Dasniya’s in Oldenburg with Das Helmi working on a new performance with the Staatstheater ensemble, a “progressive feminist science-fiction soft-porno project with puppets and people”. Yes, I am going, I mean come on, sci-fi feminist porno puppets? I’ve seen the Helmis more than any other theatre or dance company and they’re banging. Plus they’re re-staging Große Vögel, Kleine Vögel there, though I’ve seen that three or four times already. I reckon it’s their best work.
While Dasniya’s away the brilliant and quite sadistic Tamandua is teaching a Kinbaku workshop in Uferhallen. If you can pony up for it, his tying is worth it. And then it’s April, so more of Dasniya’s Tuesday morning classes.
There’s a scene in Episode 9 of Sense8 where Lito is sitting with Nomi before an early sketch of Man at the Crossroads in the Diego Rivera Museum in Mexico telling her how he lost his partner Hernando, while cutting to flashbacks of Hernando describing the history of of the mural, of art, and love before their first kiss.
Late-December, Isabelle says, “I’m going to Mexico.” I say, “You have to go to the Diego Rivera Museum.”
Even if she doesn’t make it there, she’s still in a museum, the Museo Universitario del Chopo, where she’s working with a group of local performers to develop and present a variation of the Collective Jumps / Pieces and Elements series. And if you are in Mexico City later next week, you can see it.
Personal Collective Performance Installation:
4th and 5th February 2017, 1pm
9th and 10th February 2017, 5pm
Personal Collective has been developed together with the performers from Mexico City under the artistic direction of Isabelle Schad, assisted by Julia Rodriguez for the site of the Museum el Chopo. Certain modules derive from the work Collective Jumps by Isabelle Schad and Laurent Goldring.
With: Daniela Urías, Patricia Marcela Herrera Román, Engelbert Ortega, Alvaro Pérez, Azhareel Sierra, Argelia Villegas, Uriel Isaac Palma Torres, Alberto González Etchegaray, Leticia Cordero Mote, Adrián Hernández, Gilberto Spindola, Mariana García, Citlalli Granados de León, Alejandro Ramírez, Edgar Landa, Karina Terán, Mónica Arellano, Daniela Flores, Marlene Coronel, Víctor Hugo Rivera.
Personal Collective is a collaboration by Isabelle Schad with Goethe-Institut Mexico and Museo Universitario del Chopo.
Dasniya Sommer’s most excellent workshop on the art of shibari self-suspension returns in February. One of my faves from her. All the info on her blog.
Fly high! This workshop answers all your questions on self-suspension technique. After a solid warm up we will look at different harnesses for your personal self-suspension.
The technique varies depending on its function and anatomy. It can be used for performing or simply as rope playing with a partner. After a warm up we will step by step look at safety principals, breathing, movement sequence, and progressions in the air.
For me self-suspension is also a performative tool for self-empowerment. So when you are in the air, we will pace down, finding your personal rope dance and own inner hero.
Bring comfortable clothes, a snack and ropes if you have, otherwise we provide them.
Where: Institute Sommer, Uferstrasse 8, 13357 Berlin. U8 Pankstrasse, U9 Osloerstrasse
(Enter the gate at the big bus, walk right to the building with the big clock, turn left and immediately right up the small stairs, entrance ‘B6’)
Please take this number in case the door is locked, 0174-3937049
Around the time I started dancing, living in Auckland, shortly before moving to Australia, I fell in with a rough crowd of philosophers and academics. Or rather, I skirted the edges of their world in Auckland and then in Melbourne as they en masse crossed the ditch; and then they were students, working their way through Masters and Phds. As with almost everyone, I lost contact, lives diverging, names hazily remembered.
Perhaps I’m inventing a fictional history, perhaps also the bright memories I have are of the enthusiasm of first discoveries rather than any significant shift in paradigms, nonetheless there was a raw thrill for new philosophy and theory. There were names that have stuck with me: Deleuze, Butler. I tried on Serres, Derrida, Kristeva, Iragaray; newer names still, like offspring of those first names, Rosi Braidotti, Keith Ansell-Pearson, Slavoj Žižek; felt like a fifth columnist going to lectures on Habermas and Lyotard. Perhaps it was because Deleuze and Guattari’s 1000 Plateaus had only recently been translated into English — by recently I mean this mob were the first generation of university students to be exposed to it, and it was certainly far outside the mainstream of university curricula; and Butler’s Gender Trouble was similarly new and far out.
