The organizers put a special emphasis on the SCHOOL OF PERFORMANCE, which continued to work on the concept of thematic workshops. The SCHOOL has become a holistic cycle of workshops during the last ten years. It focuses on the individuality of each participant and it is an opportunity to work in a team, to try yourself in group activities and to create a common space that generates a definitive context for the behavior of all participants. This year the SCHOOL finally covered not only different subjects but techniques. Among the invited teachers were Janusz Baldyga (Poland) with the program «STATIC PERFOMANCE – DYNAMICS OF MOTIONLESS», Martine Viale (France) with the «LABORATORY OF THE BODY» and Bartolomé Ferrando (Spain) with a cycle of practical lectures «IN THE SOUND WORK».

Janusz Baldyga’s students investigated the state of the immobility as a starting point, as a central issue that precedes to the moment of a movement. Martine Viale’s group was focused on the performer’s body, his interaction and work with a public space (the area in front of the «Theater of Dolls»), where the group members’ simultaneous presentation took place. The specifics of Bartolomé Ferrando’s work are «visual poetry» and «sound poetry». The students (some of them had worked with the teachers of the previous SCHOOL’s editions such as Janusz Baldyga, Sandra Johnston, and Alistair McLennon, etc.) received a completely new experience working with voice and sound, text and poetry in the performance.

The practice of the last year SCHOOL showed once again that it gives good results. Two creative associations exploring performance art in different areas of Lviv (a group called Zabih) and Kyiv (Live_Art_Lab_Kyiv: performative practices in the public space) were formed after Sandra Johnston and Alistair McLennan’s workshop in 2017.

The artists from Ukraine (Volodymyr Kaufman, Kostyantyn Zorkin, Natalya Lisova, Anton Saienko, Kostiantyn Smolyaninov), Poland (Janusz Baldyga, Marian Stepak), Norway (Sigmund Skard), France (Pascale Ciapp, Martine Viale), Israel (Lior Kariel, Galia Pavlichenko) and Spain (Bartolomé Ferrando)  participated in the daily lecture and evening program of the festival. All of them have completely different creative background and different techniques of expression.

The first day of the festival was presented by Janusz Baldyga and Anton Saienko’s performances in the Dzyga gallery. They were filled with calm and tension, silence and a sound of the sprayed metal. These actions contrasted, although they were based on the notion of a gesture as a sign.

Natalya Lisova became the only whole organism with a room in which she performed. Thin wooden strips linked up her body with the ceiling, and the breath was mutually reinforced by the movement of these sticks – all this created a single organism, which, through the visual rhythms, became connected with the whole space and the public. Sigmund Skard offered a game with gloves called «Give me Five», which, through the embroidered extra elements (shells of nuts, small planks, pebbles, etc.), issued some strange sounds and feelings at the touch, that was very pleasing to the audience, among which were many young people. Lior Kariel uses an extremely diverse arsenal of tools including old clothes in her works. But this is not only for performance, she also sews something new from it. Once, Lior staged a defile and even a fashion show from her grandmother’s wardrobe. Marian Stepak works with clothes too, but he uses it in a completely different way, creating new independent objects that turn into a memory about a person, a sign of human life. Volodymyr Kaufman presented performance lecture with ladders, which became the subject of an hourly discussion and controversy: «Are the signs of the stairs talking about something more than the ladders themselves?», «There is no ladder abstracted from art» etc. Kostyantyn Zorkin charmed the audience with the magic of the wooden bird created by himself. Zorkin’s performances are his own form of expression, which exists beyond the categorization of this genre, and it is a special discovery of the artist.

Summing up, the festival Days of the Arts Performance in Lviv is constantly evolving, improving and can surprise each year. Special energy, special audience and extraordinary experience for each participant focus here. SCHOOL OF PERFORMANCE has gone now beyond the space of a simple workshop, and its stable periodicity suggests its significant influence on the performance art in Ukraine. The younger generation is already formed, these people are active, interesting and independent, the same time they are full of desire to learn something new. Therefore, we expect the appearance of new names among the participants of the festival, among the teachers and students of the SCHOOL in its following editions.


I had a very rich experience at Days of performance art in Lviv, as a participating artist of the festival and also as a workshop facilitator. As an artist I felt supported and listened to which is always reassuring. The festival team did everything they could to facilitate the work of all the artists and the event format, two or three actions a night, gives the audience the chance to reflect on each work and gives the artist the space to experiment. I appreciated this kind of direction which is not concentrated on productivity but rather on the reality of what the practice requires.

