Isabelle Schad, in the first space I’ve seen her in, whose architecture really deserves her work (outside of Wiesenburg, of course), at KINDL in Neukölln for INSIDE OUT. I saw first rehearsals on Thursday last week, almost 3 hours of being transfixed. Still the best in town.
- Thursday, 16.08.2018, 18:00 – 21:00, world première
- 17.08.2018, 18:00 – 21:00
- 18.08.2018, 15:00 – 18:00
- 19.08.2018, 15:00 – 18:00
Admission possible at any time
In her performative exhibition INSIDE OUT Isabelle Schad shows choreographic sculptures that are experienced in their powerfully sensuous moving forms. Her work situates itself between dance and visual art, draws on her ongoing fascination with Aikido-Zen, community building and her long-term collaboration with Laurent Goldring, whom she invited to participate in INSIDE OUT. With subtle exactness they form bodies, material such as clothing, lengths of fabric and movement into sculptures which define their own space and evolve a contemplative quality.
- Concept & Choreography: Isabelle Schad | With the participation of Laurent Goldring
- Artistic Assistance: Claudia Tomasi
- By and with Jozefien Beckers, Barbara Berti, Frederike Doffin, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Adi Shildan, Claudia Tomasi, Nir Vidan, Natalia Wilk
- Lighting & Technic: Bruno Pocheron, Emese Csornai, Emma Juliard
- Sound: Damir Šimunovic
- Costume Consultancy: Charlotte Pistorius, Lydia Sonderegger
- Production Management: Heiko Schramm
- Production: Isabelle Schad
- Co-Production: Tanz im August / HAU Hebbel am Ufer Berlin
Funded by: Senatsverwaltung für Kultur und Europa. Supported by: Wiesen55 e.V., with kind support of the Croatian Ministry for Culture and defacto Zagreb, Institut français, Polish Institute Berlin, Embassy of Israel in Berlin
In cooperation with KINDL – Zentrum für zeitgenössische Kunst
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?”
Keeping things orderly here. Last week of my Naarm / Melbourne trip, Monday 26th March, I got myself along to NGV National Gallery of Victoria for the 2018 Triennial and weird European art.
- NGV Triennial: Richard Mosse — Incoming
- National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)
- NGV Triennial 2018 & 21st Century Collection
- NGV National Gallery of Victoria — Mediæval Art
- NGV National Gallery of Victoria — Baroque & Rococo Art
- NGV National Gallery of Victoria — 19th & 20th Century Art
- NGV National Gallery of Victoria — St. George Hare: The Victory of Faith
- NGV National Gallery of Victoria — Jizō Bosatsu
I didn’t know where else to put this. It’s far more beautiful standing before it than in my photo. I didn’t photograph much of the NGV’s Asian (or, Not European) collections, and if I’m going to give a whole post to their mediæval art, then this Jizō Bosatsu Bodhisattva from the Kamakura period, 1185–1333 in Japan is contemporary to that.
Mixing the NGV’s Triennial and its own collection together as I was decidedly zombie on the day (Paea saw me and laughed), and sometimes not sure where one or the other began or stopped, and saving all the old cruft for a separate post.
Richard Mosse I confused with Trevor Paglen, whose Limit Telephotography and The Black Sites work has been turning up in my reading for over a decade. Mosse is kind of a successor, or working similarly, pushing photographic technology and making deeply political art. Louisa Bufardeci also, though using manual labour to again create something on first view beautiful and aesthetic, which is contextualised into a evidence of and memorial for refugees whose boats sunk at sea off the coast of Australia. Both these works sit uneasily inside Fortress Australia and within the NGV, as Mosse’s second work (which you have to pass through to reach Incoming) describes: the NGV’s former use of Wilson’s security, to whom the government outsourced illegal detention centre policing. (The NGV ended its contract with Wilson’s after artists’ protests, organised by Gabrielle de Vietri and others, though the relationship between arts institutions like the NGV, policing and generations of human rights violations remains largely untouched.)
Onto something slightly more cheerful, or at least I could not wipe the smile off my face watching Adel Abidin’s Cover Up! where Marilyn Monroe’s iconic subway scene in The Seven Year Itch is replaced by an Arab man wearing a Kandura (Dishdasha, Thawb) giving me the cheekiest eye as he tries (not very hard) to prevent a flash of leg.
Next to that is Faig Ahmed, with a 21st century Azerbaijani carpet, digitally bleeding and glitching. Hal reminds me of the Afghan War Rugs, cultural memory lossy compression like a jpg, copied and recopied with no line of context to an original, regional signifiers and techniques that say authentic and traditional unfolded as repeating geometric shapes of aircraft carriers, World Trade Centre towers, text like USA and Pepsi, blocks of iconography decoupled from meaning, becoming pattern again.
