Thomas Steffl - TREE BOUNDARY 08.12.01 - 20.01.02
Film installations and photography
conzept_ press reviews_
Thomas Steffl (*1970, lives in Munich) received this year's "Young Art and New Media" project grant from the City of Munich. The exhibition taking place to mark the occasion shows three of the artist's film and video installations along wit his photographic work.
The "Homburg Model" is an example for the Steffl's continued pursuit of image generators and simulators by which images created in a Black Box are projected onto a screen. The history of film and photography are as significant as the chosen medium itself and an analysis of its origins and specifications. "Somersault Minsk" and "Park" are two recent video installations that were mounted in the exhibition hall. By gesturing towards medial levels of awareness they lure the observer into a perception trap. They tell stories that reveal a certain degree of credibility but which operate by deceiving and blurring our view.
The photography on display deals with the construction of reality and with the fictitious nature of any picture. This emphasises the fact that what is called staged photography had already become outdated by the 1990's, the boundaries between the staging and the reproduction of reality becoming ever finer.
A 48-page catalogue accompanying the exhibition appears with colour illustrations and an English translation in REVOLVER.
Sponsored by: Siemens Arts Program, LfA Förderbank Bayern, Helvetia Versicherungen and Holzbau J. Schlemmer.
opening:
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Friday, 7.12.2001, 7 p.m. |
| duration: |
8.12.2001 until 20.1.2002 |
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daily except mondays 1 p.m. to 7 p.m. |
| curators: |
Patricia Drück und Dr. Christian Schoen |
Press reviews
08./09.12.2001 Grenzsituationen und Glücksmomente. Raffinierte Filminstallationen und Fotos von Thomas Steffl in der Lothringer 13, Anne Erfle, Süddeutsche Zeitung, Münchner Kultur, Seite 20
12.12.2001 Komm auf die Schaukel... "Baumgrenze": Arbeiten von Thomas Steffl in der lothringer 13, Simone Dattenberger, Münchner Merkur, Kultur, Seite MM16
22./23.12.2001 Die Rechtskurve der Hutkrempe. Perfekte Illusion: Drei Filminstallationen von Kunst-Stipendiat in der lothringer13, Roberta de Righi, Abendzeitung Kultur, Seite 15
01/2002 lothringer 13 Thomas Steffl, Rüdiger Heise, Applaus, Kunst-Ausstellungen, Seite 55 15.01.2002 Philosophie in grober Körnung. Ausgezeichnete Absolventen präsentieren ihre Arbeiten an der Akademie der Bilden Künste, Anne Erfle, Süddeutsche Zeitung, Münchner Kultur, Seite 40
19./20.01.2002 Ich geh doch jetzt nicht Kunst shoppen, Gert Gliewe, Abendzeitung Kultur, Seite 15
tipps empfehlungen: fragen der wahrnehmung, www.artechock.de/kunst
99% Performance 1% Drama 24. - 27.01.02
Maren Strack & Johan Lorbeer
Vier Performerinnen und Performer - Maren Strack, Johan Lorbeer, Max Bauer und Claudia Surbir - befinden sich in der neuen Arbeit von Maren Strack und Johan Lorbeer in besonderen Lagen: Eine Frau hängt an ihren roten Haaren von der Decke, bekleidet mit einem Fellkleid. Sie singt stimmungsvolle Lieder. Ein Mann lehnt freischwebend in der Höhe von 1,20 Meter an der Wand. Ein zweiter Mann sitzt stuhllos an einem Tisch ohne Beine. Eine zweite Frau tanzt im knallroten Iglu-Zeltkleid den "verregneten Campingtag im Fichtelgebirge" - ohne Bodenkontakt. Aus ihren unmöglichen Stellungen kommunizieren die vier Protagonisten in "99% Performance 1% Drama", während alles schwebt. Die Schwerkraft scheint außer Kraft gesetzt.
