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Berliner Mauerweg — Widdershins

Three months ago, during Ramadan, I decided I needed more art goals. This morning I got up early and rode the Berliner Mauerweg for eight hours. 173 kilometres of cobblestones, gravel, deteriorating single lane concrete roads, forest trails (mixed with gravel and more cobbles, or sand), single track, sand everywhere, plus some rather luxurious roads and bike paths for the other slightly more than half. I’ve been thinking of this and other not-quite-art / definitely-art as Solo Endurance Works. Emma Pooley has been a big (remote / unaware) mentor for this, particularly the work I do on a bike, however it might (or might not) make itself as art. Either way, I’m pretty fucking tired, sore, exhausted, space out, possibly rather pleased with myself in the wash of all that raked over-ness. And there’s so much to say about history, the Berlin Wall (along which Germans should have to walk each year, like performing the Hajj), my own selfhood and my struggles with, which is the reason for this in the first place. Another time.

Embrace the Suffering.
Accept it and Suffer.
Make the pain your choice, and be happy about it.
Practice to ride like you care.
You have to really care about it, you have to really suffer. — Emma Pooley

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Notes On My Top Tube

  • drink
  • eat
  • stretch
  • saddle position
  • hand position
  • over / undergearing
  • standing
  • breathing
  • stay calm

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Neukölln from KINDL

In the middle of Isabelle Schad’s 3-hour performance series, INSIDE OUT at KINDL, Neukölln and Berlin bringing it on a hot summer evening.

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10 Years With Dasniya In Berlin

We went and saw Mission Impossible: Fallout and laughed for 2½ hours at the brilliant kinetic absurdity: Tom Cruise, part of the Jackie Chan and Buster Keaton lineage of getting audiences to pay stacks to watch them do mad stunts. We ate chocolate and ice cream and nachos – cinema nachos! – and drunk Sekt. In the Kino. This is Germany and everywhere is drinking erlaubt. Ten years today, ago Dasniya and I met in her Fabrik studio in Uferstraße.

Isabelle Schad — INSIDE OUT, at KINDL

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.

Credits:

  • 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

Cold Weather Training

A year ago, during one of the very short periods of proper cold weather in Berlin, I was out doing my laps in it and thinking. I do a lot of thinking when I’m riding. Quite a bit is of looping through a rhythm as I breathe in and out to the circling of my legs, feet locked into pedals. It’s usually a 4/4, but cuts to a 2/4 when things get dire. Sometimes I go for a 5/4 so I don’t get too obsessive about it all. Another part is saying, “Please stop. Please stop. This feels awful.” That’s one of the voices in my head, probably mine, yapping. In turn, my thighs go through waves of wanting to vomit, like peristalsis moving from gut to legs; my lower back finds various positions to complain in, as do arms, shoulders, toes, hands. My saddle is up in my business, stabbing me in my junk. All skin on the windward side is inexorably being chilled to numbness, along with much of the leeward side of my arse.

My nose is keeping up a consistent drip, a rivulet of watery snot coating my upper lip. Eyes get in on the game too, and my mouth is pulled into what would be described as a “horrible rictus”. I try and remember to make it a smiley one. Apparently that makes suffering easier. “Oh God, I’m going to die. I can’t bear anymore.” goes me, as I keep going, round and round, soaking up aches and enduring the road hammering up into me, heaving cold air in and out of lungs.

So I was riding like that, pretty typical, and it was one of the truly cold days of January, there’s been a light dusting of fine, very dry snow, which ran along the ground beside me in the tailwind. The sun was low and doing that sublime winter thing where the air is iridescent, like it could almost be the arctic. This was around Tempelhofer Feld, the old airport in central Berlin, now a vast parkland. It was empty. I’d seen a couple of runners, and that was it. A 6.6km loop in almost 3 square kilometres in the middle of a city, empty. And I thought, “I should write about cold weather training and suffering and endurance.” Then it warmed up and we didn’t have much of a winter until this last week.

Winter in Berlin is broken compared to when I first arrived, almost a decade ago.

Below -5° extra layers offer diminishing comfort, especially if there’s wind raking the numbers even lower. Air feels like cold liquid. Effort doesn’t generate heat that makes it to the surface or extremities. During 90 minutes of riding, once the initial warm-up buffers against the cold, it’s a slow leeching of heat, sense, motors skills, thinking. My legs feel naked, my cheeks raw. The airport field empties somewhere around -5° also. A handful of runners, some uncomfortable commuters grinding towards heat death, if it’s sunny, one or two huddled out of the wind, sucking in what little warmth can be felt. The sun hangs low and weak above the horizon, far away. The air soaks up all its heat, passes none on.

I can feel my body locking into position, I try and shift more, get on the drops, get a little more aerodynamic, more forward and back on the saddle, occasionally stand up to shake some fatigue from my legs. All the while, nose goes drip, drip, drip. It’s a race between hypothermia and getting the laps in. Pretty bloody stupid.