I was quite surprised by the instant commitment and curiosity of the group I was working with and by their capacity to process the work quickly. I felt a sense of eagerness in everyones learning approach, something that was established from the beginning.

Three days workshop can be too short with some groups but in this case it was just the right amount of time to give them material to reflect upon and tools to continue the process by themselves.

During these three days, we focused on the basic material of action art; the body, time and space with an introduction to working with objects on the last day. The work demands that one keep an open mind and to be physically able to work with contradictions and challenges.

As a final presentation, we chose the open lab format in the public space which is not an easy format but something I truly value because it helps the artists to abandon the idea of «making a performance » to the profit of being present, aware and open to unpredictability.

In spite of hesitation on the part of most participants, I am quite satisfied with the way they were able to transgress and create interesting experiences for themselves.

The final presentation was approached as a continuity of the process and I felt clearly that everyone was connected to the research aspect with great humility and to me this is very important.

Martin Viale, 2018


The festival, which has just come to an end, gave an answer to an important question of the educational potential of performance art. The adequate distribution of the activities of School of performance and the presentations by artists from different countries and artistic environments led to the formation of a single organism based on the interconnections of art and practical training. The participants admit that this year’s version has become an extremely original platform for exchanging information and experience among festival participants, invited performers, and young school participants.

The content of the festival is shaped by the art and strategy of the invited artists. This year, it was suggested to expand the idea of performance art through the actions on the verge of audio and video poetry by conducting workshops and art presentations by Bartolome Ferrando from Spain. Other artists from Israel, Ukraine, France, Poland, and Norway, presenting various artistic strategies related to space, communication language and the presence of observers, created a rich and homogeneous organism that defines performance art as a living discipline whose boundaries are subject to dynamic changes, reassessment, and transformation.

An important feature, relating to the participation of students from different cities of Ukraine and Poland in the performance school, is the open nature of the project, which allows the participants to develop initiatives in the future.

This year’s festival sets the direction of further curatorial activity of the organizers of the Days of Performance Art in Lviv, directing them to expand the field of experience by moving the boundaries of this living art field filled with the educational potential towards new cutting-edge spheres.

Janusz Baldyga, 2018




The festival was characterized by various elements which we combined, bringing about significant professional fulfillment, accompanied by consolidating human and interpersonal experiences.

In conversations I had with festival audience and participants, students and artists, they all expressed great appreciation of the professionalism, which was reflected in their active participation and excitement for the connection with students, artists, and teachers.

An important balance was felt between audience, students, and artists at the festival. It is important to note the involvement and responsiveness of the audience, who took an active part in the festival, and showed curiosity. This element reflects the central and important place DZYGA has in the art scene in Europe.

The festival expressed and gave a sense of containment, warmth, and inclusion that artists received, in addition to support in every form they needed.

My feeling was that all this was given with honest love, out of deep respect to the “other” and granting freedom of action and the expression of spontaneity and differences, enabling all artists and students to express the performance act with originality.

On a personal note, I feel the festival greatly strengthened my professional insights and personal processes within me.

I will conclude by noting that the construction –  that of artist-student-presentations action – built and felt at the festival was powerful. It encouraged artistic actions, and I felt it building on very old and strong foundations, giving a sense of solidity, and expressions of deep and open professional options.

Lior Kariel, Performance artist



! Attention: the locations of performances may be determined spontaneously.
Specify the information on the FB-event SCHOOL Of Performance 2018.
The program of performances will begin at 18:00 in front of Dzyga: 35, Virmens’ka St.

01 09 2018   s a t u r d a y


1st group [arkhystratyh guest house: 20a, vynnychenka st]
: program  IN THE SOUND WORK. Bartolomé Ferrando. es


02 09 2018    s u n d a y


1st group [arkhystratyh guest house: 20a, vynnychenka st]
: program  IN THE SOUND WORK. Bartolomé Ferrando. es

2st group [puppet theatre: 1, danyla halytskoho square]

3st group [puppet theatre: 1, danyla halytskoho square]
: program  LABORATORY OF THE BODY. Martine Viale. fr

16:00 17:00  LECTURE PRESENTATION [Dzyga: 35, virmens’ka st]
Sigmund Skard. no

18:00 – 20:00 PERFORMANCES [start: in front of Dzyga: 35, virmens’ka st]
Janusz Baldyga. pl
Anton Saienko. ua