Aufführungen:
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24. - 27.01.02, 18.30 bzw. 20.30 h |
| Kuratoren: |
Patricia Drück und Dr. Christian Schoen |
Scottish Evening 25.01.02 - 03.02.02
Martin Fengel & Martin Wöhrl laden zum Burns Supper
Martin Fengel und Martin Wöhrl verbrachten im Jahr 2000 einige Wochen mit einem Stipendium bzw. zum Studium in Edinburgh und Glasgow. Die Ausstellung zeigt eine Auswahl ihrer in dieser Zeit entstandenen Arbeiten. Zudem wurden folgende Gäste eingeladen: Jill Henderson, New York/Aberdeen Steph Norwood, Glasgow Andreas Neumeister, München.
Mit freundlicher Unterstützung von: High Tek Group, Edinburgh und Kulturreferat der Landeshauptstadt München
Eröffnung:
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Freitag, 25.01.2002, 20 Uhr |
| Ausstellungsdauer: |
25.01.02 bis 03.02.02 |
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täglich außer montags 13 - 19 Uhr |
Balance 16.02.02 - 14.04.02
Lars Siltberg - Dorothee Golz - Annika Larsson
conzept_ program_ press reviews_
The effort we make to keep our balance is determined by our fear of losing it. Yet we cannot foresee what it is that happens when this balance does get lost. We risk falling into something unknown which presents a threat of vital significance to the human being or to society. The events of the past months have made us vividly aware of this. The exhibition uses video and room installations to centre on the aspect of loss and of controlling balance and plumbs the depths of the condition of hanging in the balance.
"Man with balls on hand and feet" is the title of a three-part video work by the Swedish artist Lars Siltberg (Gothenburg), participant of last year's Biennale in Venice. Three large projections show a man's body in extreme physical states. With plastic balls on his hands and feet he struggles against the natural elements of water, ice and wind and illustrates the impossible endeavour of gaining control over one's own body and finding one's balance.
top: Larsson, left: Siltberg
In her video installation "DOG" (2001) Annika Larsson (Stockholm) uses a lan-guage of pictures which we know from action films and commercials: disturbing sequences which build up tension but also give cause for mistrust. The tension is not released; the pathos of the actors and their meticulously celebrated gestures go nowhere. The sharpness and precision of the film language and the power of detail question the narrow line of civilisation's rules which determine how we live together but which can also fall into the opposite.
Golz
The colossal, transparent plastic bubble by Dorothee Golz (Mülheim/Ruhr) with the title "Hohlwelt II" (Hollow World II) (2001) is an apparently fragile object with integrated seating and observation objects. The participant of documenta X became renowned amongst other things through amorphous creations which ap-peared in their pseudo-functionality like futurist dreams, opening a play between fragility and stability. In her drawings characterised by crystalline swirls and flowing formations she examines the fractures of perception and plumbs the depths of the parallelism of thought-up worlds which exist alongside the real one.
Opening:
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Friday, 15.02.2002, 7p.m. |
| Duration: |
16.02.02 to 07.04. 2002 |
| Curators: |
Patricia Drück and Dr. Christian Schoen |
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| program |
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20.2., 20.30 h
1.3., 19 h
10.3., 16 h
10.3., 20 h
15.3., 20 h
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Netzblicke:
Content Bizz & ePayment
in Kooperation mit dem FIWM
Internationaler Medienkunstpreis 2001 (SWR/ZKM), Präsentation Bernhard Foos
Präsentation des Medienzentrums kuda.org aus Novi Sad durch Zoran Pantelic
Cyberland Indien - Vom Mythos zum Mausklick
Mit R. Krishnan (Siemens AG), J. Munirathnam (Total Systems GmbH), S. Kumar (BMW) und Dr. P. Frieß (gotoBavaria). Moderation: F. Schneider
bigbaby - sculpture animée
Performance mit Cynthia Schwertsik: dance; red white: light animation; Klaus Filip: sound |
Press reviews
14.-20.02 2002, "Fliegendes Wohnzimmer aus der Hohlwelt" SZ Extra, Cornelia Gockel
15.02.2002, Mein Tipp, Süddeutsche Zeitung, Christian Schoen
18.02.2002, "Aufs Glatteis", Münchner Merkur, Simone Dattenberger
19.02.2002, "Immer wieder auf die Schnauze gefallen", az/Kultur, Gert Gliewe
