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.
Three different classes with Dasniya Sommer this month in Berlin-Wedding, all on Tuesdays:
- Advanced Kinbaku, Tuesday mornings
February 6, 13, 20, 27, 2018
- Light-Intermediate Shibari, Tuesday evenings
February 6, 13, 20, 27, 2018
- Beginners’ Shibari, Tuesday evenings
February 6, 13, 20, 27, 2018
Showcase Beat Le Mot — Super Collider
HAU Hebbel am Ufer, Berlin (HAU2)
- Sun 10.12.2017, 19:00
- Mon 11.12.2017, 19:00
- Tue 12.12.2017, 19:00
- Wed 13.12.2017, 19:00
Laser pointers write “Game Over” in the sky. The performers of Showcase Beat Le Mot do not want to waste any electricity on apocalyptic resignation but instead to expand the frame of discourse to include outer space. That’s why in their new performance they’re sending danced messages and mumbled formulas into the outskirts of the universe. “True, beautiful and good were sought, skewed, quirky and helpful were found.” The antennas for the extra-terrestrial messages are switched from receiving to sending. This is not documentary theatre about the powerlessness to act in a surging reality but an experiment that works like a utopian slingshot. The stage setting is the message, the audience the amplifier. Space acts instead of fake facts. Always alongside trouble. Welcome to the half-truth about everything.
Concept, Space, Text, Realisation: Showcase Beat Le Mot
Shibari: Dasniya Sommer
Sound/Music: Sebastian Meissner
Costumes: Clemens Leander
Video: Alexej Tschernij
Light: Klaus Dust
Movements: Nina Kronjäger
Stage construction: Jörg Fischer
Production: Olaf Nachtwey & Johanna J. Thomas
Thanks to: Alexander Djuric and Etel Adnan
Two shows by and with friends this week: Isabelle Schad’s première at HAU of Turning Solo with the brilliant Naïma Ferré, and Double Portrait, both of which I saw in June showings in Isabelle’s studio in Wiesenburg.
Dear friends and colleagues,
We would be very happy to see you.
- Berlin premiere / world premiere
- Friday, 15.12.2017, 19:00, HAU Hebbel am Ufer Berlin (HAU3)
- more performance dates:
- 16.12. 2017, 19:00
- 17.12. 2017, 19:00
- 18.12. 2017, 19:00
With Double Portrait and Turning Solo, Isabelle Schad continues a series of works which attempt to create distinct and personal portraits through a purely physical approach, moulding respective rhythms and energies into choreographed experiences.
Double Portrait — the portrait for Przemek Kaminski and Nir Vidan — seeks to form a solo for two persons with their bodies, movements and subjective rhythms. Each of them finds his prolongation in the other. In changing interdependencies a shared space defines self and other, intimacy and care, colliding forces and violence creating a web of connectivities. The work plays with aspects of Frances Bacon’s paintings, their complexity in visual rhythm, their intensity and immediacy.
Turning Solo — the portrait for Naïma Ferré — is based on her fascination with spinning for long periods. This whirling practice is brought into dialogue with Schad’s research around axial and weight shift, around inner movement material and its extension into the world, around energetic fields that characterise oneself and others. Little by little an initially minimalist study in movement becomes a shimmering jewel, a rotating sculpture, the choreographic portrait of a dancer.
Credits Double Portrait
concept and choreography: Isabelle Schad / co-choreography und performance: Przemek Kaminski, Nir Vidan / dramaturgical support: Saša Božić / sound: Damir Šimunović / lighting: Bruno Pocheron / stage: Isabelle Schad, Bruno Pocheron, Charlotte Pistorius, Thomas Henriksson (painting) / costumes: Charlotte Pistorius / head of production: Heiko Schramm / production defacto: Andrea Remetin
Credits Turning Solo
concept and choreography: Isabelle Schad / co-choreography und performance: Naïma Ferré / dramaturgical support: Saša Božić / sound: Damir Šimunović / lighting: Bruno Pocheron & Emese Csornai / costumes: Charlotte Pistorius / head of production: Heiko Schramm
Two years of riding on Shimano PD-M540 pedals and the axles are destroyed. I seem to wear out bike parts like a grinder. And after my entire clipless pedal life being on Shimano, I decided to swap to crankbrothers. Which means I need to re-cleat my shoes. And need new shoes. My bike. Such a vacuum for money. But who cares? Let’s all enjoy the sublime engineering of a yet to be unboxed pair of Candy 3 pedals.
