Binged the entire seven of Ben Aaronovitch’s Rivers of London novels again, ’cos sometimes a girl just wants a black Harry Potter and a Muslim Hermione — even if they are cops.
Seen stunting on Kurfürstenstr. West Berlin acid lime green Lamborghini Gallardo LP570-4 Superleggera. “Do I look like a baller?”
Seen repeatedly on my Straße in Kreuzberg. Gold Brembos boxed in by all that big German Whip. And Volvos. V70s over there. “Who told you I move like pauper?”
Seen in Kreuzberg. Debadged, murdered, on black Borbet A rims. “Man’s just try’na stack paper …”
Dear friends and colleagues,
We would like to invite you to the reprise of the pieces Fugen and Solo for Lea by Isabelle Schad.
Both pieces are part of a series of works that Isabelle Schad subtitles as portraits and will be shown as Double Bill on the same weekend in HAU Hebbel am Ufer and Sophiensaele Berlin.
We would be very happy to see you here or there.
Thursday, 05.04.2018, 19:00
Friday, 06.04.2018, 19:00
HAU Hebbel am Ufer, Berlin (HAU3)
Solo for Lea
Saturday, 07.04.2018, 19:30
Sunday, 08.04.2018, 19:30
Fugen “… is a complex work that challenges both the choreographer Isabelle Schad and her audience in previously unseen ways. And thus creates opportunities to go beyond borders.” (Katharina Schmidt)
With Fugen, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background and a lifelong interest in the polyphonic work of J.S. Bach, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure. Fugen is an autobiographical work in which the performer’s body serves as an example for the construction of the individual within disciplines and systems one cannot escape from.
Solo for Lea, “A study in minimalism, a physical portrait and a sculpture in motion … a sublime draft.” (Elena Philipp)
Solo for Lea is a meeting between Isabelle Schad and Lea Moro. The work attempts to draw a very personal portrait of Lea Moro, dealing with the specificities of her body, its rhythms, its contours, colours and energies, playing with form-aspects of cubism and Picasso’s drawings in one dash. Together Schad and Moro engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is the subject of observation.
I found this snuck into my suitcase. Stone Tape Theory Altar of Lemmy.
The day after. Removing darkness. De-mummification.
Watching Virginia transcribe one of the many cassette tapes of Stone Tape Theory and I see the name of the street I live in.
12 in widdershins.
Lemmy watches over us in the biobox, offerings of cigarettes and whiskey.