26.02.2002, Balance, München Regioportal, Andrea Naica-Loebel
20.02.2002, "balance-3 Künstler gegen das böse" artechock kunst-besprechung, Nina Zimmer
März 2002, "die lothringer bemüht sich um gleichgewicht" CURT
14.03.2002, "Die Suche nach dem Gleichgewicht", Süddeutsche Zeitung, Anne Erfle
17.03.2002, "Wackeln im Sturm", FAZ am Sonntag, Julia Blum
4.4.-17.7.2002, Nr. 8, "Lieber penetrant als elegant" in münchen, Dörthe Bäumer, S. 23
16.02.02, 17.00 Uhr (Erstausstrahlung) M 94,5 Störfunk, Lukas Piloty
19.02.02, 14 Uhr (Erstausstrahlung) M 94,5 Kultursendung, Gisela Parak
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SIGHT | SEEING
constructions of sight
With Angelika Böck, Freya Hattenberger, Sean Jonpaul, Pia Linz, Nadine Minkwitz, Jordi Moragues, Axel Roch, Silvia Maria Schopf
concept_ program_ press reviews_
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1.5. - 23.6.2002
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Seeing, perceiving, knowing. The looking eye is the basic prerequisite for visual perception. But what does it mean, looking? Using experimental interactive and multimedia based installations this exhibition will examine the different constructions of sight.
Axel Roch's (*1971, living and working in Cologne) complex eye-tracking system illustrates the process of seeing. His interactive work "Visionary Apparatus" scans the look of the observer translating it into a graphic system. Vision itself becomes an image. Angelika Böck (*1967, living and working in Munich) examines traces of vision in her studies of the eye movement. In the video installation "eye2eye" (2000) two monitors - each showing the image of an eye - face each other. The movements of these eyes observing each other are visualised as continuous lines on the monitor. This view connection between the two screens will be interrupted if the observer steps between the monitors. In a second series of work the artists examines the line of reading when studying pieces of classical art. The tracks of the viewing eye are then superimposed onto the image.
The photographical work by Nadine Minkwitz (*1977, living and working in Cologne) also plays on the tactile aspect of looks when directed on bodies. Measuring the line of vision using an eye-tracking system, this "physical" contact is transformed into a light reflex on the photography. It is only then that the skin of the observed body becomes visible.
The process of perception and the connections between seeing and thinking are the subjects of the graphic work of Pia Linz (*1964, living and working in Berlin). Her coneshaped paintings and drawings are a vivid lesson in the physiology of perception. It is an attempt to capture the observed in a totality that is more than the sum of its individual aspects. In her work she focuses on the world surrounding her that is formed by and made up of subjective perception. This analytical and conceptual approach results in meticulously calculated experiments such as " Blickfeldprojektion" (1999).
The American artist Sean Jonpaul (*1971, currently living in Munich) is investigating the history of seeing, photography, and of the moving image in relation to time and space. His device is a complex instrument that is a camera and projector at the same time - a reconstruction of the cinematographe of the Lumière Brothers. In his installation the same image is shown over and over again, lit by the flickering shutter movements of the camera, and projected onto a hemispheric surface.
Silvia Maria Schopf (*1970, living and working in Düsseldorf) examines in her video installation "Seefilter" (2000) the boundaries of human sight. Images filmed with an infrared sensitive camera are projected vertically onto an opaque liquid. They turn into a dynamic play of images on the surface of the water, charged by the underlying metaphor of the mirror. The 3D computer animation of the life cycle of a praying mantis by Jordi Moragues from Barcelona (*1970, currently living in Cologne) serves as a poetic reflection on reproduction and mimicry. The videos by Freya Hattenberger (*1979, living and working in Cologne) show organic mutations that on the strenghth of their vividness play with the Rorschach effect. Shown in short sequences at a very high speed this is a challenge for the observer's visual receptivity. Shadowy shapes originate from this continuous process of creation and change constantly, oscillating between seemingly visible and hidden images.
