New Tires!

Aside

New Tires! I coughed up for some Challenge Strada Biancas ’cos I’m riding more cobbles and less cyclocross lately. Plus my current gravel tires are thrashed to bits. They arrived folded up; I thought they were open tubulars they’re so light. I really wanted the Paris-Roubaix ones, because Paris-Roubaix, but they’re 27mm and I like a bit of width for off-road bashing. So, Strada Bianca. Giro d’Italia, Strade Bianche, these are my favourite races along with the Cobbled Classics. Which start in less than a week!

Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City

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 JumpsPieces 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.

More information: Isabelle Schad, Museo Universitario del Chopo.

Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City (Foto: I. Schad in front of Azul extensivo by Sofia Táboas)
Isabelle Schad — “Personal Collective” at Museo Universitario Del Chopo, Mexico City (Foto: I. Schad in front of Azul extensivo by Sofia Táboas)

Unbefristet

Yesterday, Tuesday, up hours before dawn without much sleep anyway, on my bike in freezing fog, through Kreuzberg, Hallesches Tor, up Wilhelmstraße by Brandenburger Tor, crossing the Spree, Luisenstraße, Invalidenstraße, skirting Berlin Hauptbahnhof, through the construction along Heidestraße, onto Friedrich-Kraus-Ufer and into the Ausländerbehörde.

Marie, my lawyer the last some years arrives shortly after I do. We sit in the E1 waiting room on wooden benches racked with anxious others waiting for their number to chime. Half an hour after my appointment time we’re still waiting. Marie goes in search, moving through the building in ways I alone never could. This is why I have a lawyer, or from her perspective, why she is assisting me.

It’s slightly over two years since I began the grind towards permanent residency in Germany, or an Aufenthaltstitel with unbefristet Niederlassungserlaubnis as it’s called. Two years of acquiring documents, more documents, back and forths, hitting walls and dead ends, being navigated through the system by late-night emails and phone calls from Marie, seeing the system tighten and close up the grey areas, the older ways of living in Berlin increasingly proscribed and delineated. Months of silence as my application was lost, the Behörde in chaos, Berlin city elections, new regulations, having to repeat collecting all those documents to fill in the gaps for those six months, the date of my current residency permit expiry drawing near then passing, more letters from Marie to them, more weeks and days and hours of collecting and changing and updating documents, filling in those gaps.

And finally a stack of paper about 2cm high fulfilling the requirements to be accepted as a permanent resident. There were lot of nights not sleeping these last weeks, and drinking the edge off this. Marie more than once telling me it was going to be ok; me preparing for the worst, pragmatic about outcomes for those who fall into those grey areas. Every time I’ve walked through the Ausländerbehörde, sat in those waiting rooms, I’ve seen that same anxious pragmatism on the faces of people, alone, in pairs, small groups, families. I’ve done it alone every time but this, and there’s no way the outcome would have been positive without Marie.

After all that preparation and waiting, the outcome is entirely dependant on the person sitting opposite. I’ve had a gruff old dragon lady of the ‘hard but fair’ school, a young woman of the Willkommenskultur type years before that word became common parlance in Germany. I’ve also had a young woman whose face could not conceal the disgust and physical discomfort at me, who explicitly turned that bigotry into an interpretation of the regulations to try and deny my residency renewal. This time, Marie said, “He’s new, he seems really positive.”

I barely see him. He’s young, friendly, we three sit in his office while I complete a German language test to prove I’m at least B2, all looking kind of bemused at each other, at the questions he’s reading to me and my answers. “Describe the room you’re sitting in.” “Well, there’s a big window, you can see the Spree out it, and Wedding on the other side, there’s some tables, a calendar on the wall … umm … some shelves, a computer, buncha chairs—” “Yeah, I think that’s enough, eh?”

More waiting. Marie runs off again. She’s carrying a pile of folders, I’m not the only one she’s cutting a path for here today. Then back into his office, collecting all those documents I’d handed over, collecting my passport. Marie hustles me down the hall, “Show me,” she says. “Nie wieder, Frances, nie wieder. You’ll never again have to come here.” And there beside that headshot I took on Monday, underneath my name, it says, “Gültig bis: unbefristet” and “Art des Titels: Niederlassungserlaubnis”.

It’s not a place for celebration. It’s a place for anxiety, fear, disillusionment, heartbreak. More than once I’ve gone through the process and been spat out with a Fiktionsbescheinigung, a temporary piece of paper because my application wasn’t complete to their satisfaction, a function of the idea or romance of living in Berlin as an artist and the increasing liminality of that within the bureaucratic system here. On the wall in the waiting room was a poster of a young, smiling woman wearing a hijab. Underneath it said, “Ich bin Berliner”. I’m not sure that was a comfort to the women in the room wearing hijab or coming from Middle Eastern countries—or born in Germany with the vagaries of citizenship here. Whatever celebration and relief I have, it’s tempered by knowing for others yesterday didn’t work out as they needed.

