April-June 2023
Research on the materiality of glass and its unifying properties across Guarani Mbya language and traditions, and seed bead factories in the Czech Republic.
Sensory characteristics and political relations are intertwined as jewelry.
Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner forCulture and the Media within the program NEUSTART KULTUR.
material: glass beads and paper pearls
apprx. 12x5 cm
We pursued what materials are cluttering the Atacama region, to bring back to sight what is hidden underneath them. Clearing the view for a future in which desolate emptiness might once again return to the deserts of Nasca and Atacama.
Not a small task to accomplish. But by re-functioning tools and materials, we employ them in the reconstruction, of what they once destroyed.
The project was realized within the context of a process grant from the Fonds Darstellende Künste e.V.. The composition was supported by grants from the city of Leipzig and GEMA
- Soundgarten einer Biographie -
March 2021
Residency at LOFFT, Leipzig
During one month of residency we researched Maria Reiche's travels and investigated, how to implement her practices in musical and scenographical elements
The project was suppotted by LOFFT Das Theater Leipzig, Flausen+, and Fonds Darstellende Künste e.V. with a grant for #TAKECARERESIDENZEN
January 2023
A LOSE COMBO production, feat. Ensemble KNM Berlin, supported by Senatsverwaltung für Kultur und Europa von Berlin, in cooperation with KINDL – Zentrum für zeitgenössische Kunst, Berlin
.
November 2021
A LOSE COMBO production, feat. Duo Tocar, supported by Senatsverwaltung für Kultur und Europa von Berlin, Hauptstadtkulturfonds and initiative neue musik berlin e.V., in cooperation with Heizhaus / PSR.
ATLAS' WIRBEL CONTAINER
Juni 2021
A provisional archive of a cartographic performance
A LOSE COMBO production, feat. Sonar Quartett, supported by Senatsverwaltung für Kultur und Europa des Landes Berlin and initiative neue musik berlin e.V., in cooperation with Stiftung Reinbeckhallen.
Latitudes of Containment
October 2020-February 2021
is a series of self-portraits that were drawn during a semester in Covid-19 confinement; persuing the question:
can drawings transform?
can they travel somewhere else?
pencil and aquarell on paper
ca. 150x150mm
»Where no movement, no action, no choice are possible, meeting someone or something is possible exclusively through a metamorphosis of the self«
(Coccia 2017: 99)
...These days, Gießen seems like a shore of stranded students - some of whom still managed to escape their countries and violent circumstances, while the relentlessly ticking time of visa permits and study curricula dashes forward. Others who appear as distant tiny squares to take part in hybrid seminars; either because they chose to stay in the comfort of distant homes, or because travel-routes have been cut off. Attempts to connect.
Somewhere between a community of fate (Schicksalsgemeinschaft) and a pilgrimage site, it seems at least like the only possible space of proximity and communion, while a hostile atmosphere expands outside the borders of the institute, in a pace just as concerning as the mutating virus...
[sic.]
"at this moment I am in the process of playing theater for myself. I know very well that I don't want to do anything:" (J.P. Sartre)
October 2020
long durational performance about death as collective practice, holding the potential of transformation
first version shown at Proposals for the Circumstances, a festival by students of the Insstitute for Applied Theater Studies
Gießen, at KiZ (9.10.2020)
with kind and generous support of Kulturamt
Gießen, Kunstrasen e.V. and KiZ Team
press reviews:
and shown at
Times Art Center Berlin, 17.7.2021
Nassauischer Kunstverein Wiesbaden, 9.9.2021
Landungsbrücken FFM, 1.8.2021
#replaingdisplace
.
MA graduation work,
shown during the UdK event KUNST RAUM STADT
installation (16.+17.07.2020)
hybrid long durational intervention
WITH-DRAWN
September 2021
Intervention on Berliner Platz, Gießen
by Paula Erb, Christian Förnzler, Jonas Harksen and Nina DeLudemann
as part of the festival Gießener Auftritte, kindly supported by Stadttheater Gießen with funds of „Ins Freie“ a program carried by the Hessian ministery for arts and sciences and Diehl+Ritter/Berlin
De Pé na Mão
On March 31st, 2019 I decided to begin the day (0:00 UTC-3, 5:00 MET) by cleaning the streets of Berlin. So as to manifest my utter disavowal to celebrate this ominous date.
I have carried this gesture on throughout the day, and for the years to follow. It continues to develop in various formats.
publicaçao na pandemia crítica da n-1 (PT):
video/impression of the intervention on March 31st, 2020
(no language)
documentation of the intervantion on March 31st, 2019
(PT,EN,DT)
wHOLE | FU tu ROS
October 2020
Pink Umbrellas Art Residency
video, 13:40 (PT/ENG)
https://www.youtube.com/watch?v=doPqq9HcC4A
Artistic occupation that will show every Monday, at 5 pm GTM-03, the experience of artists from different areas and different places, which they gather to create from a distance and immerse themselves in an experience of language displaced from each artist's "common place", in addition to thinking the Internet itself as a creative and amplified possibility.
a conversation - a diary entry - an encounter
- a multispectral dance -
by Nina DeLudemann & Daniel Fagus Kairoz
One is in Brazil, the other in Germany.
Trapped in multiple oppositions (time-zones, cultures, political exigencies...) we could rely on memories of commonly experienced dances. But what the pandemic was depriving us from, is the possibility of inviting other people to join into our dance.
Over the course of a month we met on virtual platforms (video-call and live-broadcasting apps), recording our conversations about the possibility of a virtual (w)hole – a uniting that could maintain an open space for a viewer to enter. Is there room for chance in a recording?
