SMACK
The concept we are wanting to explore/realise is a tribute to our slightly more naive selves. We have chosen to work with a music video that triggers memory and has an identity within our youth and our generation. It triggers memories but also with the beauty of hindsight allows us now to create a more critical response to the video, ourselves and our era. Giving space to any embarrassment we may have.
The work will feature other mediums, with two projections running both simultaneously and at times as separate entities, the original music video and also a live feed of the performance, which constitutes as our response, our music video. This isn’t something that will be fixed, it exists as an abstraction of the original video as the three of us, our girl group, navigate and realise what you may or may not see. A fixed structure but with everything subject to change the work will pose itself as our reconstruction.
The work will simultaneously provide a frame for both the film to exist and provide a space for the performers and viewer to occupy through projected image and in the live actual space. The viewer subconsciously becomes a part of the reconstruction, an open investigation into the performed/the representation of everyday something which has resonated with us from the original video. Questioning and diminishing the differentiation between audience and performer, the past and the present.
PERFORMANCE & CONCEPT: VERA ILONA STIERLI, OLIVIA EDGINTON, INGVILD MARSTEIN OLSEN
UTOPIA OF THE PRESENT – VARIATIONS
“Utopia of the Present – Variations” is an event, containing performance, dance and installation – driven by the idea that a (social and personal) utopic reality should not be envisioned in the future or the past, but can and should be explored in the present moment.”
A place in which no one needs to achieve anything
By Katja Cheraneva, Oded Littman, Vera Stierli, Vivianne Balsiger
“A place in which no one needs to achieve anything” is an attempt at entering a state of mind of total openness and sensitivity to the space, the audience, the partners and the self. It is a daily practice the performer took upon themselves in order to give up on any control or choice and be on the stage in a state of pure “being”.
Oded: Aaa, phf… ok… something about the practice you mean?
Katja: Yes, about the practice; about the piece.
Oded: Well first of all it is about the space and it’s about being in the space. It is about being open to the possibilities of the space, but also being open to the people in the space and everything that can happen between me and the people in the space
Katja: For me it is mostly to strip away the meaning of things the way I know them and to let go of the idea of correlation. To maybe have that feeling that everything exist on its own, even if I am not here. Even if I am gone.
Vera: I mean, It’s good that the things and the people have a past, but we just observe them. Only when you start judging you involve the past and the future. Can we reach that moment of not judging?
VON DER NOTWENDIGKEIT DES ERINNERNS
Die Protagonisten des Abends sind hin und her gerissen. Sie befinden sich zwischen Absturz und Höhenflug, sind auf der Suche nach der Verknüpfung von Erinnerung und Gegenwart oder pendeln zwischen Blick und Reaktion. Welche Schwingungen bleiben in der Dunkelheit und wo tragen sie uns hin, ohne uns zu verletzen?
Von der Notwendigkeit des Erinnerns ist eine Studie zum Kunstwerk Untitled 1979 von Jannis Kounellis. Eine Tänzerin geht bis in die Ewigkeit durch die Dunkelheit – verfolgt von den Bildern der Toten und der verlassenen Stadt.
Choreografie: Vera Ilona Stierli | Tanz: Sarah Elizabeth Lewis | Gesang: Rebekka Gruber | Mentorin: Cindy Hammer | Dauer: 10 Minuten