Another year of reading. Ten years I’ve been at this, blogging every book I read (almost every, a few slipped by over the years). Going from just blogging the book covers, to a few lines on why I was reading, to my recent frankly absurd multi-thousand word essays on some of Iain (M. or not) Banks novels. Trying to rein in that latter particular excess.
Usually at this point, I look at what I wrote a year ago, so I can aim for some sort of consistency.
A lot of fiction this year, almost twice as much as non-fiction, for a total of 34 books read — or attempted, I gave up on a few, and there’s a couple that I’ve already started but won’t make this list, ’cos I haven’t blogged them yet. Blogging is reading, just like rubbing is racing.
The year got off to a brilliant start with three biographies by trans women: Janet Mock’s Redefining Realness: My Path to Womanhood, Identity, Love & So Much More, Laura Jane Grace’s Tranny: Confessions Of Punk Rock’s Most Infamous Anarchist Sellout, and more a collection of essays over decades that becomes biographical, Julia Serano’s Outspoken: A Decade of Transgender Activism and Trans Feminism. And Tranny is my Book of the Year. There’s a couple of others equally or maybe more deserving — thinking of recent reads Peter Fryer’s Black People in the British Empire: An Introduction and China Miéville’s October: The Story of the Russian Revolution — but Miéville’s had a couple of Books of the Year already, so that’s him out. Tranny just spoke to me on a very personal level (as did Redefining Realness, different but no less personal), and Laura Jane Grace has been making miles in my head all year, I’m listening to her now. I’d marry her, it’s that kind of thing.
Following that trio, I went straight into Gayatri Chakravorty Spivak’s An Aesthetic Education in the Era of Globalization. Still in it. Not an easy read, needs the kind of mental preparation and focus I’ve been lacking the last some years, though strangely not for Caroline Walker Bynum, who I’ve been reading for three years now, one of my absolute loves, and Christian Materiality: An Essay on Religion in Late Medieval Europe is also deserving of being a Book of the Year.
A couple of others on the non-fiction side: May Opitz, Katharina Oguntoye, Dagmar Schultz (eds.) Showing Our Colors: Afro-German Women Speak Out, I read after seeing it at Deutsches Historisches Museum’s Deutscher Kolonialismus: Fragmente Seiner Geschichte Und Gegenwart exhibition. I’m didactic and prescriptive, and just like Peter Fryer, this (or whatever more recent work) should be compulsory reading in Germany, along with Ruth Mandel’s Cosmopolitan Anxieties and Katherine Pratt Ewing’s Stolen Honor — and a bunch of other stuff. But the last year’s European, American, and Australian politics makes me think we haven’t got a chance, walking with their eyes open while we shout and plead with them against where they’re going, where they’re dragging us.
I haven’t been reading much on China lately (or Afghanistan for that matter, but remedying that at the mo), but did read Frank Dikötter’s The Cultural Revolution: A People’s History, 1962–1976, the final work in his China under Mao Zedong trilogy (preceded by The Tragedy of Liberation and Mao’s Great Famine). He’s one of the few historians writing on China I’ll always read, who’s also in the fortunate position to be able to publish semi-regularly (and for academic publications, not horrifically over-priced).