To build such a space, we live-edited the materials we were generating, realizing that it is only in retrospect that we inhabit a common space. While our time is polarized between too late and too soon, we find intersections, allowing us to cross mirrors and fall into holes.
It surprised us to suddenly meet the reflection of other people in our conversations. It didn't matter anymore, if the mirror reflected a Narcissus - at that sight, you can be sure of already falling into an Alice’ean journey. Down the rabbit hole that is digging you up....There's a foot there in that photo, that might belong to you. You'd better check if you haven't lost it
(Vai lá confirmar se não perdeu, ou se não é mesmo do Saci.)
où? ou ou? - ou où ou?
February 2020
UdK Berlin
A travel vlog
Teresina - Fortalesa - São - Paulo - Porto Alegre
The materials create an assemblage of perspectives. Extending over all 4 floors of the building, they mediate between scales of distance and proximity.
Peau:cisions
27.6. 2019
Mousonturm Frankfurt a.M.
a multi-located, time-lapsed intervention and correspondence on deposits, responsibility of spectatorship and co-presence
Shown at the Festival Rough Proposals,
collaboration between the MA Choreography & Performance, Institute of Applied Theater Studies Gießen and the Mousonturm Frankfurt
Destructing Objects
November 2018
Probensaal at UdK Berlin
"Briefmarkenoper" (stamp-sized operas), as part of Mehr!Licht Festival
cooperation beween UdK Berlin and Hochschule für Musik Carl Maria von Weber Dresden
Light is often equated with the vision of the eyes. However, light does not always sharpen or even enable vision. To be blind-ed is the most obvious example. The process of becoming blind, is impressively described by Borges. Progressively losing sight, he enters into an eternally lighted haze.
In some languages, darkness is homophonic to »hearing« - asserting that darkness might mean less vision, but foremost greater hearing.
»Hell« is German for bright, deriving from Middle High German »helle«, which means: to conceal. And which in turn, originates in »hel« (shining, sounding), related to "reverberation" and originally referring only to acoustic sensory impressions.
Light and darkness, sight and hearing are mutually polarized, although there is actually - as music proves - no exclusionary separation, no exhaustive binary between them. For music transcends oppositions and opens up to the possibility of an other relation, than that of contrast.
Departing from writings by Borges, Foucault and ETA Hoffmann, emerges a space of borders. Oppositions between light and silence, shade and sound enter into suspense - and are suspended.
Andorra
August 2018
Goethe Institut Porto Alegre
Intervention and Installation
in a desastrous political landscape, the staging of Andorra is a scream against the censorship and silencing that
continues to threaten and take lives in Brazil.
Resulting from a workshop with students from UFRGS, Federal University of Porto Alegre, the street performance was presented at Goethe Institut Porto Alegre on August 16th, 2018
After the presentation, the performance set remained as a publicly accessible installation for two weeks.
documentation Goethe Institut (DT/PT)
BA graduation work
a Theatrical Installation
July 2017
UdK Berlin
The production and use of cement are not only technical procedures. They could just as well describe human relationships. It is a prominent material in the architecture surrounding us, but also the way in which we socialize
trailer
on request
sketches/LUDI/Mappenstücke
Samba em Black
Porto Alegre, RS
Dec. 2016
video, 6:16 (no language)
https://vimeo.com/manage/videos/197036659
on request
HEGEL'S TRAVELS
2018
trailer (ENG/FR)
https://vimeo.com/manage/videos/286189884
on request
performancedraft; based on Magritte's "Les vacances de Hegel" and "C'eci n'est pas une pipe", Michel Foucault's "Les mots et les choses" and Lewis Carrol's "Alice Behind the Looking Glass".
Macbath // die Räuber
2018
Sketch for a staging at Deutsche Oper Berlin
based on the texts by Shakespeare and Schiller and the demonstrations in 1967
Several attempts to re-name the Shakespeare square in front of Deutsche Oper to Benno-.Ohnesorg-Platz have failed.
I take the occasion of the 51st recurring year of Benno Ohnesorg's shooting, to draw a genealogy of oppression by means of emancipation.
Kokain
2017
sketch for a staging, based on texts by Walter Rheiner,
Simone de Beauvoir and Schubert's last piece: Violinsonate in D-Moll
I
Chor schiebt Wand in die Bühnentiefe
Unterdessen läuft Schumanns letztes Orchesterwerk (Violinkonzert in d-Moll (WoO1))
Ab alle.
T. sitzt im Proszenium, entkleidet sich und beginnt dann sich zu waschen. Das Bild steht sehr lange, während des 1. Satzes der Ouvertüre sieht man keine Veränderung, als den sich waschenden T. Auf M., nimmt sich T.s Kleidung und zieht sie an.
T: Sieh da, du rauchst?
M: Es muss dir doch eine Genugtuung sein.
T: Mir? Warum?
M: Die Zeit bewegt sich wieder.
Schöpfung
2016
sketch for a staging of the play by J. Haydn
...mitochondria behave as though they were once an independent life form. An example: they divide independently from the devision of the human which they are part of. So although humans appear to be progressing on the evolutionary scale, they are only able to do so, because constitutive parts in them remain in different timescales....
trailer (no language)
https://www.youtube.com/watch?v=xYxOFX2usOE&feature=emb_imp_woyt
Nachts
2016
symphonic installation
with texts by Franz Kafka und Pussy Riot
trailer, 2:43 (DT)