Anyway, I found myself in Sydney one summer, in Gleebooks, and there on the shelves were both 1000 Plateaus and Gender Trouble. I bought both without a second thought. I read them over and over. (There was another book there, I forget the name, but it was about trans identities, I remember the rush of finding that, reading possibilities for living. I mention that so as not to compartmentalise these interwoven moments, one side joy, the other, shame.)
As with seeing Frankfurt Ballet and knowing my life belonged in dance (I still trust that decision however precarious my life has been because of it), Bridget telling me to read Deleuze and Butler is one of those monumental instances in my life. I’d call it an epiphany, but like the word ‘genius’ she’d probably hate it. Sitting in Black Cat Café in Fitzroy one day she also said, “You’re lucky. You get to live what we only theorise about.” So now I’m doubly lucky ’cos I live and theorise this shit.
Which brings me in a roundabout way to other words and names from then: Subaltern, Gayatri Chakravorti Spivak. Perhaps it was only these couple of people from this small group who were really into all this, and a proper history of ’90s New Zealand and Australian academic life would barely rate them a footnote. For me though, I got booted onto a course I’m still riding the momentum of. Curiously, I never read Spivak then, or never the way I did Butler and Deleuze. Spivak seemed and seems to be everywhere, when I see her name it’s like an old friend, or a friend of a friend I’ve heard so much about.
I wonder how common this is, to be able to trace vast paths and directions through a life back to single moments. Seeing Frankfurt Ballet, Bridget telling me to read Butler and Deleuze; more recently maybe, Erik telling me to read Caroline Walker Bynum. I’m sure there are others, though those moments on the cusp of teens and twenties have determined much of my life.
So I’ve returned to that name: Gayatri Chakravorti Spivak. I’ve been reading around migration, human rights, Islam, colonialism, these subjects in Europe, Seyla Benhabib, Kathryn Babayan, Afsaneh Najmabadi, Ruth Mandel, Katherine Pratt Ewing, and more recently with the current precarious state of democracy and human rights in Europe having a need to focus on this. I’m not sure why Spivak’s name occurred to me, maybe I read about her somewhere, or just decided she was the right choice for now.
I went through all her published works before deciding on An Aesthetic Education in the Era of Globalization. There’s other works that are probably more essential Spivak, ones that I remember from student days, but this was published in 2012 and I thought reading her newer stuff would be a pertinent choice.
What’s it like then? It’s a well proper slab of a book. Almost 600 pages (about 100 of which are notes) with wide spaces for marginalia, and a small typeface that’s making my eyes apprehensive. I started reading it a week ago, then went off to read some fiction, so I might have to start it again. I’ve read the preface, where she describes each essay in the collection as “looking for a distracted theory of the double bind.” She finishes with, “Gender is the last word. Figure out the double binds there, simple and forbidding.”
I think it’s common when reading philosophy or critical theory to read people without having actually read them. Quotes, lengthy discussions, analyses, criticisms, notes, all these over time can result in a feeling for an author, a familiarity, at the very least enough to know if I actually want to read them or not. I can’t think of another writer who’s been as large in my consciousness as Spivak without me actually reading them. I’m also desperate for direction at the moment. Spivak, writing on post-colonialism, globalisation, and most importantly aesthetics (I’m reminded of Adorno’s Aesthetic Theory here), somehow it feels right to be reading Spivak now. As an artist making political work (like there’s any art possible without being political?) maybe to quote the back cover: “aesthetic education is the last available instrument for implementing global justice.”
That’s what one of the pair of old, white-haired German women said across the gallery to the other while standing before the pink and blue scribbling of Zwei Badende. Shortly after, she snorted at Max Liebermann in seinem Atelier, offered the faintest of praise for Sängerin am Piano, and as we tacked our separate ways through the exhibition continued her derision, as if she was a good jury member for Entartete Kunst. I’d like to think she was unaware of the irony, but this is Germany at the end of 2016 and even in the heart of Berlin there are Nazis who tell themselves and each other they’re not Nazis.
