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competition film
Dir Veronika Akopova
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Screening of works in the competition (1) + talks with artists

21.04 1 p.m.


1. Bertrand Guerry, Thibaut Ras, OCEAN'S MEMORIES, FR, 2015, 08:42


Ocean's Memories unfolds as an encounter between a dancer and a musician, musing along on a deserted beach. The cold light, the wind, the water and the golden sand – all the elements mix to accompany their vivid choreography.

Bertrand Guerry and Thibaut Ras are both producers and filmmakers with over 10 years of significant experience in the film industry. As well as being a film director, Bertrand also produces performative works.  He completed his first feature film Mes Frères in 2016. Thibaut is a sound engineer, director and founder of a music company. Bertrand and Thibaut have been working together for several years directing and producing short films, video clips, advertising videos, short programmes, dance films and documentaries. They have founded the video platform All We Can Do Is Dance with the desire to meet dancers from around the globe, explore their different visions of dance and offer their own view on shooting dance films.



2. Rosa Beiroa, IN OUR SKIN, GB, 2017, 03:55


In Our Skin is a celebration of nudity and freedom of women within their own bodies. It is a film about form, volume, and shape, from the beauty of a fold of skin to the delicacy of a touch. Through the freckles on the protagonist’s back the viewer is taken into a world of morphing figures. Inspired by Laban’s movement analysis, the line drawing brings us closer to almost abstract forms while describing dancing shapes, volumes of the body and folds of the skin. The film highlights the exceptional and extraordinary that lies within the seemingly routine gestures of undressing and creates a connection with often-overlooked feelings and sensations.
With a background in fine arts, Rosa has been a practising artist since 2008 with a special interest in the representation of the body and themes around the female figure. Last year she earned a Master’s degree in Animation from University of the Arts London, and, for the first time in her career, she incorporated animation into her practice, which brought her to explore the topic of the body in movement from a new perspective. She created some short films between January and March 2017 such as Playing Forward, Paper Pastime and Be Part Of The Solution, a part of the official selection for Ekotopfilm Festival 2018. In December of the same year, she completed her graduation film In Our Skin, officially selected by Athens Animfest, Feminist Border Arts and Ca’Foscari Shorts film festivals. Her last short film to date is The Mind Of An Artist, a film about William Kentridge, produced in collaboration with Tate.

3. Marlene Millar, PILGRIMAGE, CA, 2017, 10:47


Pilgrimage reflects the profound human experience of renewal and solidarity through the process of a communal journey. To a complex series of Turkish usul patterns designed to ignite emotional states of journey and light, nine dancers and singers travel along parched roads and moonlit fields to find refuge in an abandoned place of worship.
Awards: Jury Award, Cinematica Festival 2018, Italy; International Screendance Award, Perth Screendance Festival 2017, Scotland; Audience Award, Best Choreography Award, Best Performer Award (for all the nine performers), Stories We Dance 2017, Genova, Italy; Public Jury Award for Best Film, InShadow Lisbon Screendance Festival.

An award-winning filmmaker with a background in contemporary dance, Marlene Millar has been creating dance media projects for over 25 years. Films come to life as she transposes the choreography to the screen, creating a poignant visual language that reveals the intricacies of the dance and stories. Choreographer Sandy Silva is a pioneer and innovator in a very personal and original form of percussive dance. She has spent the last 25 years performing as a solo artist, teaching and touring around the world. Together, Sandy and Marlene use the nuanced dynamics, emotion and precision of percussive dance to shape a powerful cinematographic storyline.



4. Paulina Rutman, FALL, CL, 2015, 06:17


Fall has been exhibited at festivals such as File Electronic Language (Brasil), Loikka Dance Film Festival (Finland), Danza Em Foco (Brasil), Dance Camera West Festival (USA), Dance Screen Festival IMZ International Music and Media Center (Austria), Screen Motion (England), Screen Dance Festival (Sweden), Cinemaissi Latin American Festival (Finland), Delete TV (UK), Festival de Cine Biobío (Chile) and Festival Internacional de danza en la Pantalla (Chile). 

Paulina Rutman is an interdisciplinary artist specializing in choreography and dance film. Her main approach is the research of movement as a response to psychological states through contemporary dance, dance film and video art. She has received a professional training in choreography, film editing and performance. Her vast experience and educational background includes work-study programs at Movement Research (New York; USA), Dance Film Association (New York, USA) and School of The Art Institute of Chicago (Chicago, USA). Her works have been exhibited at festivals such as File Electronic Language (Brasil), Loikka Dance Film Festival (Finland), Danza Em Foco (Brasil), Dance Camera West Festival (USA) and Dance Screen festival IMZ International Music and Media Center (Austria).




5. Kinga Jaczewska, CATCHING MOVEMENT, PL, 2016, 10:10


The point of departure for Kinga Jaczewska’s work and artistic research is movement. The artist gained her knowledge of art, contemporary dance and choreography at London Contemporary Dance School (UK), Northern School of Contemporary Dance w Leeds (UK) or P.A.R.T.S. in Brussels (BE). Apart from her work with movement as a performer and choreographer, Kinga also explores other forms of expression.

Her portfolio includes performance, video art, installation, text and photography. She is fascinated by the idea of continuity and on-going transformations. She looks for constant movement which exists without a preceding organisation or choreography, and which continues to become regardless of whether it is being watched or not. She is principally interested in movement, which, through its quality and rhythm, has the potential of changing the way we experience the passing of time.

By highlighting what happens between events promoted and recognised by us, Kinga seeks to capture the “between” time which flows irrespectively of the clock time, organised by us, divided into minutes and hours.






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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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  • 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 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 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 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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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:
-154 days
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