sexual content, and referred to by the author as his ‘pornographic book’. In a direct language the text alternates both sensuality and violence, desire and cruelty, the anticipation of love and sexual energy. An obsession with bodies is the basic theme of the text: the author uses every body movement, every situation and fantasy to reveal himself. But he is not the only one in the key narrative here; moving through the text are also the experiences of close and loved beings that he has appropriated. In addition to the “I” of the narrator, we recognise this plurality of textual weaving as the face of “you,” “her,” “master,” “dogs”. The intention of the narration is to create from frustrated desire some kind of ceremony that will enable the creation of an abundance of erotic experience. The animality of desire, expressed through the dual nature of a sado-masochistic relationship, is eventually sublimated to the vitality of the shared hetero-homo sexual act.

The performance is constructed in a very simple form: the simple presence of the actor, Stipe Kostanić, on the stage. Through the intrusive, attractive and elusive existence of the body moving through a phantom world of moments of sexual connotation, indefinitely, in the atmosphere between scenes of desire and delight. It develops as a physical performance about the introspection of the soul.

Bojan Djordjev, born in 1977 in Belgrade, is a theatre auteur who is equally active in institutional and independent theatre. He is a co-founder and member of the editorial board of the TkH (Walking Theory) collective. His interest in theatre and performance includes collective authorship, working with experimental playwriting and post-drama theatre.

For this performance he collaborated with the actor Stipe Kostanić. He began his acting career with roles in theatre, on television and on the radio, and has so far performed in theatres in Croatia, Slovenia and Serbia, and appeared at several national, European and international festivals, including the Queer Zagreb Festival in 2011, with Joseph.


The performance opens questions of responsibility of an individual in contemporary society of recession, shock, precariousness, uncertainty and indifference. What is an act that can do the change? Is democracy just an empty ritual of endless dialogues, which lead nowhere? Who is going to take responsibility to act? To go all the way? Is the violence the only solution?

Performance unfolds this question in combination of documentary and fiction approach. Who is next? is composed of film, music, choreography and creates a field where many players and many names take place to negotiate about doing action. Spectators included. There is no doubt that something has to be done, urgently. The questions are what should be done and who is going to do it? Can we do something in the theatre? Is theatre the place of action?

Janez Janša (*1964, Rijeka, Croatia), the author, director and performer of interdisciplinary projects, is definitely one of the most controversial artists in Slovenia.  Janša is one of three artists who in 2007 officially adopted the name and surname of Janez Janša, the then Slovenian Prime Minister, and triggered an avalanche of polemics still actual to this day.  
He has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium. His pieces have been shown throughout the world. His critical addressing of socio-political matters sharply cuts straight into most sensitive issues of both an individual and society.  Since 1999 he is the director of Maska, non-profit organization in publishing, production and education, based in Ljubljana, Slovenia.
He regularly curates workshops and gives lectures at the European and American universities and art centres. His work won him several awards in Slovenia and abroad.

Janez Janša’s work includes also visual, media and performance art works. Among others are The Wailing Walls, interdisciplinary artistic and research project The First World Camp (with Peter Šenk), conceptual exhibition Name Readymade (with Janez Janša and Janez Janša) and interactive installation Life [In Progress]. He regularly curates interdisciplinary workshops and he is the initiator of the organization P.E.A.C.E. - Peacekeepers’ entertainment, art and cultural exchange (with Mare Bulc).

His pieces have been shown throughout the world a.o. „We Are All Marlene Dietrich For“ - Performance for soldiers in peace-keeping missions (with Erna Omarsdottir), the reconstruction of the piece from 1969 - „Pupilija, Papa Pupilo and the Pupilceks“ (2007), „The More of Us There Are, the Faster We’ll Reach our Goal“ (2010) and „Who is Next?“ (2011). He performed in the improvisation project At the Table curated by Meg Stuart and collaborated in projects by Tim Etchells, Boris Charmatz et al. The works by Janša contain strong critical dimension, reflect responsibility of performers and spectators and deal with the status of performance in neoliberal societies.