So, me at Neuen Galerie im Hamburger Bahnhof seeing Ernst Ludwig Kirchner: Hieroglyphen, and also my first museum visit where I arranged to bring my camera. Most of the special exhibitions in the Staatliche Museen zu Berlin are No Cameras Allowed. Without photographing plus subsequent blogging there isn’t much point to my museum trips, thanks then to the Kommunikation department for making it easy (even though it turned out cameras were anyway allowed).
Ernst Ludwig Kirchner: Hieroglyphen presents the 17 works in Berlin’s currently closed for renovations Neue Nationalgalerie collection, plus works from Kirchner Museum Davos, Brücke Museum, and private collections. Besides the core paintings, there are sketches and works on paper, wood sculptures, photographs from Kirchner’s various ateliers, books, and some dancing. It’s not a huge exhibition, if you were slamming Hamburger Bahnhof you could whip through in 15 minutes. I spent an hour there and could have easily used up another. These works and the accompanying text deserve contemplation.
Kirchner used the word Hieroglyph himself in articles published under the pseudonym Louis de Marsalle, to describe how he worked with a symbolic language in his work as part of “the radical abbreviation and reduction of his imagery.” The exhibition starts with this text, and an essay in a book, accompanied by the sketch Tanzduo. Which I thought looks exactly like Dasniya, down to the face and bloomers under tutu.
In this first section are works I’m most familiar with of his, Haus unter Bäumen, Badende am Strand, both from Fehmarn, up on the Ostsee north-east of Hamburg. It then returns to dance. He, like many artists then, frequently painted dancers, possibly the influence of Ballets Russes who blew away the ballet world in 1909.
Opposite the dance section is Davos, where he moved after having a breakdown and while dealing with drug addition and alcoholism. There was a beautiful, huge tapestry hanging on the wall, unfortunately under perspex and unphotographable — the only work to suffer this, all the other artworks were under that magical unreflective glass — and probably the pick of the exhibition. His style changes here too, the late-’20s, early-’30s of Wiesenblumen und Katze or Sängerin am Piano flatter and with Cubist elements, almost alien to his earlier frenzy.
Berlin forms its own section, with some of my favourite pieces I would love to steal. The incredible Potsdamer Platz is here, as is Rheinbrücke in Köln and Der Belle-Alliance-Platz in Berlin. These form yet another distinct style, at first glance not different from the Fehmarn works, but they’re far lighter, faster, almost like watercolour on paper. Erna Schilling also arrives, his life partner from then on. These aren’t easy works. Kirchner populates the cityscape with what he called ‘Kokotte’, coquettes, sex workers, and the men, always diminished figures on the sides carry an anonymous menace.
Around the next corner, and one of the contextually most interesting for me. But first, Sitzender Akt mit erhobenen Armen, which I cannot help look at and see a nice plate of two fried eggs, sunny side up beside the naked woman. I know they’re supposed to be flowers in vases, but it’s all eggs to me. What’s more pertinent here is his use of colour on the shadows outlining her body. They’re a turquoise that contrasts the apricots and light salmon colours of her skin. When I look at this and compare it to Zwei weibliche Akte in Landschaft, with the hallucinogenic greens, yellows, pinks, blues of their bodies, it becomes clear how the latter in no way denotes a non-natural skin colour, nor do the greens and yellows of the Potsdamer Platz women or other portraits.
This painting was in the section called “Signs of Other Worlds” and discusses the influence of non-European art and culture on his and other Brücke artists’ work and life. Both African and Oceania form influences, and both were sites of German Colonialism until the end of World War I. It’s difficult for me to know where Kirchner sits in this. On one side he was horrified by the treatment of Jewish Germans even in the early-’30s, and was expelled by the Nazis from the Prussian Academy of Arts when they came to power in 1933, yet he also saw what he and the Brücke artists were doing as encouraging “truly German art, made in Germany”. So there’s this tension between radical aspirations and uncritical nationalism and colonialism.
Carl Einstein’s (a German Jewish writer, art historian, anarchist and critic) book Negerplastik is described as an important influence, and two copies are presented alongside Kirchner’s work. This influence is immediately apparent in his sculpture, even without prompting, but I like that this connection was explicitly made.