There were a few other non-fiction works, but let’s get onto the fiction, or science-fiction and fantasy, ’cos I still don’t read anything else. I went on a lengthy Iain M. (plus a couple of non-M.) Banks binge earlier this year. I needed to just read, eyes rush over the pages, know before I started I’d love the story, sink back into familiar worlds and lives. Obviously that mean starting with my favourite book ever, Feersum Endjinn, and this being my first Banks re-read in some years, I came to him with a tonne of new reading behind me, and wow did I ever write about all my new thoughts. I followed that up with Whit, which has never been one of my favourites, nor did I think of it as one of his best. Wrong again, Frances. Back to The Business after that, definitely one I adore, and have read at least 6 times, then back into his skiffy with the late / last trio: Surface Detail, The Hydrogen Sonata, and Matter. I feel a little unsure putting these in my year’s reading here, as though there’s nothing remarkable about reading him multiple times, or that this is supposed to be about new books I’ve read. On the other hand, fuck it, it’s my blog and my reading and I can fuck off if that’s the attitude I’m going to bring.
There was a sizeable dip early- to mid-year, disappointment in fiction, feeling apathetic about the heaviness of non-fiction (thanks, Twitter), and also perhaps just steamrolling through scores of books year after year is an unrealistic monotone that I’m not. I did have a thrill with one more of Steph Swainston’s Castle novels, Fair Rebel, followed almost immediately by Above the Snowline, and love that she decided to return to writing, ’cos she’s one of the best. Not easy, these are large, demanding works that don’t mainline narrative reward, but she’s got one of the most captivating and extensive fantasy worlds I’ve read.
At the same time as Swainston, I got my grubby mitts on Alastair Reynolds’ Revenger. Something of marketed as Young Adult (is not), and not especially long (longer though than his novella Slow Bullets), and it feels like a Girl’s Own bit of romp, then he massacres an entire ship’s crew and continues in his very, very dark and existentially terrifying way right up till the end. Book of the Year for me, right there. Then there was the aforementioned Banks tour, and not until I was in Brussels did I get mad thrilled about fiction again. Cheers, once again, Gala. Ben Aaronovitch’s PC Grant series, A young Idris Elba / Stormzy cop with Harry Potter powers. A more cheerful Liminal People series. I started with number 2, Moon Over Soho, which meant reading the first in the series, Rivers of London had both plenty of, “I know who these people are,” and “Oh shit, her face is gonna fall off, isn’t it?” I’ve got the other 5 in the series on order.
I get to this point of writing, and I’ve added the covers of all these books, so I’ve got a nice visual treat in front of my mug, and I scroll through them … smiles all the way. And a little shiver of goosebumps. I’m lucky as all shit to be able to buy new books almost every week even when I’m on the verge of poverty (cheers, Germany and your incomprehensible to Australia attitude to cheap books), and lucky as all shit to have the time and education and all the rest to be able to read them. It’s a human right and every day I give thanks to the people (shout out to Eleanor Roosevelt here!) who fought and continue to fight for our inalienable rights.
Buy books! Buy books for your friends! Encourage people to read. If you know someone who Can’t Read Good (And Wanna Learn To Do Other Stuff Good Too), help them, reading is only difficult if you’ve been told it is. Support your local libraries!
So here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.
And speaking of designers and artists, I decided to do a Book Covers of the Year thing, dunno why I haven’t before now. Mainly because both Revenger and October have covers that smash it. Also the original Feersum Endjinn, class late-20th century sci-fi cover art there.
Thrilled and awed by all this reading? Here’s the last years’ anniversary lists:
(Full Disclosure: Kerber Verlag wanted me so much to review this, they chased me down and sent one boxed up via registered post. I also pestered them via email, which is the real truth.)
Wedding. Repping the best Ortsteil and Kiez in Berlin. My home for most of the time I’ve lived here, where I first landed, where I got my mobile phone number, where I made art (when I was disposed to do that), where I still call home, even as I live in the beating heart of gentrification, between Graefe Kiez and Südstern. I will fight anyone who says Wedding isn’t echt Berlin, who says, “Oh, but you must go to Charlottenburg for the real Berlin”, like Wedding isn’t — we all know what you really mean. Marzahn-Hellersdorf might be on the up, but Wedding bleibt. If only it could ditch its uncool neighbour Mitte.