03 08 2018     m o n d a y


1st group [arkhystratyh guest house: 20a, vynnychenka st]
: program  IN THE SOUND WORK. Bartolomé Ferrando. es

2st group [puppet theatre: 1, danyla halytskoho square]

3st group [puppet theatre: 1, danyla halytskoho square]
: program  LABORATORY OF THE BODY. Martine Viale. fr

16:00 17:00  SCHOOL OF  PERFORMANCE [Dzyga: 35, virmens’ka st]
: performance lecture DESCENSION. Volodymyr Kaufman. ua

18:00 – 20:00 PERFORMANCES [start: in front of Dzyga: 35, virmens’ka st]
Sigmund Skard. no
Natalya Lisova. ua


04 09 2018    t u e s d a y


2st group [puppet theatre: 1, danyla halytskoho square]

3st group [puppet theatre: 1, danyla halytskoho square]
: program  LABORATORY OF THE BODY. Martine Viale. fr

16:00 – 18:00   SCHOOL OF  PERFORMANCE [Dzyga: 35, virmens’ka st]
: performances of students of  Bartolomé Ferrando. es

18:00 – 20:00 PERFORMANCES [start: in front of Dzyga: 35, virmens’ka st]
Pascale Ciapp. fr
Galia Pavlichenko. il


05 09 2018    w e d n e s d a y

14:0015:00  SCHOOL OF  PERFORMANCE [puppet theatre: 1, danyla halytskoho square]
: performances of students of Janusz Baldyga. pl

16:00 – 18:00  LECTURE PRESENTATION [Dzyga: 35, virmens’ka st]
Galia Pavlichenko. il  and Lior Kariel. il

8:00 – 20:00 PERFORMANCES [start: in front of Dzyga: 35, virmens’ka st]
Bartolomé Ferrando. es
Martine Viale. fr


06 09 2018     t h u r s d a y

14:0015:00 LECTURE PRESENTATION [Dzyga: 35, virmens’ka st]
Pascale Ciapp. fr

16:00 – 18:00   SCHOOL OF  PERFORMANCE [Dzyga: 35, virmens’ka st]
: performances of students of Martine Viale. fr

18:00 – 20:00 PERFORMANCES [start: in front of Dzyga: 35, virmens’ka st]
Kostyantyn Zorkin. ua
Lior Kariel. il
Marian Stępak. pl


07 09 2018    f r i d a y

11:00 – 16:00  SHORT TRIP [start: in front of Dzyga: 35, virmens’ka st]
Kostya Smolyaninov. ua
talk and discuss about the festival  School of performance. Days of performance art in Lviv.


08 09 2018   s at u r d a y
additional conversations [Dzyga: 35, virmens’ka st]



Between September 1 to September 8, 2018, Lviv will host the SCHOOL OF PERFORMANCE within the framework of the festival Days of Performance Art. This is the only training ground in Ukraine where you can learn from experience shared by recognized experts of performance art from all over the world.

This year’s SCHOOL OF PERFORMANCE includes an integral cycle of master classes, targeted primarily at attaining individual results for each participant. The School offers a training process open to all forms and circumstances related to the art of performance, and, therefore, it is not a closed laboratory. At the end of the training, the School participants will have a chance to present their own ideas within the framework of the festival.

“Training practice revealed to the public as an open show makes the Lviv project one of the most outstanding presentations of the art of performance in Europe. The confrontation of the youngest performers and experienced participants in the international artistic movement, in particular from Spain, Great Britain, Israel, Ukraine, Indonesia, and Poland, yields fruit in the form of new contacts and information exchange, which is priceless for the development of art.” (Janusz Baldyga, Curator of the SCHOOL OF PERFORMANCE)

Each year, the School develops training proposals, offering the opportunity to work together with new teachers – artists who implement original copyrighted practices. This strategy contributes to enriching the experience of school participants.

This year’s SCHOOL OF PERFORMANCE will include three training groups with master classes conducted by experienced performers: JANUSZ BALDYGA from Poland, BARTOLOMÉ FERRANDO from Spain, and MARTINE VIALE from France.

JANUSZ BALDYGA will carry on with the concept of thematic master classes and offer the topic: “STATIC PERFOMANCE – DYNAMICS OF MOTIONLESS”, where students will explore the moment of motionlessness, standstill as a culmination of action.

BARTOLOMÉ FERRANDO, artist, educator, and curator of many festivals and practical educational projects related to performance art, who works in the genre of visual and vocal poetry, will hold the master class “IN THE SOUND WORK”.