There’s also one photo that achieved the glorious down-the-rabbit-hole I love about museums. All the photos are postcard-sized, and being a hundred years old, not sharp or clean at all. This one, from Kirchner Museum Davos was captioned “Die Artisten Milly und Sam in Kirchners Atelier, Berliner Straße 80, Dresden” from circa 1910/11. It’s set in a chaotic room, artworks, hangings, and sculpture propped up against walls, littering the floor. There are two naked figures, Milly, in the bottom-left corner, and Sam, standing, one arm on his hip, the other stretched along the top of a painting. Both of them are black. They have names, are called ‘artists’ (Artisten), so what were they doing in Berlin in 1910?
For a start, this isn’t the only work they appear in. Milly is the subject of Kirchner’s Schlafende Milly in Kunsthalle Bremen, both were the subjects of numerous sketches by Kirchner, and Milly probably appears in more than one work without being named. Both of them are said to have also modelled for Erich Heckel. An alternate title for the photo is “Sam und Millie vom ‘Zirkus Schumann’”, and they are variously described as ‘circus’, ‘jazz dancer’, and ‘Black American’ artistes in sources cited in Face to Face? An Ethical Encounter with Germany’s Dark Strangers in August Sander’s People of the Twentieth Century. So there’s this whole history of early-20th century Afro-Germans, colonialism, immigration in this one small, easily missed photo, which is a lot to put on a naked man and woman, about whom not much is known. It’s these traces though that history is all about. A single photo, a name, and a world opens up.
A little note on the nudity: Kirchner and friends were all down with getting naked and running around. Freikörperkultur (Free Body Culture) was and is a deeply German thing. There were several photos of “naked but for a cigarette” in the exhibition. It might be this one was only one of a series, though how comfortable they were with nudity, whether they felt objectified, how Kirchner and the other artists regarded them, I can’t speculate.
A final note: Shortly after Nazi Germany annexed Austria in the Anschluss, Kirchner, living in Switzerland and fearing a similar invasion, killed himself.
Museum der bildenden Künste Leipzig was out on Thursday, not open till midday and we had plans to be museum-ing when doors opened at the proper time of 10am. Second on my list Grassimuseum it was then.
Curious how the ones that aren’t the top on my list turn out to be so bloody good. The architecture! Not looking as good on that first visit beneath a grey haze of fog and mist as it did the second in warm sun, but did I ever want to fondle that stone and glasswork. Robert and I walked in circles looking for a temporary exhibition that turned out to be kinda average, so we did my — and his — favourite: to the top floor and work your way down. First stop: Museum für Völkerkunde, which got very intense and emotional very quick with an unexpected and beautiful collection of Australian Aboriginal art and ethnology (north-east and central-east coast), followed by a smaller one of Aotearoa, a much bigger one of Polynesia including photographic works on glass reminding me of the Gottfried Lindauer exhibition in Berlin, then North American First Nations, going backwards along my own personal timeline through these places.
From that collection to Museum für Angewandte Kunst. 30 rooms. One giant circle of the first floor. 2000 years of applied arts and design. The closer we get to now, the more works. The first millennium wrapped up in barely two rooms with a special inner room for delicate fabric works from pre-Islamic Levant, then zipping through the first trio of second millennium centuries to get properly going in the 1400s.
I was looking for Saint Mauritius, and would have been most disappointed to not find him. I did! On a beer stein! But before that, I think he turned up in the red wax of a Magdeburg town seal (or I think that’s what it was, stupid me didn’t photograph the caption). Beer stein! The happiest St. Mauritius is a beer-y one.
I’m not exactly certain what makes the works here ‘applied art’ and not ‘fine art’. In the later periods, say Gründerzeit and on, and especially in the 20th century collections, a riot of Jugendstil, Neu-Sachlichkeit, post-Bauhaus modernism, DDR and BRD ’50s to ’70s to contemporary, it’s obviously ‘design’: furniture, lighting, jewellery, ceramics, though so rich and careful in design as to be works of art. But in the earlier stuff, this I’m used to seeing in museums as fine art. And how this fine / applied European art is distinct from non-European ethnological art, that’s a question to cause whole museums to collapse. Especially with the chinoiserie and porcelain that was all about adopting and imitating Chinese techniques and doing European things with them.