I see a book on Twitter (via Weddingweiser) called Berlin-Wedding: Das Fotobuch — The Photobook and I know it will be mine, and I know I can’t be throwing down mad Euros on every book I see when my reading list is … even Paul in my favourite bookshop won’t touch its full extent without bribes. It’s got Helvetica Neue for the title and Communist Red endsheets, ’cos Volksrepublik Roter Wedding also bleibt — or at least that’s what the best pub in Germany tells me. I haven’t read it; I’m reading it. I read it. One of those usual non-review reviews.
A story of Wedding: When I first was living in Berlin, and I’d answer the question, “Where are you living?” the regular reply to that, by locals who’d been in the city for years, would be, “Oh Wedding. Be careful. It’s rough.” or other variations on the Wrong Side of the Tracks line — it’s outside the Ring, so yeah, wrong side. So I believed them, and exited U-Pankestraße with some apprehension, ’cos it was like being up Sydney Rd in Melbourne on a Friday night before that got gentrified. But then I noticed no one stared or got in my face or even gave a shit I was walking up Badstraße, and that ‘rough’ and ‘be careful’ and ‘not really Berlin’ meant Turkish and immigrant and working class, and about as much home in a city as I’ll ever find.
Another Wedding story: There’s a street off Badstr. called Buttmannstraße. Yes, really, Buttmann. I laughed. We all laugh, we of the former Empire’s colonies, ’cos we all have toilets for brains. I have a dear friend who lives for many years in Buttmannstr. The best pub in the world used to be on Buttmannstr. There should be a superhero called Superbuttmann. Obviously it’d be a porno, like Flesh Gordon, or Sex Trek, or Buttman vs. Superbuttmann. Buttmannstr. is the street that ‘brings down the neighbourhood’, where you see the hard fist of gentrification, forced evictions, police doing high-rotation patrols, rents doubling, locals with nowhere to go, who’ve called Wedding their home from the time it was the arse-end of Berlin, getting the boot.
Buttmannstr. officially isn’t in Wedding. The 2001 Bezirksgebietsreform hewed off the eastern half and renamed it Gesundbrunnen. Everyone still calls it Wedding; it’s going to take more than an administrative ‘reform’ to change that. Berlin-Wedding: Das Fotobuch properly takes Wedding in its former fullness, from Bornholmer Brücke (otherwise known as Böse Brücke) — where East and West Berlin first opened on November 9th, 1989 — all the way west to the edge of Flughafen Tegel. Wedding, where Marlene Dietrich performed when Buttmannstr. was the Queen of north Berlin.
I turn through the pages and sections, portraits of retired workers propping up their local bar, of parents and their children, portraits of Wedding-ers at home, and there’s Anna and Wolfgang Dumkow, in their beautiful Wiesenburg apartment, surrounded by art, looking unfathomably stylish. Each of the eighteen chapters or parts is by a different photographer from Ostkreuz-Agentur (skewed about 2:1 men:women ratio, yes, youse all know me, I count), so each chapter is a story, separate from the others, telling a particular theme without being beholden to an overarching narrative or curatorial aesthetic. Yes, it’s about Wedding, but it is not attempting a comprehensive or definitive appraisal; it is a moment shaped by the suburb’s past and its impending future.
And Wedding is a strange, unremarkable suburb, there’s scant imposing or singular architecture, the streets are a mix of congested thoroughfares banked by post-war Neubau — like all of Berlin, it’s missing teeth, more so than other districts, having been one of the main industry districts, and on the receiving end of heavy bombardment — of Kiez and Viertel with names like Afrikanisches Viertel (memorialising Germany’s colonial history), Brüsseler Kiez, tree-lined residential side-streets broken by old factories, and on two sides bounded by massive railway lines and the Westhafen canal port. There’s history here that’s uniquely Berlin and Wedding, but little of this remains immediately evident. In its absence, it’s one of the quieter parts of Berlin, where people carry on ordinary lives — even if they are artists.
