Bill Baird: Novus Mundus with: Marc Philipp Gabriel and tba
Bill will stage together with local collaborators a television opera at ausland: Mundus Novus is utilizing motion tracking, video score, spatialization, a laptop ensemble, acoustic and electric instruments, a lengthy libretto, and a healthy dose of dream logic. The work was conceived during a Dresher Ensemble artist residency in February 2015. An early draft was broadcast live on Berkeley Public Access TV. The first episode premiered at the 2015 Switchboard Music Festival in San Francisco, CA. The opera occurs within a nightmare being had by Amerigo Vespucci, famed Portuguese mapmaker and namesake of the North and South American continents. The title is taken from a tract written by Vespucci, consisting of letters to his patrons, the Medici family of Florence
Arriving on time is a score-based performance for three performers and one lifeguard. The performance is based on several rounds of four minutes, where the performers independently perform different tasks.
24 MAY / 19h // 3AM / Am Flutgraben / Berlin with the support of Flutgraben e.V., Public in Private studio and the Special Agency studio.
How does each of us experience time passing? What friction is there between an objective quantifiable notion of time and our own perception of it? – While working with a very simple score, we detach the action from its actual time-scale and discover which potential is carried by very simple daily-life actions. In doing so, we create very specific bodies and images on stage.
We’re in it for the money, honey: that dirty ol’ flipside of life in the limelight. Two years after its infamous debut, the mudwrestling tournament that took the contemporary dance world by storm is back with Dirt: An Apparatus. With infallible referee Kareth Kracken’ Bonez as your hostess-with-the-mostest, the heat is ON amongst the baddest contemporary dance artists this city has to offer (as well as anyone else who loves getting down and dirty), all ready to slip, slide, and grapple their way to never-ending fame, accolades from celebrity judges, and a chance at paydirt. Audience members are invited to put their money where their applause is in a slightly soiled spin on participatory performance: we guarantee that art has never been so filthy.
09 SEP 2015 / 19:00 / CYBORGS HERITAGE // Veem House for Performance / Amsterdam
CYBORG’S HERITAGE is an ongoing performative research by Burkhard Körner and Marc Philipp Gabriel. Both of us have backgrounds in classical music and are recent graduates from experimental choreography schools (SNDO Amsterdam / HZT Berlin).
The idea for CYBORG’S HERITAGE grew out of an immense curiosity for what would happen if the specific modes and qualities of traditional western music making and the infinite possibilities and reflective processes of contemporary performance making start to inform each other: singing baroque music as part of a dance performance. What seems simple and obvious at first has undergone a crucial development that goes deeper than the superficial confrontation of both worlds. We are insisting on revealing the concepts, sub-layers, emotions, codes, conventions, taboos, patterns, mechanisms, social implications and relationships of each world, in order to explore what these inner layers can contribute to each other.
Starting from dissecting a vocal duet by Claudio Monteverdi and exploring physical approaches derived from partnering and contact improvisation, combined with pixelated full body suits, we began to summon a post-human digital body with permeable borders and fading individualities. We started exploring approaches derived from partnering and contact improvisation (in particular the symmetry practice of Jess Curtis and Maria F. Scaroni). Playing with modes of perception, flatness and universality on the visual level, the vocal level operates with individual timbres, social communication and emotional exchange between the two performers and the audience, moving on a fine line between comedy and seriousness.
We are working on the physicality of a post-human body, a body that becomes object, that loses individuality and is seemingly entangled with the world of other beings. An incomplete organism. A post-identity-body that is yet pierced by its vocal heritage.
Wir lieben den Monat. Wir werden ihn verschlingen mit Haut und Haar. Wir werden dazu tanzen. Wir werden feiern, Stücke zeigen, Bäume pflanzen – und wir laden euch herzlich ein, dabei zu sein! Haltet euch auf dem Laufenden und eure Kalender vom 7. bis zum 24. April frei. Genauere Informationen über Performances, Vorträge, Workshops und mehr in Kürze. Bringt eure Liebsten mit!
We love the month. We’ll eat it up in one piece. We’ll dance to it. We’ll celebrate, we’ll show, we’ll make things grow – and we welcome you to join us! So stay tuned and keep your schedules free from the 7th to the 24th of April. Information about performances, lectures, workshops and more coming up. Bring your neighbours, lovers, friends!
SHAVE THAT GUMMI is an international choreographic research that unleashes between innumerable poles of difference.
How can we breathe under all the highly charged misconceptions that have been cast onto us in past and present times? Coming from two different continents, we are still chewing on the same piece of gum. F*ck. Being labelled before birth, we strive to move away from preconceived identities, longing for situations that are re-negotiated in every moment. Two bodies flying through their extremities, slurping, spitting, slicing, deflecting and avoiding one another – breathing in as two and exhaling as one.
SHAVE THAT GUMMI is a dance performance duet moving between ornamenting and defacing the human body as an object. A precarious duet of counter-colonialization. A dual player game, a pas-de-deux, a dog fight, a futuristic binary. Two opposites migrating into each other’s territories. SHAVE THAT GUMMI is pulling the audience into a game of projections, stripping multiple layers of conformity off the performing body.
SHAVE THAT GUMMI is the outcome of Kieron Jina (South Africa), Marc Philipp Gabriel (Germany) and Yogin Sullaphen (South Africa) working in a 4 week artistic research period at University of Johannesburg Arts & Culture Centre.