The 329th Day of the Year is an audio-visual project by Nenad Sinkauz and Alen Sinkauz (East Rodeo), and sound designer and artist Miroslav Piskulic. This performance, through improvisations and live sampling, researches and shows the process of writing a composition. The musicians communicate by standing across one another. Maintaining and furthering development of music and videos have almost a theatrical tension. The audio-visual structures mutate into unexpected forms of the construction/deconstruction of picture and sound. The project title changes depending on the day of the year the performance was held, as to underline the uniqueness of every performance.

The Sinkauz brothers, born in Pulja, are studying musicology in Italy and have founded the quartet East Rodeo. They are becoming more and more popular in Slovenian theatres which still cherish experimental sound. After their third album Morning Cluster came out, even established critics wrote about their work. They are also receiving more and more praise from the audience.  


In the performance Air Doll, the author’s body is a stage and playing prop. It is set in a sterile environment, isolated and limited by bright white walls. Two openings on the author’s body dominate: the oral and the vaginal. Both are isolated from the rest of the body which is covered by a latex costume of a pale skin shade, and reminds us of a blow-up doll. The author’s body, which is fixed during the performances, is reduced to these two openings. The performance points to moments in life that are dominated by pain, fear, and sometimes too much communication (which is now minimized). Reducing everything to two openings, two plows, two vents. The viewer is given the chance to mis (use) and sodomize “the dead body” in which there is still will and energy. No twist is expected in the performance because the psyche of the laid body is twisted. Air Doll deals with the topic of misuse of sexuality in reaching temporary relief, the human endeavor to have a union with someone else, to receive understanding and self-confirmation.

Bojana Radulovic, a visual artist and audiovisual producer, graduated from the Faculty of Visual Arts in Podgorica with a degree in audiovisual production. She participated in many group and solo multimedia exhibitions. She is most proud of her solo performance The Illegal Performance (Ilegalni performans) held in the Flemish cultural centre De Brakke Grond in Amsterdam (Holland) in 2012. Bojana deals with video and film. Her video artworks and shorts were screened both on domestic and regional festivals. She was a producer on several media, film magazines and television.


This work presents the collective work of building a house of cards. A house of cards, besides being a game, denotes an argument or structure that has an unstable foundation, or something that will fall down if even one element is not in place, either by being overlooked or by being unexpected. This construction of a “bright future” is done by the author and the public, and every player is “a builder of a bright future”. The idea of building a future with such fragile material is dystopian from the very beginning. Still, through patience, the right technique, and a positive group dynamic, it is possible to make miracles.

Milijana Babić (born in 1974) is a conceptual artist and performer from Rijeka. She received a bachelor’s degree in painting in Durban (South Africa) in 2001, and a master’s degree in Ljubljana in 2007. Milijana is a long-time associate of the international festival of contemporary art Mesto zensk which is held in Ljubljana. She is a member of the Croatian Community of Independent Artists, and her work has been presented on numerous exhibitions and festivals in Croatia and abroad.


One of the reasons for this fascination with the actor is the ability to reduce him to a picture, i.e. his disproportionate relationship with the viewer. The idea behind this performance is to show the presence of the actor’s body, put him on stage with the audience, and finally giving the viewer a chance to touch the actor’s body. To avoid the anecdotal situation where the performance is held, the view is minimized to an illuminated space. The actor’s body is idealized. Even if there is no communication with the viewer, the body isn’t static as a sculpture. It can be moved when need be.


“Dear audience, I love you!” is something you can often hear at a concert, but not the theatre. Stage performers always thanked their audience in a more subtle way, until the young actor of the Slovenian Youth Theatre Uros Kaurin decided to dedicate his performances to the audience. His activities in the platform Via Negativa contributed to a less negative aspect, while Kaurin can easily present his musical taste and narcissism, playing with given and selected identities.
The combination of a beautiful voice, perfect songs, and a dedicated performance, makes Tonight I’m Celebrating a first class attraction at every festival. But Kaurin should not be trusted. His fame has a grotesque note and gives the audience a good punch.