Today, -6° and 25km/h wind flowing Finland and the Baltic, I tried to think into words the experience of getting through a session of this. Already I forget what it’s like. I remember arriving home, fingers and thoughts slushy and slow, getting into the shower to recover, after-care, kind of like a BDSM session, the very not pleasant ache of blood returning to the surface, and how cold, like cuts of meat from a butcher’s coldstore, my thighs and arse were.

There’s a training measurement called Functional Threshold Power, which you find by hammering as utterly hard as you can for a full hour. There’s a shorter, 20 minute version which gives a more-or-less similar number, but somehow doesn’t conjure the grotesque horror of laying yourself out for 60 minutes. Even backing off for 10 seconds is enough for some recovery, and it becomes not so much a physical limit, as a mental one of meeting “Please stop!” with “Just one more.” for each pedal stroke and each breath, each inhale and exhale, and doing that for each minute and all those seconds. And that’s not to diminish the physical wretchedness, gasping like a walrus, feeling blood draining through legs, everything going jelly. I’ve never done the FTP test, mainly because it terrifies me, mentally I’m not sure I could remain so utterly consistent for a full hour. I might like suffering, but I only play in the shallows.

Back to the cold, then. Probably also playing. Like the heat, you can’t really train for cold. You can understand how one’s body and person responds to and behaves in decreasing temperature, build a familiarity, but actually train for it like training for hill climbing or cobblestone riding or riding muddy off-cambers? It’s like the death zone in mountaineering, over around 8000 metres where there’s insufficient oxygen to keep you alive. Once you’re in there, you’re dying, it’s just physiology and the day that determines how quick. Too hot or too cold, same thing, your body is shutting down.

I want to veer off into pleasure here. Thinking about where I scrape out grains of pleasure and ecstasy in my life. This suffering is pleasure. During and after. Each pedal stroke, one after the other, I find a way with enduring, persevering with discomfort. It becomes only me, my breathing, the cold and wet. I become untouchable. When I was a dance student, and in the years immediately after, I was trained in the ceaseless analysis of self dancing, like picking a scab. Climbing was an escape from this. I never asked questions too close to the ones dance worries incessantly: Why do I do this? How do I do this? Perhaps now I’m stronger in myself resisting questions like these. Not all acts must be subject to dissection and justification — but having maybe a certitude or confidence in doing these things without converting to language why or how — or even considering these questions relevant, I can think about what happens when I subject myself to discomfort.

Finding language then, for things I don’t contemplate or consider in words. Finding a language of pleasure, of which ecstasy is part of the terrain, when as a life lived, there is little in the way of conventional pleasure.

[edit] I started thinking about writing cold weather training a year ago, February 2nd, 2017. A year later, February 25th and 26th, just before I went to Australia, when winter turned on some proper brutal weeks, I wrote most of this. I’d planned to write more, edit it a bit, something, things which didn’t happen. Now it’s July 21st, the middle of one of the hottest and driest summers in Europe on record, Berlin has been having weeks on and off of 30°+ days, I find it strange to think of and remember that particular day in February in this heat. I’ve been training a lot since the start of May, it’s become, or becoming something of an artwork (like my blog is a life project), one of the solo endurance performances I’ve been thinking around. I wanted to write about those, so it makes sense to start with this, if for no other reason than keeping my notes in order.

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Berliner Mauerweg — Western and Northern Route

Continuing art goals. 113.5km of the Berliner Mauerweg from Zehlendorf to Kreuzberg the long way around. One pinch flat on the way. Interesting variety of psychosomatic complaints that each went away when they realised I wasn’t stopping. Sometime around Invalidensiedlung I too realised I wasn’t stopping and went way past my usual ‘long ride’ distance (cyclocross does not prepare me for long days of arse pounding). Beautiful countryside, cheerful Germans everywhere, some cobbles, some truly shameful city ‘bike paths’ that were worse than the cobbles, decided that riding the route counter-clockwise, and finding alternate side-streets through some of the industrial mess of Schönholz (it isn’t) and Wilhelmsruh (also isn’t) is the way to get it done. Sometime in the coming weeks maybe. I’m not sure I have the capacity to get through 50 more kilometres yet. Unknown territory and all.

Isabelle Schad — Fugen, at HAU3

Isabelle Schad’s Fugen, 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.

Fugen
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.

Shibari & Kinbaku Classes in February with Dasniya Sommer

Three different classes with Dasniya Sommer this month in Berlin-Wedding, all on Tuesdays:

For more info, email Dasniya on workshops@dasniyasommer.de, message her on Facebook, and check out her Instabanga while you do (& sign up to her mailing list)

Showcase Beat Le Mot — Super Collider, at HAU2

Second show of the week, and the one I’m seeing first: Showcase Beat Le Mot’s Super Collider at HAU2, with Dasniya Sommer doing rope stuff.

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