A catalogue is published.
  
oben: Böck
unten: Linz, Hattenberger, Moraves
Press reviews
25./26. Mai 2002: "Anders sehen mit Rorschach" Abendzeitung, Roberta De Righi, S.14 12
Juni 2002: "Beim Augenarzt" Süddeutsche Zeitung, Cornelia Gockel, S. 48 20
Juni 2002: "Im Dunkeln des Augapfels" Münchner Merkur, Melanie Klier, S. MM6
6/2002: "sight/seeing" Applaus, S. 55 6/2002: Veranstaltungstipp Prinz, S. 109
3. Juli 2002: (Erstausstrahlung) M 94,5
Eröffnung:
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Dienstag, 30.4., 19 uhr |
| Ausstellungsdauer: |
1.5. - 23.6.2002 |
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täglich außer montags 13 - 19 Uhr |
| Kuratoren: |
Patricia Drück und Dr. Christian Schoen |
| program |
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ICONIC TURN
In cooperation with Burda-Akademie zum Dritten Jahrtausend and Humanwissenschaftliches Zentrum der LMU
Lectures in the Ludwig-Maximilians University; Workshops at lothringer13 mit
Hans Belting, Bazon Brock, Peter Sloterdijk, Reinhard Brandt, Ernst Pöppel, Horst Bredekamp, Friedrich Kittler
Ltg. der Workshops: Dr. Matthias Bruhn, Dr. Britta Glatzeder und Dr. Christian Schoen
4.5.2002
Long night of music: opening until 0h
15.5.2002, 20h
Netzblicke: "Next Generation Contact Center - eCRM und Nachrichtenmanagement" (in Kooperation mit dem Förderkreis für Internet-Wirtschaft München e.V.)
7. - 9.6.2002
Conference at Evangelic Academy Tutzing
Macht und Ohnmacht der Bilder
Fragen zu Gewalt und Terror
In cooperation with Ev. Akademy and [m] medienforum
22.6.2002, 20h
Finissage
Experimental Soundperformance
Ralf Schreiber & Thom Kubli, Köln |
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Media Variations
With Hanna Maria Anttila, Stig Baumgartner, Pia Euro, Rita Leppiniemi, Mikko Maasalo, Lena Séraphin, Sari Tervaniemi
concept_ program_ press review_ |
6.7. - 11.8.2002
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MUU is artist run, Finnish interdisciplenary artist association, founded in 1987 to represent and promote new and experimental forms of art. The art forms embrace; media art, performance, video, environmental, space and conceptual art, sound and other experimental modes of cultural production.
This exhibition, Media Variations, of media works from seven emerging young media artists of MUU, includes; drawings, photographs, Internet art and video installations.
The artists participating in Media Variations all work within the various contemp-orary forms of art media engaging themselves in the processes of using technology and how their ideas are influenced and interpreted by it. They also share a common interest in exploring the potential and meaning of how it mediats the ways of perceiving notions of others and self as well as connections to their personal life and environment.
The exhibition includes a playful Internet project by Rita Leppiniemi, 'Phobia Museum', that functions as a proposition. Its purpose to ask people to send in their personal phobias whereby Rita then transforms and animates them into interactive webpages. Mikko Maasalo presents an ambiguous abstraction in the video installation, 'ultima thule' where the camera is set to record the events of surface tension between gas and liquid, and in his series of paintings, 'Chromium Oxide Green', a static trace of fluidity. Two photograph installation series by Sari Tervaniemi, 'A Shade of Red' and Lena Séraphin, 'I Can´t Remember Why I´m Here', use parody to explore the realms between fact and fiction. The use of narrative with a cinematic appearance presents fragments of uncertain and perhaps threatening situations. The video installation of Pia Euro looks at the nonlinearity of moments in a three-dimensional structure. Her piece 'Space and Time', places the monitors in an open form with a personal reference to the passing of time as a very intense moment. Hanna Maria Anttila's; 'Surface' and 'Milk', look at the difficulty of defining oneself and confronting another. Typical characteristics of her work are sparce imagery, repetitive structure and visual insights that seldom can be captured by language. Stig Baumgartner's drawing installation, 'Projection', is a result of his involvement with performance, drawing and video. He manipulates and translates his experience of time and movement onto a two dimensional surfaces to question notions, among other things, the of temporality of perception.