MARTINE VIALE’s master class “LABORATORY OF THE BODY” will focus on the various ways to bond with time and space, using the body as a research laboratory. For fifteen years, Viale has been conducting intensive master classes in Montreal (Canada), as well as in Chicago (USA), France and Brussels, and recently in Catalonia (Spain).

The School’s program of master classes will also include the performance lecture DESCENSION by VOLODYMYR KAUFMAN.

Alongside the School’s activity, there will be performances by Ukrainian artists ANTON SAIENKO, NATALYA LISOVA and KOSTYANTYN ZORKIN, LIOR KARIEL and GALIA PAVLICHENKO from Israel, MARTINE VIALE and PASCALE CIAPP from France, JANUSZ BALDYGA and MARIAN STEPAK from Poland, SIGMUND SKARD from Norway and BARTOLOMÉ FERRANDO from Spain.

Training at the SCHOOL OF PERFORMANCE and performance shows will take place in the period from September 1 to September 7. At the end of the festival, there will be an open discussion of the results of the project among the School participants and audience of the festival.

You can register for the SCHOOL OF PERFORMANCE from August 10 to August 23, 2018 by filling out the electronic form at:


The key selection criterion will be the personal motivation of potential students.

You will be notified about your admission by August 25.

The main venue of the festival: Dzyga Gallery, 35 Virmenska Street

Curators: Volodymyr Kaufman (Ukraine), Janusz Baldyga (Poland)

Art Director – Lida Savchenko-Duda (Ukraine)

Organizers and partners of the festival: Lviv City Council, Dzyga Art Association, Virmenska-thirty-five (Lviv), Polish Institute in Kyiv, Embassy of the State of Israel to Ukraine, OCA Office for Contemporary Art Norway, Lviv puppet theatre,  Alliance Française Lviv.

the Program STATIC PERFORMANCE – DYNAMICS OF MOTIONLESS by Janusz Baldyga [2018]

September 02 – September 04, 10:00-14:00,
the Program STATIC PERFORMANCE – DYNAMICS OF MOTIONLESS by Janusz Baldyga in frame of the School of Performance 2018.

Last year we accepted the concept of thematic workshops, that time the theme was Presence. The next important element and task for this year participants will be a creation of a common space that will form the workshop context for the first phase, and it will define the behavior of all participants.

I offer the theme “STATIC PERFORMANCE – DYNAMICS OF MOTIONLESS” for this year. We work with the moment of motionless, stop as culmination of an action. Of course, it does not mean that the classes will be abstract from the dynamics. On the contrary, our task will be to search for the relationship between the state of the motionless and the dynamic action. The use of the objects directs our attention to gravity, equilibrium, and overload. We must be aware of the flow of time and the associated exhaustion, which leads to the stoppage of the action. Continue reading “the Program STATIC PERFORMANCE – DYNAMICS OF MOTIONLESS by Janusz Baldyga [2018]”

the Program LABORATORY OF THE BODY by Martine Viale [2018]

September 02 – September 04, 10:00-14:00,
the Program LABORATORY OF THE BODY by Martine Vial in frame of the School of Performance 2018.

This workshop will be addressing  different ways to connect with time and space while using the body as a place of research.

We will be looking at how duration can transform our vision and inform the directions of our actions. Continue reading “the Program LABORATORY OF THE BODY by Martine Viale [2018]”

the Program IN THE SOUND WORK by Bartolomé Ferrando [2018]

September 01 – September 03, 10:00-14:00,
the Program IN THE SUND WORK by Bartolomé Ferrando in frame of the School of Performance 2018.

1 − First of all, I show you a system that I created, based on the history of phonetic poetry, for the decomposition of language.

2 − Through the use of newspapers, we create a new language and work both individually and collectively

3 − We work some historical pieces of phonetic poetry

4 − We do practices of semantic and asemantic oral simultaneism

5 − We work on the relationship between writing, gesture and sound

6 − We work on the relationship between performance and voice. Various practices.



BARTOLOMÉ FERRANDO Valencia, Spain, 1951
Performer and visual poet.
Teacher of intermedia and performance art in the Universitat Politècnica de València

Member of Flatus Vocis Trio (phonetic poetry), Taller de Música Mundana (object music) Rojo (free jazz and performance) and JOP (improvised music and voice)

Performances in: Spain, France, Italy, Poland, Portugal, Switzerland, Holland, Finnland, Sweden, Norway, Canadá, México, USA, Japan, China, Singapoor, Vietnam, Israel, Czech R, Slovaquia, Germany, Rumania, Korea, Denmark, Belarus, Chile, Ecuador, Argentina and Dominican R.

