Sure, dancers are wrecking their bodies, I know, but do I have to watch them collapsing, dancing at the border of paraplegia, pushing themselves over the edge, searching, in fact, danger, in a performance that’s not founded in the tradition of art and ritual but in the tradition of entertainment? „216“ weiterlesen
Dear —, I’ve never watched a horror movie on stage before—the beginning recalled the renowned scene of The Exorcist, where the devil-in-girl was descending the stairs like a spider. A puppet, a robot popped and locked and danced an uncanny with a touch of SimCity, no, wait, with „215“ weiterlesen
Erstaunliches kann passieren, wenn sich drei post-/moderne Choreographinnen – Lucinda Childs, Anne Teresa De Keersmaeker und Maguy Marin – an einem Meilenstein westeuropäischer Musikgeschichte, der „Großen Fuge“ von Beethoven, abarbeiten. Während Childs in einer Choreografie von 2016 den konservativsten Ansatz zeigt „214“ weiterlesen
So when I like finally got in – I mean I don’t know why it took so long, I had a wristband – he was like „nice software“, but yeah the space was cool, a little dingier than I expected, but honestly it had everything you needed and when I got there there was like this super funny skinny guy dancing with his knees who came up to me and gave me a tiny drink in a tube, and my friends, who were standing in line for their drinks, were like „213“ weiterlesen
<character mode> In a totally extreme approach, an only-by-selection door politics which excluded even press, THE AGENCY opened its Medusa Bionic Rise club to its chosen members (thankfully, looking – and being – totally alone and lost at the end of the evening, I was invited in). Thus in the basement of the Haus der Berliner Festspiel I found myself in their MBR headquarters, full of grit and futurism „212“ weiterlesen
There’s something blissfully old fashioned about this programme which sees bodies – in different numbers, in different clothes, under different lighting conditions, with and without shoes – moving on a black stage floor against black stage walls. It’s as if we have travelled back to a time „211“ weiterlesen
In the frame of Thomas Oberender / Tino Sehgal: Welt ohne Außen. Immersive Spaces since the 1960s. 28.07.2018. Martin Gropius Bau, Berlin.
Is there a danger, in ‘immersive art’, of becoming so immersed, that we can only concentrate on one course of instruction, one subject, one project that entails the exclusion of all others? The viewer, here, much like the consumer „210 / immersion series 17“ weiterlesen