Produced by artist association MUU / Timo Soppela, director supported by FRAME - Finnish Fund for Art Exchange and AVEK - the Promotional Centre for Audiovisual Culture in Finland
   
top: Tervaniemi
above from left: Euro, Leppiniemi, Anttila, Maasalo
Produced by artist association MUU / Timo Soppela, director supported by FRAME - Finnish Fund for Art Exchange and AVEK - the Promotional Centre for Audiovisual Culture in Finland
Press reviews
4.-10. Juli 2002: "Fürchterliche Finnen und zu schöne Frauen" SZ Extra, Kaeb, S.4
8. Juli 2002: "Glücksfälle auf dem Scherbenhaufen" Abendzeitung, Roberta De Righi, S. 15
9. Juli 2002: "Persönlichkeit und Technologie" Münchner Merkur, Freia Oliv
15. Juli 2002: Media Variations AllesKunst.Net 18. Juli: "Junge Menschen suchen sich" Süddeutsche Zeitung, Cornelia Gockel, S. 36
Eröffnung:
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Dienstag, 5.7.2002, 20 uhr |
| Ausstellungsdauer: |
6.7. - 11.8.2002 |
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täglich außer montags 13 - 19 Uhr |
| Kuratoren: |
Oliver Whitehead (Medienkünstler, Finnland) in Zusammenarbeit mit |
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Patricia Drück und Dr. Christian Schoen |
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program |
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Kooperationsveranstaltung im SS 2002:
ICONIC TURN
Burda-Akademie zum Dritten Jahrtausend und Humanwissenschaftliches Zentrum der LMU
5.7.2002, ab 17h
SOMMERFEST
Der lothringer13/freundeskreis lädt ein zum Sommerfest
5.7.2002, 20h
Eröffnung: MEDIA VARIATIONS
6.7.2002, 21h
Video-Screening von MUU Künstlern
14.7.2002, 10-18h
ideengeber.org
Open Space Conference: Wahl(beteiligung), und was dann...
24.7.2002, 20h
Netzblicke: eSecurity - Festung mit Hintereingang (FIWM) |
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CUBE
A multi-media installation
Holger Mader, Alexander Stublic, Heike Wiermann, Thomas Troge
concept_ |
15. - 25.8.2002
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CUBE is the spatial installation of a cuboid object. The artists Holger Mader and Alexander Stublic , the musician Thomas Troge and the architect Heike Wiermann use a choreography of abstract image motifs projected onto the cube to define form and its relationship to the physical sphere.
The video recording concentrates on surface portrayal and the modelling of corpora; the sound either reinforces this or makes it relative. Object-like entities of spatial intensity are thus formed which take the observer on a journey through the architecture of media in a time dominated by media façades and TV images.
Holger Mader (*1970) studied Media Art at Karlsruhe Design College, where Alexander Stublic (*1967) graduated in Media Theory, Philosophy and Media Art. Heike Wiermann (*1971) studied Architecture at the University of Karlsruhe. Thomas A. Troge (*1950) is Professor for Music Informatics at the Karlsruhe School of Music.