Timo Nasseri, Epistrophy, op-art cut into the wall like the mid-20th century works of Adolf Luther I saw in Von der Heydt-Museum, Wuppertal. Possibly a new profile photo coming out of that, but not thinking much of it until I looked at more of his work and saw the thread of Islamic / Islamicate architecture and mathematics in it. Good choice for a profile photo, then.
Jumping to the last artist, Nusra Latif Qureshi. She used to come into the VCA Student Union when we were both students. I always loved her art, miniatures in the South Asian tradition (which has connections to mediæval European illuminations, art flowing along the lines of trade as much as trade and commerce), and I was really happy to see her work in the NGV. Again, political, the colonial history of Europe in the unbroken history of Asia-Pacific.
I had thoughts, weaving through the Triennial and the NGV’s permanent collection in my spent, post-festival state. Thoughts. Many. I had. Like, the art that can touch me is always political, because art is inseparable from political, unless the artist has the luxury to be insulated from having political’s gaze turn onto them, so they get to play with ideas and technology and pretend there are no consequences, no urgency, no struggle; they get to live without the violence of history. I see myself in art that is political, even though it is seldom specifically ‘about’ me. I see also a difference between the superficially political, diversity as aesthetic, and art by artists whose lives, by their very existence, is political. I saw the strength of the NGV when it celebrates, represents, amplifies Asia-Pacific and Indigenous artists. This is when it makes sense, not when it assembles an incoherent, contextless junk box of ‘European’ art, manufacturing a phantasmic history of Australia, like Australia was ever located just off the coast of England, or when it divides that into Art and anything pre-Invasion Asia-Pacific into Ethnography. I didn’t see the entirety of the Triennial or the NGV, it’s an awkwardly designed interior space, easy to miss cul-de-sac turn-offs that open to entire wings, more time walking to and from and between than through art. It struggles between competing imperatives, like that of its European fantasy, or oddly misplaced exhibitions that owe more to consular trade and advertising than art and artists. But, see the Triennial? Yes, if you’re in Naarm. There’s good stuff there (heaps I didn’t see, let alone photograph).
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.
The Helmis on tour. Two weeks in South Korea running around festivals performing a solo of Hamlet. A solo with two people. And puppets. And bondage.
Das Helmi in South Korea
After 10 Years we are back…
In 2007 Das Helmi toured the show Arsenic and Old Lace in South Korea and also made puppets for another group, it was all strange and beautiful…
..Now its going to happen again!!
5 Years ago Florian bumped into Master Lee in Pappelallee and he invited him to do a Hamlet solo… Five years later the plan is coming into reality, that’s how theatre can work!
So, Florian is going to perform Hamlet, a Ghoststory in South Korea this summer! With one Helmi (Florian) and a ballerina (Dasniya Sommer) playing all the Hamlet characters. The whole story is condensed into 45 Minutes full to the brim with Emotions, Surprises, Attitudes, Plot Twists and Musical Treats…
It’s like a game of chess in a head of a maniac!
It will be performed on ( sometimes 2 shows a day):
31st of July-1st of Aug. Gijang Festival
3rd and the 4th of Aug. Miryang Festival
6th and the 7th of Aug. Geochang Festival
And from the 8th to the 13th of August there is a Puppet Workshop in Gijang. The workshop will be used to make puppets for a production of Animal Farm from Master Lee.
A month after I was in Wuppertal, I finally finish editing all the images from the Von der Heydt-Museum, which I sprinted through on a Friday morning before Gala and Michael’s dress rehearsal, two hours of indiscriminate camera-ing. Michael said, “I’ve lived here two years; never been.” Well it’s a regional museum, so you never know if it’s going to be banging, sad, or somewhere in-between.
Somewhere in-between, with moments or rather bloody good, plus fuck that was well done why don’t more museums do it like that? Lighting was a bit crap, lots of the natural stuff, which is good, but not diffused enough and pointing at heavily varnished old paintings, which is not, and some rooms where the clowns took over the illumination, so I’m wondering if the museum people even look at their own art. They don’t like people photographing though, that’s for sure. Cheap entrance price and utter thieving gouging ten euros to flop out a camera. Kinda stunned at that, like, you’re not the Louvre, you know that, eh?
Not much mediæval stuff, which is always my first stop, but there is a 1563 print of Martin Luther (minus nail holes), plus a stack of Albrecht Dürer copper engravings, which are achingly beautiful. I especially love the bagpipe player and the more disturbing works that didn’t photograph well, so no wild boar with an extra set of legs on its back, nor his mythological stuff. Past the wooden sculptures covering 500 years in a room, and into into another dim room with holy crap!
