’90s-period CRT phosphor colours, monospace fonts, highly structured and interlinked data, emerging from over a year of conversations and work with the Merchants of Slime. Deep adoration for Web 1.0 aesthetics, sliding into contemporary possibilities for accessibility, interaction, responsiveness, and clarity.
By far the largest project I’ve undertaken, handling archival data management, utterly masses of PHP, JS, and CSS, and teasing out over months the design, aesthetic, and movement through hundreds of pages and thousands of media files – all while trying to keep it properly accessible, semantic, responsive, logical, even simple, while the phosphor burns the screen.
Heaps big thanks to Virginia Barratt and VNS Matrix for going, “Yeah, Frances is what we want.” And hectic reps to research assistant Clare Bartholomaeus for all the scanning and cataloguing.
I saw the second full run-through last Sunday of Isabelle Schad’s new work, Reflection, wrapped in the proscenium arch on the HAU1 stage. Everything I could hope for in the continuation of her group works. Opens May 30th.
Isabelle Schad / Reflection / HAU1
Thursday, 30.05.2019, 19:00, world premiere, HAU Hebbel am Ufer (HAU1)
A group of performers negotiates the theatre as a space for social gathering, (re)presentation and an apparatus whose motors interact with the biomechanics and different energies of the human body’s movements. Reflection is the last part of a trilogy on the collective body. From the community that we form (Collective Jumps) to the analogy of nature (Pieces and Elements), Reflection brings the focus to energetic and physical forces that make us move and the importance of the singularity to move others.
Big news!! Its with great pleasure that I wish to announce that I’ve been named a 2018 Sidney Myer Creative Fellow, one among 8 exceptional artists. This prestigious biennial award seeks to provide support to a group of mid-career artists (across all disciplines) and arts workers, who are judged by a panel of national peers as demonstrating the qualities of “outstanding talent and exceptional courage”. I’m honoured to receive this support and recognition of my work, and doubly so to share it with such an outstanding cohort which includes 3 #FirstNations artists: myself, Merindah Donnelly and Jonathan Jones. I was nominated for the fellowship by @emmmwebb and refereed by @hettiperkins, two forces of nature who humble me with their support. My thanks to them, to the Myer foundation and to the panel. 🙌🏼🙏🏽💥🖤💛❤️
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
Isabelle Schad’sFugen, for which I was artistic assistance, returns to Hebbel am Ufer this week, for two shows, followed by a return of Solo for Lea at Sophiensæle on the weekend.
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 Sophiensæle, Berlin
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.