The earlier rooms, stained glass, wooden sculptures and altarpieces, tapestries, I was pointing my camera indiscriminately. A trio of massive, early 16th century retables, Late Gothic gold, filigree, and polychrome; opposing that, an armless, footless, and bald Jesus suspended from a vanished cross, his beard somehow rendering his face skeletal. Sprinkled amongst these, smaller single works of Mary, Saint Katharina, as solitary sculptures or wall reliefs. Another inner room with Romanesque works in metal, enamel, ivory. Up till here it was a solid collection, really nicely put together, the way the rooms and architecture moved us forward made spending far too much time on individual pieces too easy. Yet so far not exceptional.
And then the weirdness kicked in.
Probably around the place where the donkey-headed, fish-scaled armed and legged, cloven hoofed and bird footed (one of each), and very naked Mönchskalb turned up. Just after drunk St. Mauritius. Nearby, another dimly lit room with a Kaminbehang that was plain disturbing. Doing rough translations here: a “black Moor who wears no clothes and is burnt by the sun’s heat”; a “white Moor crossed with my arrow and my bow in hand”; a “Turk” with a naked Christian baby in one hand and a scimitar in the other. But it’s all a joke. At the end is the “High German who likes all national clothes” but has no idea how to wear them, who imagines he looks like a hero, but he’s naked looking like an idiot. This 2 1/2 metre tapestry hangs above your fireplace. We said, “What the fuck?” about it for some time.
Shortly after we depart the Renaissance for Baroque and Rococo. But stay firmly in Orientalism. There’s the heating oven capped off with the cartoon-like bust of a Turk. Beside this though is a huge and detailed, naturalistic wall tapestry of a village fair by Rococo artist Étienne Jeaurat. On the far right, a travelling merchant bearing the same Turkish signifiers as the guy atop the stove, a turban, curling moustache, rich jewellery and embroidered clothes. Both he and his assistant are on horseback, he on a flirtatious white mare, the assistant on a dark old nag. His assistant is equally lavishly dressed, turban with feathers, a cloak with massive precious stone clasp, earrings and a solid band of probably a slave collar, silver against his dark brown skin.
Further on, in another small side room is a simply massive work of Rococo chinoiserie, three of the room’s walls are filled floor to ceiling and end to end with it. Fantastic scenes mashing European Baroque and Chinese Qing Dynasty together. Months of work by many hands represented in the opulence of these two pieces.
After this, the works become more furniture and object based. Porcelain and ceramics everywhere, like the five glorious figurines of Ballets Russes in their costumes for the ballet, Carnaval by Paul Scheurich, who turns out was a right Nazi. Another Nazi was Joseph Wackerle, who did the beautiful Indianerin. Robert and I only noticed the complete absence of works from the Nazi period after we’d left and come down from our art euphoria. There are plenty of artists whose work in various movements pre- or post- that period is on display, but those twelve years are erased, as are the Nazi tendencies of the artists.
Running on through DDR and GDR periods, into our 4th hour and knowing we need food, coffee, energy for the première that evening. I didn’t take many photos in these rooms, simply so many works all deserving of attention and awe. We emerged out of those thirty rooms a bit delirious, and for me seriously impressed. I hadn’t expected a museum this good to be in Leipzig, nor an applied arts / design museum to be make me want to see all the design museums everywhere. It reminded me of the brilliant Muzeum Narodowe we Wrocławiu, so unexpected and unknown and yet I will rave for years about Leipzig and Grassimuseum. It’s even better with the audio guide (which I didn’t use but Mel did the next day). And super friendly. I dunno if this is a Leipzig thing, but they put every other city in Germany to shame with their relaxed friendliness. How friendly? The woman in the museum café bails past me sitting outside, pulls up, looks at me yawning, backtracks and comes back with an espresso and a wink.
The last five weeks I’ve been working with Melanie Lane on her new performance, Wonderwomen. It premières this Thursday, November 24th at LOFFT in Leipzig.
