Save the date / August 24, 2022, starting at 6 pm: Together with visual artist and author Anna Zett I’m currently preparing an event in the frame of the Berlin Project Space Festival 2022. Postindependent is a live-exhibition in which c
With contributions by: Circaeaa, Irina Gheorghe, Nathan Powless-Lynes, and Susanne Kohler.
I’m very glad to be invited with a performance for the opening of Christina Huber’s solo exhibition ‘Darling You Should Feel Lucky’, curated by Marie DuPasquier and hosted by Display Berlin. In ‘Human Polygraph’, I explore aspects of relationality and resonance in solo dance, tapping into the ghostly and mystical, and borrowing some musical lines from a composition by Hildegard von Bingen. 4th of June 2022, 19h. Mansteinstraße 16, 10783 Berlin.
The end of June brings a very pleasant new experience on water for me: With choreographer Clément Layes, I spend two weeks in a residency, hosted by fabric Potsdam in order to work on his practice of one-on-one boat tours, ‘floating listening’. While we row our guests down the small river Nuthe, fragments of memories, myths and reflections that are delivered through headphones to our guest, address the experience of loss and the connection of water, transitions, and healing. Together with Jonas Maria Droste, I translated texts originally written in English into a German version of the performance.
Libken collective, which I am part of since last year, Olivia Golde and Charlotte von Bausznern are inviting for the opening of the new Libken library. There will be readings for adults and kids, coffee, cake and the possibility to stroll around and explore the new public library! 21.5.2022 / 14h Come by!
Vierte Welt Berlin is finally showing BLOCK #4 | NUOVO CORVIALE | ROM. The video essay and installation with live music by Macarena Solervicenz Ruz merges images of the circular concrete buildings of Neues Zentrum Kreuzberg around Kottbusser Tor with those of the modernist architectural project Nuovo Corviale in Rome. As mysterious figures, we flit through corridors and staircases, women of different ages disappearing and reappearing in the inhabited ruins of two equally outdated utopian projects. April, 7-10, 2022, Vierte Welt Berlin
As part of the second edition of OVERSEEN & UNDERTAKEN at Flutgraben e.V. Berlin, Carrie McILwain and me will invite to an experimental performance and ritual. The Great Commonality is a meeting of second-hand elements of two former solo performances, untitled Solo (Johanna) and Grief+Gratitude (Carrie). Inviting communication and cross-fertilization between spoken and sung texts, installed objects and movement material, a new performance arises. Next to our performance, the evening features a showing by the choreographer Jasna L. Vinovrški as well as a talk about the specific qualities, challenges, or strategies of working when dealing with the topic of death, finiteness and mourning.
March 28 2022 | 19h doors/19:30 beginning | Am Flutgraben 3, 12435 Berlin | entrance donation-based
For those hungry for frische Landluft, new experiences and movement: In April & Mai, I will host two workshops in Libken. Naïma Mazic & Lukas Akintaya invite dancers and musicians to explores ways of artistic communication. Regina Baumgart offers insights into her dance practice based on the somatic method Eutonie Gerda Alexander and Labans movement principles. Sign up ends a month before the workshops. More information
This evening at Flutgraben Berlin brings together three works inspired by the theme of death, dying and grief. The four authors of these works, Pauline Payen, Johanna Ackva & Carrie MclLwain and Jasna L. Vinovrški, have been dealing with this subject for a while now, and on that path they have encountered each other in various constellations and circumstances. Their different approaches can offer an insight into their artistic reflections, imaginations and visions about the process of dying, death and the state of grief, which can hopefully inspire further dialogues with and among the audience, about these essential experiences in our lives. More information.
>>>> ENTRANCE DONATION-BASED
>>>> DOORS 6.30 – 7PM
18.12.2021 – As part of the Dirty Debüt edition S2#9 after life, dancer-choreographer Nagao Akemi, composer Evelyn Saylor and myself will perform (with our) Grandmothers at Ballhaus Ost. Tickets are available only online.
CLOUDS ON CLEAR SKY | solos and duets with: Akemi Nagao (7.10.), Jan Burkhardt & Sophie Kuhlmann (8.10.), emeka ene (9.10.), Regina Baumgart (10.10) | Vierte Welt Berlin | Registration here
Rehearsal, Jan Burkhard & Sophie Kuhlmann, Photo by Aïsha Mia Lethen
In the frame of the exhibition On Illness, Resistance and Modes of Collective (Health) Care, I had the pleasure of engaging in a so called Intimate Talk with Nino Halka. Extracts of our conversation on personal experiences with death, dying and our own finiteness, as well as on the past years of my artistic work around the topic can be listened to in the exhibition. In the cosy listening corner, also the publication aus dem, was sprachfähig war. Versuche einer Annäherung an Sterben, Tod und Endlichkeit and extracts from interviews with the performers of CLOUDS ON CLEAR SKY can be read. The exhibition will continue running until November 27 and is open for visitors Tuesday (12-16h), Thursday, Friday (15-19h) and Saturday (11-15h).