Further information: www.webblick.de/cube
Opening:
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Tuesday, 14.8.2002, 7p.m. |
| Duration: |
15.8. - 25.8.2002 |
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daily except mondays 1 p.m. to 7 p.m. |
| Curators: |
Patricia Drück und Dr. Christian Schoen |
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Bjørn Melhus
Primetime
concept_ program_
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7.9. - 27.10.2002
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Bjørn Melhus, one of Germany's most renowned artists, is now being presented by lothringer13/halle. The exhibition's title "Primetime" is also the title of the video installation for which Bjørn Melhus won last year's Sprengel Artist Award in Hanover. The exhibition in the lothringer13/halle is Bjørn Melhus' first one in Munich. Primetime is a co-operation project with the Kunsthalle Bremen; a joint catalogue has been produced with the Kunsthalle which is presenting Bjørn Melhus' exhibition Video from 3 August to 22 September 2002. The exhibition in the Kunsthalle Bremen offers a cross-section look through Melhus' work from over the past 16 years: from his earliest film clips from 1987 which are reminiscent of Eighties' advertising right up to his latest video installation Sometimes; Melhus created this piece last year for the central exhibition room of the Kunsthalle Bremen while he was in New York on a scholarship awarded by the German state of Lower Saxony.
With the video installations Primetime and the videos Weeping, Fire Scene (Autocenter Drive) and The Oral Thing (all 2001) lothringer13/halle is exhibiting works in which Melhus critically reflects American television formats such as preaching shows and daytime talk shows. While Primetime is a physically accessible installation with a walk-on Stage Stairway, The Oral Thing is set in a virtual video dimension. Bjørn Melhus (*1966) is interested in the pursuit of an identity formed by the enticements of our media reality. Over the past years he has focused on the American world of 'TV experience' and provided a consistent artistic study of our mass media culture beyond any superficial approach. The figures that appear in his video pieces, which he always plays himself, disclose longings and desires and yet they are defeated by their imprisonment within their own split selves. He nearly always produces his works using sound; by taking acoustic material from cinema classics, from television and from pop music he carves his imagination's narrative images into a polished choreography which he then lays over the rhythm of clan constructions.
Primetime (2001) is a spacious performance reflecting the American talk show formats of Jerry Springer and Maury Povitch which pose as chat forums whilst in fact exploiting their candidates' vanity and self-obsessions. After entering the backstage area the visitor to the exhibition is led via a stage-like stairway into the central room. Sequences of image, script and sound combine to produce a penetrating effect which is intensified by choreography of numerous monitors installed in the room.
In Weeping (2001) the observer is captivated by colossal projections of portraits showing two almost identical preachers. They subject their listeners to a psycho-carrousel of being approached intrusively and of threatening admonitions in order to convey their message of redemption. The original text version of the American TV preachers has been freed by Melhus of any direct biblical references. His interest lies much more in the suggestive power of the sermon. Bjørn Melhus' video work The Oral Thing (2001) can be viewed simultaneously on the screen of lothringer13/spiegel.
A catalogue accompanies the exhibition with essays by Wulf Herzogenrath, Anne Buschhoff, Patricia Drück, Andreas Kreul, Alice Kuzniar, Barbara Nierhoff, Sabine Maria Schmidt and Christian Schoen (120 pages, includes many colour illustrations, €28.00).
Opening:
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Friday, 6.9.2002, 7p.m. |
| Duration: |
7.9. - 27.10.2002 |
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daily except mondays 1 p.m. to 7 p.m. |
| Curators: |
Patricia Drück und Dr. Christian Schoen |
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program |
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06.09, 19 h
08.09., 11 h
16.10, 19.30
19.10., 13 - 2 h
25.10., 17 - 19 h
WS 02/03 |
opening
Prof. Dr. Wulf Herzogenrath
(Direktor Kunsthalle Bremen)
Artist Discussion: Bjørn Melhus talks with the curators
Long Night of the Museums Saturday 19 October 2002, 1 pm - 2 am
Bar with the Club Verantwortung (Monika Braig, Lena Bröcker, Franka Kassner, Andreas Mitterer and Claudia Wieser)
Workshop: Primetime (im Rahmen der Inter@ktiv 2002)
Iconic Turn. The New Image of the World Winter Semester 2002/2003 Workshops on the Felix Burda Memorial Lecture Series held in co-operation with the Burda Academy of the Third Millennium and the Human Studies Centre at the Ludwig Maximilian University in Munich (www.iconic-turn.de).
