Who is harder than Pina Bausch to follow? An exciting but formidable task, surely, and, anyway, making things is hard, let’s not forget that. We can’t deny the beauty in those arms, the sheer presence she had, the ever perfect timing—we couldn’t stop watching the veterans, for everything they did, even nothing, was immense, but it was a pity to watch them do that, viz. nothing „230“ weiterlesen
fABULEUS / Michiel Vandevelde: Paradise Now (1968 – 2018). 31.08.2018. Sophiensaele, Tanz Im August, Berlin.
13 teenagers who, writhing and falling, undressing and flashing, brawling in silence and screaming at the top of their lungs, speak for a generation faced with political turmoil – in this case, I feel the need to take the role of the diplomat. „229“ weiterlesen
Noé Soulier: The Waves. 30.08.2018. HAU2, Tanz im August, Berlin.
It’s like the dam has broken. Crashing into space, bursting out of nowhere, starting together but continuing alone, collecting in clusters only to be ruptured by the overwhelming forces of the restless ocean. They are guided by a stream of percussive throws (aiming at imaginary subjects or objects or coast lines?) and as they pass through floods and droughts they stay highly in tune with one another and those high-pitched tones, repeatedly disturbing the space with rhythms that are never completed but rather constantly interrupted. This great body of water, this mass of collective processes, this surging machine that has no goal but to recalculate itself, to multiply, to proliferate in soft, intermittent ripples or in sudden, sweeping blows; and I am left to wonder, will we one day be dancing to the beat of the algorithm?
Like the shuffling of feet on the pavement.
Silvia Gribaudi: R. OSA_10 EXERCISES FOR NEW VIRTUOSITIES.28.08.2018. HAU 3. Tanz im August, Berlin.
And there she stands, Claudia Marsicano, with a smirky smile playing on her lips, waiting for the effect of her sheer „226“ weiterlesen
Julia Rodríguez: Later. 25.08.2018, Tanznacht, Uferstudios, Berlin.
Smooth jazz so quiet we could be in a movie, pantlessness so unabashed we could be in an old-folks home, and a certain tender way of touching things combined into a pleasurably bizarre opening that gave me ASMR. Julia Rodríguez’ finely-tuned performance „225“ weiterlesen
Many artists employ “labor” as a theatrical device that enables them to weave a wide range of concepts and politics into their work, but few do it as thoroughly as Sergiu Matis’s abridged three-and-a-half-hour opus neverendings (Season 1&2) featuring the 100-year span since the October Revolution. „224“ weiterlesen