Installation views, On Illness, Resistance and Modes of Collective (Health) Care, Districit*Schule ohne Zentrum, 2021, Photographer: Chiara Faggionato
Curated by Marie DuPasquier & hosted by Vierte Welt & the project CLOUDS ON CLEAR SKY for which I am rehearsing at the moment on three solos and one duet that will be presented in October, three Evenings are taking place in the space of the rehearsal. Always on Thursdays, we have invited artists and thinkers of different fields to reflect on the topic of finiteness, death and mourning through the lenses of their respective practices.
Videostill, Magali Dougoud
09.09.21 – VALE OF TEARS with Magali Dougoud (video) & Gesine Palmer (lecture)
16.9. – TORPOR by Laure Boer (dan bau) with Pina Rücker (crystal singing bowls) & Evelyn Saylor (voice)
16.09.21 – GRIEF AND GRATITUDE by Carrie McILwain (lecture & ritual)
Entrance is free, but registration required.
The Pile and the Pyre | Residency at Tanzfabrik Berlin
The figure of the witch and the history of the European witch huntings serve as starting point for three weeks of somatic fantasy, performative research and feminist speculation. Hosted by Tanzfabrik Berlin and initiated by Carrie McILwain, this project explores the materiality and agency of wood and flesh, of parts of trees and parts of bodies as they are being carried and stacked, as they lean onto each other and pile up to what – under other circumstances – could have been a pyre. More information and free tickets for an open showing on August 20th can be found on the Tanzfabrik website.
WORKSHOP | Traces in Movement | Spuren in Bewegung | July 9-11 |
Denk- und Produktionsort Libken (Uckermark)
In this workshop, we explore the body as a site of memories – inscribed, stored, re-performed and to be build. Dancer and Feldenkrais practitioner Anna Jarrige and myself will offer a mix of Awareness Through Movement sessions, playful dance improvisation and writing scores to facilitate a weekend of investigation into one’s own body-mind-history and -present.
Open to all people interested, with and without movement experiences.
Assisting Jörg Laue & Lose Combo in their collaboration with Sonar Quartett, I spent 14 days working around the geographical, mythological and anatomical aspects of Atlas. ATLAS’ WiRBEL | CONTAINER is a temporary archive that assembles sounds, text and spacial explorations of an installation built into one of the former industrial halls at Reinbeckhallen / Oberschöneweide that have been produced in this time.
Photo by David Baltzer
Dancing in the Zoo(m) – clumsy creatures and a telescopic view into the universe included. With the online adaption of EINE GESCHICHTE DER WELT, Lea Martini, Enis Turan and myself continue fabulating about the beginnings of this world and exchanging with kids 6+ about their thoughts on Earths history and future. Among the protagonists is also stage-set and costume designer Filomena Krause, per formatively represented by her amazing dinosaur head creations.
1st and 2nd of March, as part of any body out there? | Tanzhaus NRW | Düsseldorf
Slowly, slowly, gray and silent, the new year begins. Berlin is in a second lockdown due to rising numbers of COVID-19 cases. In her article, journalist and dance critic Christine Matschke broaches the issue of illness and death. Based on meetings and discussions with Berlin-based artists who have dealt with cancer and AIDS, or with the questions of solidarity, care and healing, she writes about what she calls applied research about resilience. Our conversation in November 2020 is mentioned at the very end of her text.
— Genau diese im Tod steckende Widersprüchlichkeit, dieses unsere Verletzlichkeit sichtbar machende Un-fassbare ist es wohl, was an Fortschritt orientierte Gesellschaften so schlecht aushalten können. —–It is precisely death’s inherent contradictoriness, the incomprehensible which reveals our vulnerability, which makes it so difficult to endure for progress-oriented societies. —
(Christine Matschke, tanzraumberlin Magazin Jan/Feb)
The complete magazine with a series of photos from my research can be dowloaded here.
I am part of Pauline Payen’s performative research on physical states of grief. During her residency at Ateliers am Flutgraben, Pauline developed a first version of DUEIL. Here is a trailer!