I rode along the Spree, into Wedding, stopping at Leopoldplatz for the small market, bought some excellent German bread, cheese, and some Hirschsalami, feeling weirdly like I belonged, stopping at Uferhallen to visit Dasniya for Tuesday morning Shibari. Which led to Tuesday afternoon eating of those supplies, along with glasses of gin. It was the morning after a wanker stole a truck and drove it into the Weihnachtsmarkt at Breitscheidplatz in West Berlin, killing 12 and injuring close to fifty.

Without Marie, my Tuesday and today would be very different. Without my friends here in Berlin and spread across Europe, likewise. Marie Ellersiek is the most excellent lawyer and I owe her so many bottles of wine. Dasniya Sommer and Katrin Sellerbeck supported and helped me in so many ways, and lamb curry will be cooked. There are many others, and thank you to you all.

Icke bin Berlina.

Isabelle Schad — Pieces and Elements

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.

  1. Première:
  2. 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.
Isabelle Schad — Pieces and Elements
Isabelle Schad — Pieces and Elements

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Isabelle Schad — Fugen. Timişoara

Isabelle Schad’s solo, Fugen, is on tomorrow, Saturday 5th November in Teatrul Maghiar De Stat “Csiky Gergely” in Timişoara, part of the Festivalul de Arte Performative Timișoara 2016. It’s a beautiful work, as is Isabelle performing; really worth seeing.

Isabelle Schad — Fugen. Timişoara
Isabelle Schad — Fugen. Timişoara

All Things Isabelle Schad

Speaking of Isabelle Schad, not in Berlin for Solo für Lea next week? How about Kraków or Timişoara or Berlin later in the year?

Der Bau
Isabelle Schad and Laurent Goldring
7th October 2016, 41 KRT Festival, Teatr Łaźnia Nowa, Kraków, Poland

Fugen
5th November 2016, Hungarian Theater, Timişoara, Romania

Pieces and Elements
New group piece for 12 performers
Première: 25th November 2016, HAU2 Hebbel am Ufer, Berlin

Isabelle Schad: Pieces and Elements — 1
Isabelle Schad: Pieces and Elements — 1
Isabelle Schad: Pieces and Elements — 2
Isabelle Schad: Pieces and Elements — 2

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Black Metal Autokino

And what was best! Gab was in town! (So we had pizza and beer beside Urbanhafen.) A single photo (of three photos from Dasniya) of last week’s public outing of the first section of Black Metal 1 at Autokino. Seems to be getting somewhere. And now back to working on my own.

Black Metal Autokino
Black Metal Autokino

A short performance on Thursday at Eat More Bondage // Film Evening

I’ll be performing an excerpt from Black Metal 1 this Thursday at Autoteile in Kreuzberg at Eat More Bondage // Film Evening. All the details? Yes!

Film Evening // Eat More Bondage
– a short film evening on ropes and bondage

21h, Thursday, 28th July
Autoteile
Yorckestraße 70
10965 Berlin-Kreuzberg

Doors open at 20h, performance at 21h, and films + beer directly after.

AUTOKINO ist ein privater Vorführort für Filme Videos VJ-Performances und Crossover Media.

We all know that a varied diet is good for one’s health, and being in a monodiet is not only adverse to wellbeing, but in the long run increases the risk of health hazards. It is the same with art, films and bondage. A diverse portfolio of possibilities will be good for your appetite, for your health, your view of the world and for your eyeballs.

Having this in mind we put together a short-film evening having bondage/shibari as main topic, but with special focus on non-mainstream views and experiments, which break or bend gender/performative/traditional/humour/aesthetic/other stereotypes.

We are still putting the program together, so feel free to send your suggestions… DIY productions are specially welcome.

Films confirmed so far (list under construction):

  • Black Metal 1 by Frances d’Ath
  • Let Go by Mischa Badasyan
  • I/XXI by Aida Jara
  • Slowdance (trailer) by Harvey Rabbit
  • Remember Gay Love Story by The Strange Life of the Savages
  • Fight and flight by Proa Proeza
  • Cuerpas&Cuerdas (Bodies&Ropes) by Missogina, Proa Proeza and Maria Mutebox

More details: The Strange Lives of Savages, & Autokino.

Eat More Bondage // Film Evening
Eat More Bondage // Film Evening