I’m doing this as a memory. I went to LADA, spent the afternoon in their Study Room, trawled hundreds of books and pulled out a few, spent minutes or tens of looking and reading. Also a memory. I am reminded of my own history in biographies or documents of people and groups I think of only infrequently, which at one time were all I thought of. Or others I know about and have never read, or have circulated around me, or are entirely new. The books are arranged chronologically, in the order they were purchased in. Of all the possible arrangements, this is my favourite. It tells you something about the book that it doesn’t and can’t tell you itself.
These are the books I looked at and read a little of. In chronological order — mine going from first to last, and LADA’s going backwards in time from most recently acquired to about halfway through their collection. Some I like; others I don’t. I am still wondering what they tell me about me.
- Pina Bausch — The Biography, Marion Meyer (trans: Penny Black)
- my body, the buddhist, Deborah Hay
- Precarious Lives — Waiting and Hope in Iran, Shahram Khosravi
- A Field Guide for Female Interrogators, Coco Fusco
- Integration Impossible? The Politics of Migration in the Artwork of Tanja Ostojić, Pamela Allara and Manuela Bojadzijev
- Guerilla Aspies — A Neurotypical Society Infiltration Manual, Paul Wady
- Leigh Bowery — The Life And Times Of An Icon, Sue Tilley
- Black Artists In British Art, A History Since The 1950s, Eddie Chambers
- Test Dept: Total State Machine, eds. Alexei Monroe and Peter Webb
- Tania Bruguera: On the Political Imaginary, Carrie Lambert-Beatty, Gerardo Mosquera, Helaine Posner
- Thee Psychick Bible : Thee Apocryphal Scriptures ov Genesis Breyer P-Orrige and Thee Third Mind ov Thee Temple ov Psychick Youth, Genesis Breyer P-Orridge
- Jan Fabre: Stigmata. Actions & Performances 1976-2013, Germano Celant
- Feminist and Queer Information Studies Reader, eds. Patrick Keilty and Rebecca Dean
- Femininity, Time and Feminist Art, Clare Johnson
- The Reckoning: Women Artists of the New Millennium, Eleanor Heartney, Helaine Posner, Nancy Princenthal, Sue Scott
- The Shit of God: Diamanda Galás, Diamanda Galás and Clive Barker
- Jan Fabre: I Am A Mistake. seven works for the theatre, ed. Frank Hentschker
- Female Masculinity, Jack Halberstam
- Trans(per)forming Nina Arsenault: An Unreasonable Body of Work, ed. Judith Rudakoff
- That’s Revolting! Queer Strategies for Resisting Assimilation, ed. Mattilda Bernstein Sycamore
- Laurie Anderson, Trisha Brown, Gordon Matta-Clark: Pioneers of the Downtown Scene New York 1970s, Lydia Yee and Philip Ursprung
- Revolting Subjects: Social Abjection and Resistance in Neoliberal Britain, Imogen Tyler
- Are We There Yet? Study Room Guide on Live Art and Feminism, Live Art Development Agency
- The Incorrigibles, Perspectives on Disability Visual Arts in the 20th and 21st Centuries, eds. Adrian Plant and Tanya Raabe-Webber
- Queer Dramaturgies: International Perspectives on Where Performance Leads Queer, eds. Alyson Campbell and Stephen Farrier
I went to LADA today, Live Art Development Agency over in Hackney Wick beside a canal, all factories going down and gentrification going up. I had lunch with Meghan, @churlishmeg that is. We talked art and performance and London and stuff, she showed me around LADA, and it was brilliant. I spent the afternoon in the Study Room, making it about halfway through their glorious collection of live art. I didn’t even get to the performance documentation stuff. Totally worth being in London for this.
Everything from Dasniya Sommer in one hit, cos there’s so much:
- Tuesday Morning Shibari Technique Classes in Berlin, April 3, 10, 17, 24
- Das Helmi: Gulliveras Reise, Oldenburgisches Staatstheater, première March 30th
- Das Helmi: Große Vögel, Kleine Vögel, Oldenburgisches Staatstheater, April 1st
- Tamandua Ropë Kinbaku Workshop: Adding Gravity, Berlin, March 19th
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.
All of that and more on Dasniya’s blog. Get to it!
And here’s my regular re-posting of Dasniya Sommer’s most excellent bondage and shibari workshops in Berlin, this time with performances. As usual, more more more on Dasniya’s blog and website.
- 3 x Bondage Techniques, Tuesday mornings 10am-midday, 7th, 14th, 21st February
- 1 x Self-Suspension workshop, Friday 24th February, 12-16h
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.
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.
Friday, February 24th
Hours: 12 -16h
Costs: 50 €
Info & registration: email@example.com
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
About 18 months ago, I got an email from Georg Hobmeier. We’d met late the previous year and realised we know all the same people, courtesy Freiburg and other Germano-Austrian places filled with dancers. Georg wrote:
I’m sitting in a room making games. I might require your particular skillset. It’s the story of a woman who’s supposed to activate an unruly missile defence station on an orbital station. There’s drones involved, vending machines and a lot of death in space.
I replied, “… death in space? I say yes!”
And so, in May 2015 I became something of a copy editor, proofreader, translator, fact checker / researcher (just how big would a standard-ish Oort cloud object of slushy comet nucleus type, or d-type asteroid need to be to flatten a city?), co-writer of Georg’s text for Causa Creations’s and Gold Extra’s interactive sci-fi novella The Station. Which was released on Tuesday.
Which makes me a published sci-fi writer / game writer. I think. Woo!
What started out as a quick-ish proofread turned into a few weeks of ever more involved discussion on identity, feminism, colonialism, 500 years in the future. You know, my usual gear, the parts of my particular skill set you get when you require my particular skill set. Some people think they can get me without the politics, like it’s optional. Not Georg! He knows what I’m about.
Which led to me thinking about the main character — already a woman — thinking about utopian-ish futures, and deciding she was bisexual and brown. Georg replied, “So, did I get this right, our hero is an umber-skinned bisexual? Somehow I picture her now as Deborah Dyer aka Skin!” Or Hannah John-Kamen, or Korra, both of whom were in my sci-fi imagination around then. So when you play The Station you have three handy references for who you are.
You’re in space! But why? And how did you get there?
“The Station” is an interactive sci-fi novella set in turbulent times, which the protagonist has a hard time remembering. It’s an orbital rabbit hole tale developed by gold extra with Causa Creations’ support. Text by Georg Hobmeier and Frances d’Ath, Code by Patrick Borgeat, Sound by Juan A. Romero.
- brain damage
- lots of accidents
- vending machines
- zero gravity horror
- one rather short labyrinth
- visually compelling feature list
- linux puzzles, but not too hard ones
- a full menagerie of quirky & annoying maintenance machinery
Please also enjoy a full hour of magical space drone music with deep space bass. Available soon.
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
Première: Thurs. 24th Nov. 20:00. LOFFT Leipzig
Season: Sat. 26th, Sun 27th Nov. LOFFT Leipzig
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.
We would be very happy to see you.
- Friday, 25.11.2016, 19:00
HAU Hebbel am Ufer Berlin (HAU2)
- Further performances:
- 26.11. 2016, 19:00
- 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.