“I always take the poetic image as a starting point in my work in the realm of visual poetry, object poetry, object book, sound poetry, installation and performance. The sphere of poetry helps me to build, to construct pieces and structures which I can use to approach and head into the areas of music, plastic art and action.

The result of all this is an oeuvre that could be categorised and set in the field of intermediate art, a practice in which the most prominent feature is that a work can be interpreted from the angle of at least two different artistic domains, since it straddles both areas.

I would finally like to add the fact that humour can be found in many of my objects and performances, trying to make its presence felt from the interiority of the pieces.” Bartolomé Ferrando




The ninth Days of Performance Art in Lviv took place in September ‒ it wakened artists from all over Ukraine from their summer slumber, brought about a wave of foreign artists, united curious youngsters around performance art, and provided its participants and viewers with experiences worth sharing.

This year the five-day festival (September 6th‒10th) hosted artists from Poland (Janusz Baldyga, Patryk Różycki, Kamila Czosnyk, Waldemar Tatarczuk, Jerzy Kosalka), Israel (Ernesto Levy, Tamar Raban, Motti Mizrachi), Czech Republic (Jiri Suruvka), Germany (Marita Bullmann), the UK/Spain (Denys Blacker), Ukraine (Ani Zur, Yaryna Shumska, Yaroslav Futymskyi, Anton Saienko, Volodymyr Topiy). The participants’ geography broadens each time; new Ukrainian names establish themselves, having emerged in the course of previous festivals and schools of performance; new artists from abroad add color to the program. There are also artists who visit Lviv yearly and whose participation has already become a respected tradition, a certain ritual, almost a cyclic performance itself. Tamar Raban, Janusz Baldyga, Waldemar Tatarczuk have already presented their programs at DAYS. «This festival is a special place for me, as it’s geographically connected with my family’s past, and therefore is important for my personal story. I contemplate the environmental changes here, I see new generation of performers emerging, reaching new depths, becoming more and more conscious of what they’re doing and how the festival itself changes over the years. I see young people, completely new to performance arts getting involved in these processes», Tamar says.

For two years in a row, DAYS featured representatives of Germany and the UK allowing us to trace certain traits characteristic of different European schools of performance. Denys Blacker, a student of the previous year participant Sandra Johnston, perceives performance through collective energy: her works speak through a range of tropes which, like mosaic, comprise a single work that non-verbally maintains its close contact with the audience, where people become participants of the action, identify the quality of the action, its nature. Lida Savchenko-Duda quite precisely described Blacker’s performance as «poetry with flashes, music…»

Marita Bullmann charmed viewers with the intimacy of her tender, sincere and deep images created by means of re-inventing the purpose of certain daily things. In part, her works relied on breathing enhanced and modified by a harp hidden in a pillow, popping sound of soap froth in a watering can – something to remind us of childish follies and ordinary happiness we sometimes forget to share with the world around us.

Israeli performers, Ernesto Levy and Tamar Raban, performed a duet, where a single gesture, hand-drying linens by beating water out, left viewers’ hearts beating rapidly in the light of flickering off water drops.

Polish and Czech performers amused their audience with tricks: Jerzy Kosalka used live fish and gave it as a gift to his viewers, and then he and Jiri Suruvka transformed into a policeman and batman. Waldemar Tatarczuk offered his viewers to make a photo with him. Janusz Baldyga made a performance based on abstract associations, which was characteristic of this renowned master and Polish school of performance in general. There were also young artists from Poland who performed individually in the course of Performance School.

Apart from the evening show program, there were also daily lectures and meetings with foreign guests. Katarzyna Kozyra talked about her experience and the process of making her videos – the about difficulties, fears, problems, funny situations that arose in the course of making her project ‘Art makes dreams come true’ for the Week of Contemporary Art in Lviv (Men’s Sauna, Women’s Sauna, et al.). Anna Markowska talked about the evolution of performance art in Wroclaw. There were also meetings with Marita Bullmann and Jiri Suruvka.

Each of four days started with morning masterclasses of the School of Performance. This year there were three groups. Students had an opportunity to study under Janusz Baldyga’s guidance individually and present each their work separately. Waldemar Tatarczuk focused his course on basics. Denys Blacker’s dedicated her masterclasses to ‘telepathy’: her students worked through a series of exercises to address the subconscious level of their personalities, nourish themselves by group energy, and feel each other.

