- DAS Choreography
Karol Tymiński is a choreographer, performer based in Berlin. In his work Tymiński develops “brutalist” choreographic practice which as in the architectural style exposes objects materiality and as well its workings. Through this approach Tymiński presents the human body as a plateau of distorting the cultural image of self and queering the dominant ideas about human construct.
Tymiński's works such as “Water Sports” (2020), “Church of Non-Divine (2017)”, “Liminal” (2015), “This is a musical” (2015), “Beep” (2013) have been presented internationally among all by Esplanade Theater (Singapore), American Realness (NYC), Icelandic Dance Company (Reykjavik), Body/Mind Festival (Warsaw), BUDA Kortrijk CCA Ujazdowski Castle (Warsaw), Maison la Culture d’Amiens, ImPulsTanz (Vienna), Zacheta National Gallery of Art (Warsaw).
In his career Tymiński has received support from, among all, Adam Mickiewicz Institute, Advancing Performing Arts Project, Berlin Senate, BUDA Kortrijk, Open Latitudes, European Commission, Institute for Music and Dance (PL), Ministry of Culture and National Heritage (PL), Tanzfabrik Berlin.
DAS Choreography Research
In the frame of DAS Choreography program, Karol Tymiński continues his research around strategies of questioning the dominant ideas around self. His focus is directed towards the human body as a product of culturalimage of which he attempts to distort in order to question the human as construct.
Tymiński approaches the human body as a “thing”—a mosaic of elements, the physical that is examined in a laboratory-like manner exposing the bodily materiality. Tymiński calls this dance brutalist. This term, borrowed from the architectural style, speaks of the exposure of “objects” built and functionality. It also introduces the approach towards movement-construction, which strips it of decorative elements, in a way, reducing it to the plain act of physical labour. The body often twisted, fractured, bent of which the physical efforts through the phenomenon of neuronal responses are supposed to be “mirrored” by the spectator in order for the transgressive experience to be shared. The notion of the “thing” serves in here as an access point to human physicality in anescaping normativities manner.
The question Tymiński posesregards the use of this notion as a tool for alternation not only of perception of the self, but also of reimagining ones conduct towards the world of matter established within the system of production. As at the core of Tymiński's performances lays evocation of empathic entanglement between bodies,could it include non-human things? He attempts to create a language through which physical objects can be recognized not as fully developed individuals,but as matter. He looks into the processes that occur within it in search for shared characteristics, and therefore possibilities of interacting outside of the consumeristic dynamic.
Using poetics Tymiński speaks of the physical, biochemical or even evolutionary encounters as erotic. Transformations, clashes and desires within which the sexuality as we know it is dialoging with “sex-appeal of the inorganic”, which Tymiński puts under the notion of “cross-matter eroticism”, can potentially lead towards the statuses of materialities to equilibrate including the human into the agglomerate of things, and therefore altering its relation to its surrounding. This transgression Tymiński sees not as rapture within self, so often present in his work, but as a process of dissolving into the world of matter which similarly to the former is meant as an opening onto the infinite possibilities of being otherwise.