As eight members of Suddenly collective, we are given the possibility to invite the Japanese dancer and choreographer Natsuko Tezuko to a residency in Tanzfabrik Berlin. For 20 years, Natsuko has been researching a way of dancing she calls “spontaneous movement”. Through deep observation of her own body, paradoxical tasks and her practice of letting movement arise from observation, Natsuko has developed several works that investigate how societally generated norms of behavior as well as histories of modernization and westernization block “spontaneous movement”. Her dance emerges from pressure and resistance and creates spaces of physical and emotional resilience. Starting from her piece Anatomical Experiment 6 – Departure from distorted image, Natsuko transmits her artistic methods and topics to the collective.
In the frame of ada Studios residency program reinkommen, I will show my very first solo. The untitled piece is an installative and intimate performance hosting eight people at a time.
Dates: 10th October 2020, 8 pm | 16th October 2020, 6pm & 8pm
More information on ada Studios website.
September is very social – and not only concerning human interactions. I am spending quite some time trying to be with, to sense, and also to communicate with plants. If I, if we are succeeding? Who knows? As part of a group of five dancer/performers aka. nature-culture-biologists, I am involved in the shooting of Die Korbträger, an experimental documentary movie by Max Hilsamer and Anna Lauenstein. By following specific so called ‘invasive species’, the film is aiming at addressing the complex relations between colonialism, the categorization of nature that comes with the blossoming of natural sciences, and racialising/racist discourses of otherness.
Good news! I was granted a sort of scholarship, DIS-TANZEN SOLO, by Dachverband Tanz, an institution pursuing the interests of freelance dance artists in Germany. From May to August 2021, this scholarship will support my research into a new field of interest: anger and rage. I am curious to speak with women of all ages about their experiences with it, to hear how female socialized persons feel about anger, how they express it – or not. What ignites their anger? Similar to my last research, this project will combine rather intuitively initiated encounters with experts and non-experts, self observation, movement exploration, and reading.
This summer, Lake Studios hosts the 4th edition of an intensive festival dedicated to submerging into specific performance works. With EINE GESCHICHTE DER WELT, a dance piece for children (6 years +), we are part of it. Conceived as an embodied »re-creative« lab into the making of the piece, in our workshop, we revisit games, exercises, and conversations used for the development of EINE GESCHICHTE DER WELT, attempting to embody events of a galactical and highly speculative nature, searching for creatures we don‘t know of yet, and indulging in the pleasure of feeding our imagination.
Workshop with Lea Martini & Johanna Ackva: August 10 – 13, 10 – 16h
Performance: August 15, 18h
LAKE STUDIOS, Berlin Friedrichshagen
BeComing_ein übersinnliches Selbstpotrait, originally planned live-performance, will now premier as a film. As dramaturge I had the pleasure to assist Barbara Bess’ conceptualizing, shooting and editing process. Accompanied by Fabian Riess as a second performer, and a wonderful team behind the scenes (Lars Fischer /sound, Stefan Kleeberger & Sebastian Authenried /camera) Barbara started strolling through fields and forests around her own home in the Franconian village of Kirchfembach, seeing, smelling, and sensing what she encountered, submerging into her everyday surroundings until they became magic. The film offers immersive landscapes of image and sound, and a radically sensorial experience.
Screenings: August 22 and August 31, 21h / St.-Katharina-Festival / Katharinenruine Nürnberg
… is research time. I am sticking my nose into other people’s business, for instance funeral eulogies. Studying how death and mourning are being dealt with brings me to the town of Hangelsberg.
Ich sitze neben der Rednerin in ihrem kleinen weißen Auto mit Hybridantrieb. Wir sind auf dem Weg nach Hangelsberg, Hangelsberg wie Galgenberg, sagt sie. In Hangelsberg gibt es einen FriedWald®. Mit dem großen F, dem großen W und dem eingekreisten R ist dieser Wald sozusagen eine Marke. Nach zwei Kilometern auf einem rumpeligen Weg parken wir und steigen aus: rundherum Nadel- und Laubhölzer, Maiglöckchen, Farne, Käfer, Stechmücken, … Neben der Rednerin, der Försterin und mir sind neun Trauergäste anwesend, im Grunde zwei Familien. Jede*r hier ist mit der Verstorbenen verwandt oder verschwägert. Keine Freund*innen. Bei alten Menschen sei das häufig so. Als ich der Familie in die offene, aus Holz gezimmerte Rundhütte mit der runden Dachluke folge, ist da noch eine Frau in einem festlichen schwarzen Kleid an einem E-Piano. Auf groben Bänken sitzend hören wir ihren Liedern zu. Abschied ist ein scharfes Schwert/ das allzu tief ins Herz dir fährt und das in bayerischer Mundart gesungene Sag beim Abschied leise Servus. In der Luft tanzen Staubkörner, sie glitzern in der Sonne. Aus den Wipfeln über uns der einzelne Ruf einer Krähe.
