"So far, the choreographic work of the Serbian choreographer, performer and dancer Marko Milić, an internationally established artist, could be seen in Slovenia only once, in 2011, when Ljubljana hosted the Balkan dance platform. His emergence into the field of performing arts is linked to the stages of non-institutional collectives in Belgrade and situations that presented themselves at the millennium as well as special pedagogical youth programmes. During those years he worked with pedagogues and choreographers Dalija Aćin Thelander, Željko Sančanin, Ivo Dimchev, Snježana Abramović, Jenny Beyer, Antoin Effroy, Paula Rosolen, Marcel Schwald and the artistic initiative known as ‘sweet and tender collaborations.
Even though it is hard to define his works, it seems that he does not focus on the issues of chorographical, movement or bodily identities or modalities, but instead prefers to focus on the issue of control, or to be more precise, he tries to establish who is the true choreographer. Marko Milić is interested in the driving forces that push forward human behaviour. These forces are choreographed by unclear orders, and he does not monitor the passivity (the lethargy or the victim), but he focuses on the series of different types of joy that emerge from them. We could say that they are the rhythms of visible, less visible and invisible human times, set in perspective. It is most likely due to the latter that Marko Milić’s works do not lack in humour or lyricalness.
In the performance Choreoeroticon (2016) Marko Milić cooperates with the choreographer, performer and dancer Ana Dubljević and composer, musician and DJ Darja Janošević. Ana Dubljević has been known to the Ljubljana audience for the past decade, ever since her first appearance in Ljubljana as a student of the educational programme Nomad Dance Academy, and she was also seen at CoFestival in 2016 where she was a co-author of the excellent dance performance Only Mine Alone, which she created together with the dancer, performer and choreographer Igor Koruga. Darja Janošević is an excellent pianist, a graduate of the Faculty of Music in Belgrade where she graduated under professor Branko Penčić, and her composer’s interest is focused predominantly on minimalist music, sound experiments and contemporary electronic music.
The dance manufacture Choreoeroticon is a remix of oriental ethno-choreography and clubbing pop-matrixes. In the format of a party the erotic body with its ornaments, repetition, variations and formal movement patterns becomes mechanical and without any libido investment. Choreoeroticon emerges from the parallel between contemporary pop cultural dance trends, in which eroticism is a disembodied companion of the clubbing rituals trapped into enticing dance forms, with which the individual affirms himself while enjoying them, and old, ancient dance rituals and spiritual practices, which have turned sexuality and eroticism into a series of kinetic symbols and chorographical signs, so that they would then be represented in front of the worshipped deities. Thus it is within the individual examples of fertility rituals, with which the dynamics of the life cycles was ensured in various cultures, that the pop-culture rituals take place, mainly in group form. Even though their dance ornaments are often similar, the latter usually have a chosen, arbitrary group of profane addressees, individuals." (CoFestival, 23.11.2018, Kino Šiška, Ljubljana)