So I’m reading this book and part of me is delighted to see my home represented like this, and part of me wonders why this book exists at all. Perhaps because Julia Boek and Axel Völcker also delight in this rather mundane cul-de-sac. But who’s it for, then? Wedding doesn’t have the punk and techno history of Kreuzberg, certainly not the cataclysmic history of Potsdamer Platz, Bowie and Iggy Pop didn’t live in Wedding, if there’s a suburb of Berlin which history seemed to have passed by, it’s Wedding.
It’s a suburb worth considering though. Barely 50% are of German origin — I have no idea what that means, I suppose germano-German, white German, though these kind of demographic descriptors slide into insalubrious fantasies of nationhood and ethnicity — almost 1 in 5 are Turkish German, and more than 1 in 20 Afro-German. It’s been a suburb of migration for its entire history, and only in the last few years has it been the site of the gentrification-type migration. One of the photo essays is called Black Wedding, a group of Cameroon-Germans who export cars, church on Sunday, family portraits at home and in the park. Another is of empty mosques. The introduction tells us Wedding has the greatest number of Mosques of any district in Berlin.
I’m going to jump into criticism here, all staccato like. My first criticism comes back to the imbalanced ratio of men to women photographers. I think here of Susan Sontag’s On Photography, where she says, “Taking photographs has set up a chronic voyeuristic relation to the world which levels the meaning of all events.” She also talks about — and I can’t find the quote here — the artlessness and naïvety of the amateur as more natural, more real, and therefore an essentialist resistance to the artificiality of the professional photographer. I was thinking of this looking at some of the essays, street photography shot without looking through the lens, as though this method in itself conferred a higher value to the work. I just thought they looked kinda crap, and had images in my head of tourist bros one-hand running and gunning their multi-thousand euro DSLRs, taking without asking. I contrast this with the family portraits, where the photographer set up an impromptu studio in a paediatric clinic, and asked her subjects, “What is your greatest wish?” And the answer so often was, “A better life for my children.” Asking and receiving. This is the Wedding I recognise, and when Mutti Merkel and other lost white Germans clamour multiculturalism and integration have failed, I say, this is Germany, and these are Germans.
There’s a photo in one of the empty mosques series where you can see a sliver of curtain. These spaces are absent of people, but were they not, then the absence would be women. Behind that curtain, that’s where the women go. An absence doubled. There are portraits of the Imam at the end, all male, by the photographer, also male. How a man can move through these spaces and streets — if they can at all — is very different from a woman. It’s like the reportage on Afghanistan I’ve been reading for years, only half told because of this absence. I feel tired and embarrassed to endlessly, year after year, book after book, movie, TV show, exhibition, cycling, motorsport, always, always hammering and banging on about representation. Fucking women. Where the fuck are we? Is one woman for every two men equality? Does 30% somehow read as half? And what does it mean that in a suburb where half the locals aren’t “of German origin” that almost all the photographers have hella German names? If I ask myself, “Do I spend too much time thinking about and asking these questions,” is it because they don’t?
Is this book harmless?
Sandwiched in-between Black Wedding, Artists, and In the Mecca of Berlin, is Gentrification of Wedding. Rent has more than doubled since I first arrived, pushing tripled. People let out rooms for a week what I would pay for a whole apartment for a month. And it’s on their coffee tables this book is more properly at home, irrespective of how the artists involved might want to hold a middle finger at them. As artists, we serve as the shock troops of gentrification, softening up the area before the front arrives. And when it does — which for Wedding is now — we’re pushed out and on to the next place. When I lived in Uferhallen, I photographed it constantly. I loved that I could be there, a former tram and bus depot in the middle of the city, now half turning to fields every summer, foxes and wildlife moving in. So I understand how Julia Bock and Axel Völcker could also feel the same about their Wedding, and want to share this. Yet once shared, it becomes commodity, serves interests other than, and in the present climate opposed to, the Wedding they call home.