In collaboration with dancer and choreographer Magdalena Meindl, sound artist Joëlle Serret, and video artist Maximilian Hilsamer, we just finished the video installation bluefold.
The footage used shows two persons standing on each other’s toes, face to face and belly to belly, together involved in an ongoing repeating movement. Falling out of the vertical and away from one another, they alternately catch and bring each other back to center. If it were not for the loss of balance and a limited capacity for twosomeness, they would endlessly swing from side to side, riding their rhythms of tenderly brushing skin and violently crushing chests.
Originally taken from the piece couple-like by Keren Levi and Hugo Dehaes, Magdalena and me borrowed and transformed the movement material and choreographic setup for a scene in our piece Diagrams of Dependency (2015). Later, we took the material and developed it further into a performance of it’s own (Zähle mich zu den Mandeln I/II | 2016). In bluefold finally, the material incarnates into a three-channel video installation, an immersive polyrhythmic visual and sonic experience – that we will hopefully soon be able to share in its full spatial dimensions.
Tinged with different tones of blue – the color of the sky, or more precisely, of the light that gets lost in the molecules of the air – the work evokes facets of the relationship between distance and desire. Intimacy and the minimalism of the movement material create a situation in which subtle dynamics between two humans become tangible while at the same time refusing any conclusion.
While the theaters are still closed, Lieberoser Wüste – also called small Siberia – lies impressively open and wide at about a hundred kilometers southeast of Berlin. It is the biggest desert in Germany, caused by forest fires in 1942, and used as a military training ground, later on. Coming from out of the pine trees onto the sandy surface you will start to find ammunition cases and all kinds of other old metal pieces on the ground. On a windy day, the currents pulling at your hair and clothes is the only thing you can hear.
The images below were made in Lieberoser Wüste and its surroundings during a music video shoot with the so far named band The Executies (Carrie McILwain, Emeka Ene and Kristof Künssler-McILwain). Max Hilsamer and myself either chasing them through the sand or watching them play with the fire that will burn down all evil. The music which tells the whole story is waiting to be recorded soon.
Not only as an occasional camera woman, I am enjoying to discover new places in and outside of Berlin. For the seminar Etudes d’après nature, which I am teaching together with the dance dramaturge Maja Zimmermann at UdK’s Studium Generale this semester, the students and us go out to parks and woods, observing, listening and finding different ways of relating to nature through artistic practice.
Sadly, as all other events, also the showing of Intérieur, a collaborative piece I have been working on with the dancer-choreographers Anna Jarrige, Sophie Brunner, and the musician Joelle Serret, has been cancelled. Lange Nacht der vergessenen Stücke, which the performance is part of, was supposed to happen on the 18th of April at Volksbühne Berlin and was postponed to autumn.
In the meantime, I would like to share a short video of CORHYTHM by visual artist Nicole Wendel. In this version, we perform the work at Kunstverein Potsdam (2019). It’s last performance took place this year in March, short before the corona lockdown, us inside and the public in front of the large window site of Deutscher Künstlerbund.
Corona has us all stay home. I am missing dancing with other people and hugging friends as much as I enjoy the discovery of new old wisdoms: long walks at the green outskirts of Berlin and days without timed appointments. Unlike me, due to the crisis many people are now suffering even more than they did before. Think of being arrested as a refugee on a ship before the coasts of Europe. Despite all odds, the organization SEEBRÜCKE (amongst others) is fighting against this situation and needs our support!
As part of Barbara Bess’ research for her upcoming piece BeComing – Ein übersinnliches Selbstportrait, I am spending five days in Nürnberg, dancing and investigating the potential of our cells and organs to produce and reproduce. Leading up to Barbaras piece in April, this research block will be followed by two more blocks in February and March.
Tickets and more information about a work-in-progress-showing on the 19th of January can be found on the website of Tafelhalle Nürnberg.
My second attempt to apply for the Elsa-Neumann-Scholarship was successful!
From February 2020 on, this grant will allow me to continue an already started field research on how we perceive and deal with the awareness of our own mortality. Seeing death as the utmost limit to our power and idea of subjecthood, I am curious to speak with diverse people about their experiences with death and the process of dying. Not only am I trying to approach an existential and nonetheless widely avoided topic. I would also like to ask how we could, through a radical embrace of our mortality, reintegrate vulnerability and limitation, as well as solidarity with other life forms into being, dancing, and art making.
With (in the order of appearance): Gertrud Baier, Kurt Husemann, Wolfgang Loos | Performers: Anna Jarrige, Joshua Rutter, Johanna Ackva | Camera: Laila Kaletta, Max Hilsamer, Johanna Ackva | Post-production: Max Hilsamer