Public Guided Tours
Sunday 15.9.02, 6.10.02 and 27.10.2002, each taking place at 5 pm and by appointment |
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DANCE 2002
The Trace on Things
The 8th International Festival of Contemporary Dance of the City of Munich
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3. - 5.11.2002
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konditon pluriel | Alain Buffart/Association Pi:es
kondition pluriel (Kanada/Österreich)
schème II (Uraufführung)
3.11., 19h + 22h
4.11., 19h
5.11., 19h + 22h
Bewegung verändert den Raum. In den choreographischen Installationen von kondition pluriel bestimmt die Bewegung die Architektur von Raum und Körpern, treffen Live-Tanz und digitale Medien aufeinander.
Raum-Bilder und Tonlandschaften werden über Sensoren erschaffen und manipuliert, die an den Tänzerinnen befestigt sind, und dies wirkt wiederum unmittelbar in die dreidimensionale interaktive Welt der Performance zurück. Im Zentrum stehen stets der Körper und die Wahrnehmung des Raumes, deren reale und mögliche Abhängigkeit voneinander. Aus einer hochtechnologischen Konstruktion entstehen dabei verblüffende Momente voller poetischer Kraft und Emotion.
kondition pluriel, das sind die Kanadierin Marie-Claude Poulin, die bei Benoît Lachambre und Meg Stuart tanzte, selbst choreographierte und sich in Kinanthropologie (Bewegungsanalyse unter Berücksichtigung des Nervensystems) ausbilden ließ, und der österreichische Medienkünstler Martin Kusch, der seit 1997 an der Hochschule für angewandte Kunst in Wien lehrt.
Seit dem Jahr 2000 arbeiten Poulin und Kusch zusammen und stellen in ihren Laborsituationen Fragen nach den Beziehungen zwischen Wirklichkeit und Fiktion, Performance und Realität. Zugleich unterzieht kondition pluriel den Körper an dieser Schlüsselposition einer tief greifenden Revision. Poulin und Kusch bringen den Körper aus den Fugen, stellen ihn in eine Welt, die nicht länger durch Zeit und Raum definiert ist, verwischen die Grenzen zwischen innen und außen, wenn zwei Tänzer wie siamesische Zwillinge miteinander verbunden sind. "schème II" entsteht in jeder Umgebung jeweils neu.
Für die Münchner Premiere wurde die choreographische Installation für den Raum der Galerie lothringer13/halle konzipiert.
Mit Unterstützung der Regierung von Québec (Ministerium für Internationale Beziehungen, Kulturbüro der Vertretung von Québec) und dem Conseil des Arts et des Lettres du Québec im Rahmen des Programmschwerpunktes Québec.
Alain Buffart/Association Pi:es
(Frankreich)
Good Boy
4.11., 21h
Ein Solo von und mit Alain Buffard Alles in diesem Solo von Alain Buffard ist aufs Äußerste reduziert, zwischen den Handlungssträngen gibt es keine Verbindung mehr. In der Tradition der Performance und Body Art der 70-er Jahre ist "Good Boy" eine Reminiszenz an das Werk von Bruce Naumann. Die im Stück verwendeten Neonröhren wie auch das repetitive Aktionsmuster haben nur mehr wenig mit dem traditionellen Verständnis von Tanz zu tun - die Choreographie ist in ein seltsam bewegtes und doch statisches Bild voller visueller Magie übergegangen.
Alain Buffard begann 1978 am Centre National de Danse Contemporaine in Angers zu tanzen. Er arbeitete u. a. mit Brigitte Farges, Daniel Larrieu, Régine Chopinot und Philippe Decoufle, später auch mit Xavier Le Roy und Künstlern aus anderen Disziplinen. 1984 produzierte Buffard sein erstes Solo "Bleu Nuit". 1989 choreo-graphierte er Wagners "Meistersinger" im Théâtre du Châtelet in Paris und das Solo "Good Boy" sowie zwei Trios. "Dispositifs 3.1" wurde im Januar 2001 in Valencia uraufgeführt. |
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