Waldemar Tatarczuk’s group of ten students presented their final work on the roof of the Palace of Arts: they created new space by means of their presence, filling ‘empty niches in absent walls’. The simultaneous performance lasted for about an hour: each member of the group focused on a specific gesture, material, object (water, blood, movement, etc.), and through repetition connected with the audience on the level of association leaving no viewer indifferent.

Denys Blacker’s group initially aimed to involve artists with certain experience in performance. It ended up connecting people of various ages, from various parts of Ukraine and Europe, beginners and experienced practitioners alike. The group showed how connection to a specific location and culture defined performance of the group members. Differences aside, the group also demonstrated harmony and equality while working out their piece.

«It was incredible, to participate even when just watching the others,» says Nadia, who participated in the masterclass. «Collision with the others makes you meet yourself. That was precisely the thing I’d been looking for at the School, and the experience helped me to shift from interacting with my ‘inner performer’ and meet the ‘inner performer’ of the other. Group work and the process of creating our collective group body, as well as feeling the space around me, was valuable,» Ani Zur comments. «The idea of perceiving realized and recently emerged insights not as my own but as something common and belonging to humanity as a whole allows me to take something I see or do easier. What you feel is what you broadcast to the audience,» Maria says.

Denys’s students impressed the viewers with their short final performances – each minute a participant took on a new object to work with. A kind of brainstorming, the approach challenged the students and kept viewers involved. Each minute brought about an idea worth elaborating in a longer piece.

Previous years saw the majority of artists having certain academic background. This year the range widened both in terms of geography and experience. «The School is indeed very useful and necessary to many people… I’d be glad to see it lasting a year or perhaps happening twice a year to host more people,» Zoryana, a LNAA (Lviv National Academy of Arts) student, says. Four hours of final performances nonstop was the evidence of great success among young participants who were enormously enthusiastic. Such success will certainly influence the format of School’s classes, with the numbers of people interested in performance growing larger each year. Thus, this year might mark the end of the ‘acquaintance stage’ and stimulate the School to become something more systematic and regular.

Compared to previous years, performances this year tended to localize around or within the building of the Palace of Arts, so chance encounters with the audience outside the Palace were limited, although the events of such kind should, perhaps, become more open to general public and unprepared viewers. Or, perhaps (and this issue requires attention), the participants and their ideas will form a creative environment and define the format of activities, some of them open and some of them more focused and private.

There are more issues to address in the future, in terms of organization and conceptualization. Should students work in groups or act as a single body? Should the School of Performance become a separate event from the Days? Should it precede or be held after the Days? Should it function permanently? Time, feelings, ideas and necessities of the participants will be the answer. Anyway, a closer look will show that performance is part of daily life, so the days of performance arts in Lviv never cease.

Yaryna Shumska

september, 2016

Performance. Activation. Eighth Days of Performance Art in Lviv took place on 2-6 of September, 2015

Traditionally, the festival combined the School of Performance and displays and attracted unexpectedly vast audience not only to the shows, but also to the School’s studies. In unison with the stated theme, the festival boosted environment up, and, as organizers said, this year it reached its peak within the accustomed format. Performers from Belarus, Israel, Germany, Poland and Ukraine participated in the festival. Altogether, in four days 18 performances took place, and more than 20 students demonstrated their work on the School’s final.

The School of Performance, after submitting applications during August, accepted 50 people. Most of them were completely new scholars, who had never attended previous Schools. For four days they had four morning hours with Waldemar TATARCZUK – for novices, Zygmunt PIOTROWSKI – for all students, Sandra JOHNSTON – for experts. Lecture-performance «Iconic Symbol in The Art of Performance» by Janusz BALDYGA became a specific educational format of the School.

Many students decide on coming to the School from other cities and cover travel expenses from their personal funds; they appreciate opportunity to get extensive and broad experience in such a short time. Although the School doesn’t charge fees, students are supposed to provide themselves with accommodation facilities for this period. Many students keep returning to the School year by year, because every year at least one new lecturer with specific focus and stylistic is being invited – thus, the range of proposed practices is expanded and new experience is attracted. This year such a fresh academic stream has been achieved due to participation of Sandra JOHNSTON and Waldemar Tatarczuk; and it has been very productive.