Francisco Goya’s Los caprichos. Everyone knows him for his Los desastres de la guerra series, but Los capricos was the my inspiration for bitches 婊子 and is by far my favourite work of his. And here’s half a dozen (they probably have the whole series buried somewhere) lined up along a wall.
Then what happens is that “Why don’t more museums do it like that?” thing. Nearby a Rembrandt engraving (the Zweiter Orientalerkopf one) is a 19th century Japanese watercolour, heavy orange sun setting over a turbulent wave, followed by Jan van Bylert’s Singende Hirte. It’s just the beginning. Some rooms later, when we’re deep in 20th century German Expressionism and Neue Sachlichkeit all over the walls, the centre of the room is Japanese and South-East Asian sculpture and works on paper. I’m trying to think if I’ve ever seen artwork from across the globe arranged like that in the same room … same museum? Coming up a blank. It’s rare even to see, say, Buddhist sculpture in the same museum as European art, outside of monster museums like London’s V&A where multiple departments are under one roof, but even there that former stuff is anthropology or The Asian Collection, and somehow implicitly not art — it’s craft or religious iconography, or Other … anything other than proper art coming from proper artists. So to put the two together, two thousand years East and South-East Asian mingled with half that of European; the head of a stone Ghandara Buddha figure from the first to third century next to Adolf Erbslöh’s Blaue Reiter period Schwebebahn; Javanese Wayang kulit shadow puppets and a folding screen by Kano Mitsunobu beside hard 21st century works by Sabine Moritz, Tamara K.E., and Tatjana Valsang; they work together so well and it isn’t an imperative to see the former as art like the latter but it becomes very uncomplicated and unremarkable to do so.
To see this stuff that’s always less art than art because it’s ‘for a purpose’ or whatever, be seen firstly and even solely as art is unexpected and radical. See the colour and that delicate but relentless Expressionism in the tapestry of Ernst Ludwig Kirchner’s from his time in Switzerland, facing off an equally colourful and delicate Chinese or Japanese Buddha / Luohan from centuries earlier. If nothing else, even if this arrangement does nothing for you, at least these works are being seen. And I’d totally be up for a big museum that does it like this. Imagine being in the Louvre or on Museum Insel in Berlin and not going into separate museums for each arbitrary delineation, but wandering through European mediæval art, and Ghaznavid Islamic art, and Japanese Kamakura art, and Chinese Song and Yuan, and South-East Asian, and the mediæval Americas and Africa and Australia … a global mediæval art exhibition mashed with a 20th century one. Sometimes I think museums are just going through the motions of museum-ing and exhibition-ing — however awesome their collections are — and then I find something like this, not this neo-liberal museum bollocks infestation, but something profoundly Museum: here is art, let’s look at it all together and find out what that looks like, what it causes, how it enriches all the artworks.
Complete divergence here. Back whenever Alte Nationalgalerie had the Impressionismus – Expressionismus. Kunstwende exhibition (almost two years ago), amongst all the sublime brilliance they had this Degas piece. He’s a sleazy tosser, but I have a love for his ballet pieces, like Tänzerinnen im Probensaal, which I cried over. Fucking art. So I’m in Von der Heydt-Museum, and there’s a Degas! And it’s the same one. Didn’t cry this time, I’m hard, me. There was another of his too. Yeah, I know he’s a cliché, but it’s because he started it. All of that was to say, same work, different exhibition, different museum, different wall, different lighting, different companion works, different audience (a lot smaller and quieter for one), all that makes a different artwork. I didn’t even recognise it as the same one. I was talking with Robert Bartholot about this, how to photograph art, and how the work changes as fast as the light moving outside, and I dunno, maybe compare the two. Same, different.
Other special works. Besides Adolph Erbslöh’s Schwebebahn, cos I was in Wuppertal and the Schwebebahn is the best Bahn. How about Bahnhof Gesundbrunnen? My home station. I know that bridge so well even if that station hasn’t looked like that since the ’40s. There was also an Edvard Munch, which I got mad excited about, cos I don’t think I’ve ever seen his stuff on a wall. A whole bunch of 20th century post-war German art, almost all by men until the century flips over, Kuno Gonschior’s massive yellow minimalist / colour field / abstract expressionist piece was definitely a fave. So much I missed and haven’t even mentioned.
Worth going to? If you’re in or near Wuppertal, then yeah, says Frances who lived in Melbourne and went to the NGV maybe once — and didn’t pay attention. It’s difficult to modulate this for people who aren’t like me, who don’t travel hours with an agenda of binging art. If I was in the Ruhrgebiet or Düsseldorf for a bit, then it’d be a no-brainer: go to Wuppertal, see museums, see Pina Bausch. See Pina Bausch, ride the Schwebebahn.
Because no weekend is complete without satanic hoonage.