Mel asked me to come in and and be eyeballs / brain cells / dramaturg, or “Professional Audience” as I call it, with two pro women bodyduilders, Rosie Rascal Harte and Nathalie Schmidt. Who are both brilliant and beautiful performers, smart and thoughtful, and a joy to work with. Melanie totally scored with these two. In fact her whole team is quite awesome, with Clark on sound, and Bartold for stage design.
I’ve been wanting to write about Wonderwomen, Mel, Nathalie and Rosie, and have some time next week when I join them in Leipzig for the première. Rosie’s already written about her side of pre-show prep, as has Nathalie. In the meantime, here’s the details.
Festival Body Change Future
Melanie Lane (Berlin/Melbourne)
“I’ve made many good friends in bodybuilding, though there are few I’d trust to oil my back.” — Lee Labrada
Further seasons: Wed. 14th Dec. Alte Feuerwache, tanz.tausch, Köln
April 2017. HAU Hebbel an Ufer, Berlin
Wonderwomen invites two female bodybuilders Rosie Harte and Nathalie Falk to meet in a performance context. Two women contemplate their highly demanding sport that amplifies and transforms the body. While striving for an ultimate physical form, the women navigate their highly trained bodies and the potential for a new physical language. A dialogue between strength and vulnerablility, representation and transformation, Wonderwomen is an attempt to re-discover, re-invent and re-claim the female body.
Concept & Choreography: Melanie Lane
Performance: Rosie Harte, Nathalie Schmidt
Light design: Fabian Bleisch
Sound design: Clark
Stage design: Robert Bartholot
Dramaturgy: Frances d’Ath
Artistic Assistance: Florian Bücking
Photos: Robert Bartholot
The unstoppable Isabelle Schad! One more new performance from her for 2016. I saw a rehearsal of Pieces and Elements last week and was well impressed. A Beautiful group of performers, a work continuing from her last group work, Collective Jumps, and from her most recent solo, Solo for Lea. One of the three I reckon you come to Berlin for. (Das Helmi, and Castorf/Fritsch/Pollesch/Marthaler at the Volksbühne are the other two. Yeah, I just made that comparison.)
Dear friends and colleagues,
We would like to invite you to the premiere of the new performance Pieces and Elements by Isabelle Schad at HAU Hebbel am Ufer Berlin.
27.11. 2016, 17:00 (afterwards: Artist Talk with Isabelle Schad and Susanne Foellmer)
28.11. 2016, 19:00
In the new work Pieces and Elements a group of performers negotiates the collective body in motion that can only function as a whole. This body with its different parts and multiple connections serves as a possible reflection of nature where each element is in relation to all the others in order for the whole to exist.
Pieces and Elements deals with the fluid borderlines between a scientific, biological, cellular approach to the body and the one seeing the human body in relation to the cycle of nature and the five elements: water, wood, fire, earth and metal. It places itself between a western and an eastern point of view, between visual arts and the performing arts, between installation and choreographic miniatures. After Collective Jumps, the first part of the trilogy on collective bodies, which investigates the body as a site for forming community, Pieces and Elements considers the phases of change and nature as possible energetic means for becoming one: as body, as self or as a group.
In her recently premiered work Solo for Lea, Schad deals with a single figure as a portrait. Pieces and Elements draws on that experience, and focuses on the collective body as cubistic landscape, which can be considered at once as a space of transformation and as the event itself. We are approaching an oscillation between organism, apparatus and hybrid matter, between experience and sensuality, between utopia and reality.
Concept & Choreography: Isabelle Schad
Co-Choreography & Performance: Jozefien Beckers, Barbara Berti, Frederike Doffin, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Adi Shildan, Claudia Tomasi, Nir Vidan, Natalia Wilk
Theoretical advice: Susanne Foellmer
Dramaturgical advice: Saša Božić
Artistic assistance: Claudia Tomasi
Light design: Mehdi Toutain-Lopez
Sound: Damir Simunovic
Costumes: Charlotte Pistorius
Costume Assistance: Maja Svartåker
Assistance: Angela Millano
Production management: Heiko Schramm
Made possible by a long-term collaboration with Laurent Goldring.
Leaving the warm Sunday of Timișoara, into the grey, rain and cold of Münich, heading north, skimming above the clouds as the sun gutters, an inferno radiating across the hemisphere etching the stories and layers, we descend as it does into night in Berlin.