More than twenty students demonstrated their works during a final show. The organizers claim that students’ shows always give an idea, how they have been affected by the School. As it happens every year three or four students will almost certainly go on working within the genre. Direct communication with artists is a key experience provided by the School, and this year it was successful, for sure.

Lecturers have been satisfied both with process, and results. It’s complicated to get satisfaction from work in such a short time; however Sandra JOHNSTON is sure that students’ incredible desire to learn is a key feature of SCHOOL’S success in Lviv. Art of performance is not represented in the academic education in Ukraine, due to this fact participants truly want to discover something new. You won’t find random people here, though not all participants have a degree in the Arts. Performance as a genre of unlimited technological palette attracts a variety of researchers from the field of the humanities and enables an access to the technologies applicable to many other areas.

Progress of the SCHOOL is noticeable – if in early years mostly light sketches used to be presented in the final shows, this year students demonstrated extremely powerful pieces, which could be claimed as self-sufficient; remarks had mostly technical character and didn’t deal with the idea of the work.

Vlodko KAUFMAN, curator of the DAYS OF PERFORMANCE, emphasizes, that the festival has featured a few issues for future. First of all, it is a promotion of the DAYS. We have never attracted such a big audience before –the festival’s attendance has tripled since last year. «Performance – is a very intimate genre, and requires a deep contact with the audience. Performer can keep up with more or less one hundred people – this is a normal contact audience. Depending on those factors location is being chosen and space is being organized.Now, we have to rethink the problem. How opened to the audience should it be? Where it should be shown? After all, performance must take place here and now. If the number of spectators destroys format, the meaning itself is destroyed, too», Kaufman shares with his observations and comes to conclusion that till next year changes in format and space will have to be rethought, because for now restriction of audience access is not acceptable.

Provocative intervention of outside performers into the body of festival was also a novelty of the DAYS. Such practice is common for many well-known festivals and organizers accept it positively; it also demonstrates the success of the festival among artistic community. The very format of the event provokes those decisions, so such spontaneous expressions of creativity aren’t taken for bad.

Lida DUDA and Vlodko KAUFMAN have summarized that festival is reaching its peak, and its future strategy must be rethought. Perhaps the next step will be to limit the range of genres – chosen direction or technological format will help to outline clearly the concept of the future DAYS. Niche trends, like sound, voice, power, plastic and etc., currently look promising.

The SCHOOL is being developed all the time. This year it has reached its allowable maximum of participants, thus if we strive for productive work, it’s time to think of rearrangement in educational system and organization of studies. This year for the first time we have had four lecturers; format «lecture-performance», chosen by BALDYGA, was very interesting – this is more responsive way of presentation. However, it’s well too soon, as it seems to organizers, to speak about preliminary selection of candidates.

Important achievement of the DAYS 2015 is a catalog, summarizing its work in 2008 – 2014. Practice of regular retrospection is crucial for such a delicate genre as performance. To be able to summarize, analyze, look back, we need a constant fixation and publication of results. Video versions of each performance of the DAYS are now being prepared. Catalog could be found in the gallery Dzyga.

Event organizers:  Institute of Conemporary Arts, Dzyga Art Assosiation

Partners:  Lviv City Council, Polish Institute in Kyiv, Embassy of Israel in Ukraine, Goethe Institute in Kiev, Foundation TransKultura, The Palace of Arts, Guest house in the spiritual and cultural center Arkhystratyh, Hotel George.

Participants of The DAYS were experienced and novice artists from Ukraine: Pavlo KOVACH, Yuriy SOKOLOV, Myroslav VAIDA, Oleksiy SALMANOV and Petro RYASKA, from Israel: Meir TATI, Ernesto LEVY and Tamar RABAN, from Great Britain: Sandra JOHNSTON, from Poland: Zygmunt PIOTROWSKI, Janusz BALDYGA, Waldemar TATARCZUK, Przemyslaw BRANAS, Szymon KULA, from Belarus: Yuras’ BORISYEVICH, Kostyantyn MUZHEV, group EKZARTSYSTYCHNY GESAMTKUNSTWERK, and Germany: Dorothea SEROR.

Locations of the festival were The Palace of Art end guest house Arkhystratyh” (20a Vynnychenka St.)

Curators of the Days of Performance Art are Vlodko Kaufman (Ukraine), Tamar Raban (Israel), Janusz Baldyga (Poland).  Project Manager: Lida Savchenko-Duda


Autumn in Lviv traditionally begins with contemporary art and activation
of the art performances in urban space.

