Next to contemporary dance projects and pieces set on stage, my experiences as performer include participations in video and sound pieces, as well as collaborations with visual artists, performing in the context of galleries and museums, as well as with composers and theatre directors. I have been working in productions for young audience, and in frames that involved close contact and interaction with spectators. I am curious to let my body and mind explore new material and conceptual propositions, and enjoy the encounter of my own physical and personal constitution with diverse frames.
Next to contemporary dance projects and pieces set on stage, my experiences as performer include participations in video and sound pieces, as well as collaborations with visual artists, performing in the context of galleries and museums, as well as with composers and theatre directors. I have been working in productions for young audience, and in frames that involved close contact and interaction with spectators. I am curious to let my body and mind explore new material and conceptual propositions, and enjoy the encounter of my own physical and personal constitution with diverse frames.
Physis by Moritz Majce and the dancers Johanna Ackva, Ágnes Grélinger, Zuki Ringart, Yuri Shimaoka, and Cary Shiu aims to celebrate being together in space and time – without ignoring the differences, the risk, the improbability, and the fragility of this togetherness. The performers dance the connections between the bodies and connect the bodies with their movements. Physis is a search for bodily space, a shared landscape created by bodies together where references arise and pass between all those present.
The Resonating Body is a research project by dancer, choreographer and sound artist Camilla Milena Féher. Her interest revolves around the sonic dimensions of movement as well as an understanding of listening as whole-body-activity. Invited to the inclusive performance festival Mittenmang in Bremen, together with performers Felix Brünig, Deniz Dogan, Stephan Sauerbier (Theater Thikwa), and Anna Stiede, in the short period of three days, we developed a concert performance based on elements of the research as well as on notions and potentials of otherness, as explored in a former project with the inclusive Theater Thikwa. Sharing the evening with the Choolers Division added a lot of fun!
On water is where Clément Layes’ one-on-one-performance takes the audience. Making use of the very particular qualities of the water element, its floating and rocking motions, the change of our perception of gravity and weight when we’re on it, floating listening – a sister project of The River that happened in Potsdam o the small river Nuthe – invites its audience to reflect upon the flux of life, including death and the experience of loss. Not only as performer, but also in collaborating with Clément on the German translation and recording of the audio that accompanies the boat tour, I enjoyed to be able to dive into another artist’s take onto topics that have been important for my own artistic work in the past years up until present.
Schiffbruch mit Zuschauenden, directed by Sebastian Blasius and based on a text by Björn SC Deigner, starts from the basic elements of classical Western theatre: figure, space, time, image, spectator. How are these components fundamentally involved in issues of power and sovereignty? Be it the hero, who as an individual with the power to act must decide the course of events; be it how linear temporality is negotiated on stage and how principles are thereby perpetuated that cannot be separated from processes of economization and colonization. The project inquires how we could find an alternative approach to the practices of theater-making – what would be the potentials of a ‘theater of the unsovereign’ instead?
CORYTHM, a physical dialogue between two performers using coal as a drawing material, is the second project in which I performed for visual artist Nicole Wendel. Her work includes drawing and performance, or combines both of them – revealing lines and shapes as traces of the body’s movements.
Eine Geschichte der Welt by Lea Martini and Dennis Deter is a fantastic journey that turns the theatre upside down, uncovering entire universes in the in the folds of a curtain, and dancing molecules in the spotlights. As part of EXPLORE DANCE, this piece for young audiences aged 6+, was produced by fabrik Potsdam and presented at Kampnagel Hamburg and hochX Munich in spring 2019.
Snails by Grazyna Roguski is a fluid sculpture where the boundaries between sculpture and performance dissolve. Snails are hermaphrodites and can switch randomly between genders, enabling a form of self-redetermination. For Grazynas work, Josephine Findeisen and myself wore a multi-layered garment limiting our movements and pushing us into mutual dependency. The shape formed by this garment suggests an autonomous ‘new’ body. Snails was performed in Hamburger Bahnhof, Kunstverein Leipzig and The Museum / Leipzig.
Roni Katz’ conversational performance Between Us is a format that aims to tackle the relations of what is talked about: how, where, and with whom. By using only questions to dialogue, the performance relentlessly claims space for multiplicities and brings to the surface the value of a perpetual, nearly obsessive conversation with no resolution. Both, in 2017 and 2018 ( Dock11, Neue Gesellschaft für Bildende Kunst ), I participated as a performer in this durational format, circling with and without the participation of the audience around differently delicate topics such as privilege or masturbation.
Ex-peau-sition is a sensory and tactile work that invites the visitor to receive a choreography performed on their body. The tactile compositions follow anatomical pathways and interact with factors of time and space.
In the frame of an exhibition of Constantin Brancusis sculptures at BOZAR / Brussels, choreographer Madalina Dan and I invited the viewers to turn into subjects and the contemplative mode to turn to an experiential one. The touch choreographies were accompanied by Joëlle Serret’s sound compositions.
The video installation how surprising that you are you by the artist duo titre provisoire (Cathleen Schuster and Marcel Dickhage) is a role play of some psychological instances of love, in which Desire, Jouissance and the Unconscious, next to others, live and get together in flats of their close friends. The protagonists find their environment to be disconcerting, causing certain behaviors. Can love become a form of personal resistance for them, to counter a predominant reactionary climate suspicious of everything unknown? The video was shot in January 2018 and presented in the exhibition Lieben at Taxispalais Kunsthalle Tirol.