Nikima Jagudajev (1990) is a US American, Austrian/Uzbek choreographer. Their process based collaborative practice looks at social forms; social relations as spatial relations and how we assemble in fulfilling and considerate ways. Harnessing the choreography of play as a framework, performers (Conduit) and visitors (Arrivor) are incorporated into an open-ended game. World building is aided by a group of artists who shape the playground. The elements work as informal invitations to engage in different ways, shifting attention and offering agency and ontological transformation.
Nikima’s work has taken form in venues including a solo exhibition at Bergen Kunsthall (Norway), Accelerator (Stockholm), WIELS (Brussels), Shedhalle (Zurich), Kurimanzutto (Mexico City), Centre d’Art Contemporain Genève, The Whitney Museum of American Art, MoMA PS1 and the Rockbund Art Museum (Shanghai) as well as in the context of Material Art Fair’s Immaterial (Mexico City), 89+ at LUMA/Westbau (Zurich), kunstenfestivaldesarts (Brussels) and as part of the Marrakech Biennale (Morocco). They were a 2016 DanceWeb recipient and returned to teach at ImPulsTanz in 2017. Future shows include a solo exhibition at mumok – Moderne Kunst Stiftung Ludwig (Vienna), Westfälischer Kunstverein (Münster), Kiasma (Helsinki) and Dhaka Art Summit (Bangladesh).
Published work by Nikima includes The Backstreet Boys as part of Bergen Kunsthall’s Speculative Histories text commission platform (2021) and co-published by Karmaklubb*, Relations of Unpredictable Encounters in the Movement Research Performance Journal (2017) and the landscape thinks itself in me in Asad Raza’s Root Sequence. Mother Tongue (Walther König, 2018).
29.07.2024