The eighth International Festival of Performance Days of Performance Art in Lviv (the first was in the far 2008) – unique and only in Ukraine – will take place on 2 – 6 of September. This year the performances are combined with the events of Eastern Partnership Culture Congress that also takes place in Lviv in those days.

Vector of the art performances/events is seen through the theme of the festival:  Performance. Activation

We are living through a time that turns people’s minds upside down. People make choices, they are polarized in the views, and dullness disappears. Radicalization starts: in emotions, in the views, in mind – in everything. Performance – is the most responsive genre among the all known art directions, outlining and decoding nature of social changes, human feelings and emotional stress. So, we can safely speak about performer’s activation – his or her instant reaction to changes.

Both experienced artists and novices from Ukraine, Israel, Great Britain, Poland and Germany will perform during The Days; these include: Sandra Johnston, Meir Tati, Ernesto Levy, Zygmunt Piotrowski, Przemyslaw Branas, Szymon Kula, Dorothea Seror, Pavlo Kovach and Petro Ryaska.  Curators of the Days of Performance Art are Volodymyr Kaufman (Ukraine), Tamar Raban (Israel), Janusz Baldyga (Poland).

An essential part of the Days of Performance Art in Lviv, is an educational feature of the festival School of Performance that brings together everyone willing to master the fundamentals of the performance art and present their own performative ideas together with experienced and well-known artists. This year the program of The School consists of two platforms featuring Sandra Johnston from the University of Newcastle and Polish artist, co-founder of the international art-group Black Market, Zygmunt Piotrowski. Waldemar Tatarczuk and Janusz Baldyga, The Scholl’s curator, also participate in the creation of The School lineup.

Traditionally, lectures and master classes in the School of Performance will take place every day – from 10:00 to 14:00; performances will be held in the afternoon during the festival from 2 to 6 of September. To participate in the School of Performance, please, fill the questionnaire (attached) and mail it no later then 27 of August to: dzygainfo@gmail.com Please, do state in the subject line School of Performance.

Project Manager of the Days of Performance Art in Lviv: Lida Savchenko-Duda

Event organizers:  Institute of Conemporary Arts, Dzyga Art Assosiation

Partners:  Lviv City Council, Polish Institute in Kyiv, Embassy of Israel in Ukraine, Goethe Institute in Kiev, Foundation TransKultura, Lviv Palace of Arts, Guest House in the spiritual and cultural center Archangel, Hotel George.


Sandra Jhonston comes from Northern Ireland and has been active as an artist since 1992, working in the areas of site-responsive performance, video installation and drawing. Her artworks have often proposed alternative approaches to considering the aftermath of trauma, particularly in relation to ideas of location, testimony and empathetic communication.

The performance actions are experiential in nature, directly improvised in selected situations and assembled mainly from found objects. In this regard, the actions often behave like relics salvaged from a forgotten moment – flawed, inexact and silent.

Johnston has been involved in several University teaching and research posts since 2002, including an AHRC Research Fellowship at the University Of Ulster in Belfast, investigating issues of «Trauma of Place». Currently, Senior Lecturer in Fine Art at Northumbria University in England. Additionally, she has been a co-founder and committee member of various artist-run collectives in Belfast, namely: CATALYST ARTS, BBEYOND, and AGENCY.

Zygmunt Piotrowski (Noah Warsaw) since the early 70s he has been involved in the independent cultural movement (student’s art center Dziekanka, Warsaw), has been a head of the group of self-education «Studio Art-Research»; cooperating with students of theater, music and art schools promotes an idea of self-education in the art process.

Since 1984 he has been iimplementing a new way of collective interaction in contemporary art, by this he has created a program principles of the international group of artists «Black market».

In the early 90s he refused from the active participation in the art market, and focused on the individual creative way, based on the concept HERITAGE and applying a contemplation practice of routine art-process.

Over the years he performs under the name NOAH WARSAW, returns to active participation in performance art, reveals a new trend in the artistic research «dyscyplinie natchnienia», which is being defined as ARCHWAY and applies «fine art performance» in practice.

 11 08 2015

Performance by Chinese artist Wang Chuyu made happy everyone and we all felt into childhood

14 05 2017 Performance by Chinese artist Wang Chuyu made happy everyone when people came out from the gallery in small groups they were smiling. In the totally dark room, on the walls between the stones, with the flashlight, he found photos and shared them with us. It was a particulare game and we felt into childhood.

Continue reading “Performance by Chinese artist Wang Chuyu made happy everyone and we all felt into childhood”

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