The international performing art group Via Negativa, based in Slovenia, is an unusual phenomenon in the countries of former Yugoslavia. The group of artists, who are always willing to perform, is comprised of individuals of various professions and characters. They were introduced and united by director Bojan Jablanovec into a unique collective that has for a decade been entertaining the public hungry for theatrical art of a different sort. A series of individual artworks, organized in group presentations, on the topic of the seven deadly sins attracted not only regional attention, but that of Europe. This changed their plan to split up the group. Via Negativa has approached the performing media and theatre in a flexible but ascetic way: their criticism is destructive and smart, which as a combination that puts  provocations and aesthetics in second place.




Illumat (an illustration vending machine) is a machine that turns words into images. It is set in public spaces with a goal to interact with a wider public. Illumat works in the following way: someone from the audience fills out a form, writes down his idea on a piece of paper, and puts the paper (and a symbolic sum of 100 dinars) into the vending machine. After a few minutes he can pull out an illustration that is based on his written idea. Inside the machine are hidden artists who create individualized illustrations based on the ideas, wishes and words of the audience. The drawings are a combination of the artist’s imagination and the viewer’s ideas. This kind of exchange is exciting and fun for all participants. On the one hand it presents a challenge for the artists who combine external influences with their own creativity and draw interpretations within minutes. On the other hand, there is an element of surprise of what is going to comes out of the machine. The illustrations are a personal and fun visualization of the written word, with a personal mark from the artists.

The project Illumat was founded in 2007 within an illustration project at the Bauhaus University in Weimar (Germany). The collective held 60 performances in German speaking countries, where the most interesting are the ones at the Frankfurt Book Fair, Leipzig, and the International Comic Festival Fumetto in Lucerne (Switzerland).

Artists: Alexander von Knorre, Stefanie Heidler, Elise Richter, Matthias Lehmann, Dragana Branković, Mane Radmanović, Manja Radić Mitrović, EmaEmaEma and Bojana Petković


The performance A Tail for Itself is dedicated to Jean Cocteau. It’s based on motifs from Moliere’s Tartuffe and presents a magical story inspired by the aesthetics of the films by Jean Cocteau. The performance includes illustrations on which the performer makes shadows. The viewer has the impression that the performer is stepping out of the projection screen.

"Mladen Tušup is a diligent artist who is always in search of new forms: for exhibitions, fashion events, autoperformances, and scenic costumes. His work is open, dynamic and questions everything to the point that he creates a new energy." Ivana Vujić, director

“RESETTING THE STAGE” PUBLIC THEATRE BETWEEN THE MARKET AND DEMOCRACY                                                                                         

Klaić’s new book was published in Bristol in 2012 by Intellecta. His intention was to compare artistic views, thoughts and productions of the 20th century with the situation in the 21st century (the first four chapters).
Klaic also presented a wider context of his ideas on how artistic organizations can find their place in the radically changed circumstances, and even make use of them. The book sums up his life, his theatrical career, and his passion for stage art. It gives important views on the 20th century’s theatrical production in several Eastern and Western European countries, about which most readers from the West know little of, and vice versa, about which most Eastern readers know little of.

Dragan Klaić was an acclaimed theatrologist, cultural analyst, theatre critic, essayist, a lecturer at several European universities, and a long-time manager of the Theater Instituut Nederland. He died in Amsterdam on August 25, 2011, at the age of 62. In his very rich, diverse, and dynamic career, Klaic held various positions and, as a highly appreciated expert, was active in various fields: contemporary performing arts, European cultural politics and development, international cultural cooperation and interculturalism. He was the author of several books, corpuses, and hundreds of scholarly texts. Klaic was also the initiator and host of important international research projects, conferences and symposiums.


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