nadaLokal 2009-2016
In Across the White Fanni Futterknecht focuses on the colour white; referring to colour in painting but also in a metaphorical sense to point out references to the context of the white cube. White symbolizes the space of emptiness giving space to the imaginary and create possibility for the non-existing to start to exist. The starting point of this confrontation was a substantial stay in Shanghai China and the artist’s interest with the art figures of the Chinese opera. Harmony between the human and nature has been a fundamental thought within Chinese culture and can also be found in the narrated motives of the performing arts. The white empty space in theatre as well as the unpainted white space in painting shall allow a continued narration of what is represented even in its absence. The performance in the film continues a discourse around symbolic and abstract codes of narration and translates them into a unique language of shapes, colours and sound. The work investigates the relationship between image and narration.. A classical story around rebellion, order, naivety and strength is being told.
Die Bewegung führt über Zeichnungen mit ausgestrecktem rechten Arm zu Übungen für die linke Hand. Sie balanciert rechts und links und mündet in (un)demokratischen Haltungen. Durch die Bündelung beider Seiten erfährt sie Einheit und Grenze. Sie verlässt den Weg der vereinbarten Lateralität und bietet ihre linke Hand zum Gruß. Ihre Neugierde richtet sich auf die Welt, die in zwei linken Händen entsteht. »zwei linke Hände« ist eine Praxis aus der gerade entstehenden choreografischen Arbeit »europa werden«, einem gestischen Plädoyer für Pluralität.
veza or patience will bring you roses is a solo a series of solo pieces in which i translate the work of the () writer i am named after into my texts, my body, my mood, etcetera. veza or patience will bring your roses is (maybe) and ode, a poem, a dance, a private situation a rock. Or Veza Fernández repeatedly attempts to bring back to life the texts of her namesake, the relatively unknown writer Veza Canetti. She slips into her body — or does it still happen to be her own? She addresses Canetti, she cites her, turns into her.
Roland will show a selection of his Video works.
Hans-Jörg Lohn (Casio, Kramzeug) David Ender (Bass, Synthesizer, Schreberinstrumente) In einem kleinen ungarischen Dorf haben sich der bildende Künstler Hans-Jörg Lohn und der Musiker, Schriftsteller und Performer David Ender zu musikalischen Umtrieben und Forschungsreisen zusammengefunden. Die gemeinsame Abenteuerlust führte schließlich zur Entstehung des Duos lohn:ender Gřammelsound. In ihren Explorationen schrecken Lohn und Ender weder vor musikalischen Gemeinplätzen und Banalitäten zurück, noch machen sie Halt vor der experimentellen Seite des Hörens und Klingens. Stimmung und Umgebung beeinflussen dabei den musikalischen Werdegang der jeweiligen Aufführung.
“Something must happen” exposes a dream-like reality and shows a life based on a mode of consciousness that could be considered as entranced. In a series of different sceneries, Julia Zastava performs actions in an enchanted way. Even when on her own, she fulfills her tasks without questioning. Elements taken from computer games define the flow, a whip leads through the trip, before it gets finally burned. The effort to escape pre-constructed habits ends in a prefigured mode. The other side, another possible solution, lies in the spectator’s eye. Why does the lady keep on peeling potatoes in the sleeping room? The whip knows. She fulfills duties like in a game. Jewels will be the reward. But only abstract ones, sketches of gems, whose colors seemed to have disappeared into the sky, the waters or into the rainbow of the meditative closing scene. The fulfillment of the induced expectations lies beyond the screen, the images might give a call to reach out beyond too. The video triggers, but does not unveil. It is up to the viewer to anticipate other outcomes. (Philipp Levar)
Elizabeth Ward and Nicholas Hoffman begin with a strategy taken from Rauschenberg´s memoirs describing his approach to stage design while on tour with the Cunningham company- arriving in a new city he would go for a walk and find what could be found on the streets. Tuesday morning they also take to the streets to see what the city offers. Once at nada they will begin with a warm up class and get to work creating and remembering choreography.