Moving abruptly onto my other criticism, then. The English translations are a little shaky, a little word-for-word literal from German.
Like an anthology of short stories, some photographers I like, others I don’t, others leave me indifferent. This is both an affinity with a visual aesthetic as well as with what this makes explicit about how they see the world. If I flick through the pages, does it give me a feeling for Wedding? There are a number of photographers who remove entirely people from the milieu. Is this an intentional theme, or a habit of the photographers of the agency? A lot of them work for press, and there’s a strong thread of reportage in their work. I recognise people and places, and recognise Wedding, yet simultaneously, I see very little of Wedding here. I see photographers who use Wedding as an abrasive to rub up against, but it could be anywhere, Kreuzberg, Hamburg, Düsseldorf — the architecture often gives it away as German, but it could easily be Footscray or any of the other poor suburbs I’ve seen go through what Wedding presently is. They photograph Wedding but do not see it, they level it out, and some of the work is frankly lazy and pedestrian. Others, like Dorothee Deiss — I keep coming back to her photographs in the paediatric clinic — could go anywhere, her studio portraits against a plain background would always look like the place they came from. I would be far less critical were all the photographers to have her sensitivity and skill.
I show it to my Wedding friends though, “Hey, look at what I got, it’s our Kiez!” strange book for an odd ’burb.
Blog-posting from Isabelle Schad’s mailing list for all youse in Vietnam & Indonesia who didn’t know she’s touring & running workshops until now. Also various dates for various works across Germany and Europe.
Dear friends and colleagues,
we cordially invite you to the following performances and activities in autumn 2017.
We would be very happy to see you, here or there.
20.09.2017 / Europe meets Asia in Contemporary Dance / Hanoi (VN)
24. + 25.09.2017 / Europe meets Asia in Contemporary Dance / Ho-Chi-minh-Stadt (VN)
29. + 30.10.2017 / Komunitas Salihara / Jakarta (ID)
21. – 22.09.2017 / Goethe Institut / Hanoi (VN)
01. – 02.10.2017 / Goethe Institut / Jakarta (ID)
21. – 22.09.2017 / Lighting Workshop with Emma Juliard / Goethe Institut / Hanoi (VN)
16. – 18.10.2017 / Künstlerhaus Mousonturm / Frankfurt (DE)
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.
Two new works from my good friend, Isabelle Schad,one this weekend, the other the end of the month. Both are early showings before their Berlin première at HAU in December.
All the deets:
Showing – Isabelle Schad: Double Portrait, mit Przemek Kaminski und Nir Vidan
Im Rahmen von informellen Showings werden erste Arbeitsergebnisse der für 2017 geplanten Neuproduktionen vorgestellt.
“Die Bilder sind eigentlich immer im Zwischenbereich, hybride, also nie eindeutig definierbar. Sobald ein Bild wirklich nur eine einzige Aussage haben kann, so eindeutig ist, dass jeder Zuschauer dasselbe sieht, versuche ich eigentlich immer etwas zu verändern oder dieses Bild wieder loszuwerden.”
— Isabelle Schad, Auszug Interview mit Wolfgang Horn, Theater: Ein Fest! Tanzplattform 2016, 3sat
Anfragen und Reservierungen unter: firstname.lastname@example.org
Isabelle Schad (Konzept, Choreographie), Przemek Kaminski, Nir Vidan (Co-Choreographie und Performance) Sasa Bozic (Dramaturgische Beratung), Damir Simunovic (Sound), Bruno Pocheron (Licht), Charlotte Pistorius (Kostüme), Heiko Schramm (Produktionsleitung), Andrea Remetin (Produktion defacto), Isabelle Schad (Fotos)
Uraufführung: Oktober 2017, Zagreb, Croatia
Berlin Premiere: Dezember 2017, HAU Hebbel am Ufer Berlin