PERFORMANCE FESTIVAL 2014
Performers / Artists
more Info about Performers and their Performances push: -->
First Names in Alphabetical Order
Shits (DE) -->
Tal Siano, Espin Bowder & Francesca Ciardi Romana
Polynushka (RU) -->
Trash (DE) -->
Hotel Cosmopolis (DE) -->
Kristensen und Ensemble (DK) -->
Address (ES) -->
Irene Pascual, Reyes Perez, Sonia Orfila, Jacqueline Tauil
& Paco Vallejo
Power (DE) -->
John Power, Stuart Mc Clean, Grant Price, Raymond Romanus
& Tatjana Alexandrowa
Trotteuses (FR) -->
Aure'lie Pertusot & Anne Moirier
mind and the coffins (DE)
Philips, Tobias Möhring, Jou, Peaggy Dahl, Max Dahl,
Norman & Robert
Space Performunion (DE)
Michael Steger, Amy J. Klement, Andreas Stadler, Lars Crosby,
Emily Kuhnke & Philip Brehse
Digital Dramaturgy Lab (CA) -->
Antje Budde, Myrto Koumarianos, Karyn McCallum, Don Sinclair,
William J. Mackwood, Michael Reinhardt & Nazli Ahktari
A.F. (DE) -->
Masprone (IT) -->
J.Klement (US) -->
Stadler (DE) -->
Galeano (ES) -->
Didier (BE) -->
Chia (CN) -->
Creighton (IE) -->
Yeon Kim (KR) -->
Kuhnke (DE) -->
Krauke (DE) -->
Freeman MacWilliams (US) -->
Novarese (IT) -->
Stampe (SE) -->
Burmester (DE) -->
Lee Dunbar (GB) -->
Pitkäinnen (FI) -->
Hungh (TW) -->
Crosby (DE) -->
Scherwinski (DE) -->
Sylvestre (FR) -->
Steger (DE) -->
Spike Froidl "Don Chaos" (DE) -->
Eichstadt (DE) -->
Nara (KR) -->
Jambon (FR) -->
Holdsworth & Daniela Garcia del Pomar (ES)
Kevin Brehse (DE/US) -->
R. Weile (DK) & Beate Bendel (DE) -->
Takita (JP) -->
Rolf Langhans (DE) -->
Edens (CH) -->
Lee (AU) -->
Neeve (EE) -->
Karel (EE) -->
Gu Shin (KR) -->
must Create a System or be enslav'd by another Mans"
William Blake (1757-1827)
theme is also SURVIVAL, and we have already been working
on it for ten years. Here in Berlin, we examine the
remnants of folk culture. We work with what still
remains of Russian, Ukrainian, and Belarussian singing
rituals, search and enjoy arguing about the question
of authenticity, however one understands it and lives
it, here in the big city.
Music: Dr. Nexus
we are surviving
group. Situated in Berlin. Always dressed in waste
and through the costumes and the collective group
dynamic, moving in a field where garbage fetishism
turns into focused expressive transformation.
(on the path of eternal survival )
eternal pattern of improvement
logistics of the essence that you can't kill
knowledge of the desideratum
the experience of being free from unessentials
the experience of the greatest possible freedom
rendering consuming unnecessary
opening up inflexible structures
learning from our past
caring for our future
waking up from a frozen state
FIELD STUDIES: determine your own future!
The Grandhotel Kunstcontainer acts as a social
sculpture and is able to intervene in the structures
of society in order to dilate the boundaries of
In our laboratory, the creative process is reevaluated
under the aspects of social, political, and economic
significance. We research possibilities of implementation
and transformation of challenges we face in our
world today with respect to the question:
do you want to live?
Practical application guaranteed
No previous knowledge neccessary
Grand Hotel Cosmopolis Kunstcontainer, Lady4Jane-Augsburg
& Dance & Dance
perceive your dance
dance your senses
sense & dance your inner dance
Irene Pascual, Reyes Perez, Sonia Orfila, Jacqueline
Tauil & Paco Vallejo
Chivo del Diablo / The Demon Billy Goat
EL despertar de la nueva apocalípsis
/ The awakening of the new apocalypse
Address ist eine experimentelle Plattform für
Performancekunst. Passend zum genreübergreifenden
Ansatz, beschäftigen sie sich ihrer Arbeit mit
den Überschneidungen und Widersprüchen,
die durch die Mischung unterschiedlicher Sprachen
entstehen: Körper, neue Medien, bildende Kunst,
Objektkunst, Konzeptionierung und Theorie; wobei ein
besonderer Schwerpunkt dem Humor und den menschlichen
Seit 2007 sind sie an verschiedenen Veranstaltungsorten
in Berlin, wie den Sophiensaele und dem HAU und in
Spanien u.a. beim Domino Loop Festival aufgetreten.
A performance by John Power, an Irish installation
and performance artist based in Berlin. Transmission
Engineers: Stuart McClean, Grant Price & Raymond
Romanus with special guest: From Russia the Classical
singer Tatjana Alexandrowa.
Have we finally allowed ourselves to be enslaved technologically
as well as mentally? Have we been so conditioned that
we have forgotten our origins and who we are? Have
we lost our sense of joy and spontaneity? Have we
lost our way? Have we disconnected the child from
the mother......our mother? Have we cut the cord?
for 15 Alarm Clocks
Les Trotteuses is a hybrid sound art project including
installation, concert, and performance. The visual
artists Anne Moirier and Aurélie Pertusot have
been working together since 2008 as Weckerspielerinnen/Alarm
Clock Players. They develop various compositions from
the alarms produced by their alarm clock orchestra,
symbolizing the beginning of the work day. The concert
performance "Composition for 15 Alarm Clocks"
is an invitation to resist this call to order. In
an isolated room, like a laborary, during a spatiotemporal
cut, they will play a repetitive and rhythmic composition
with the help of 15 alarm clocks to create a jet lag
for the audience.
mind and the coffins (Germany)
Philips, Tobias Möhring, Jou,
Peaggy Dahl, Max Dahl, Norman &
Space Performunion (Germany)
Field of Freedom is Shrinking and Freedom Needs a
Field" Paul Virillo
Open Space Performunion was founded by Michael Steger
in 2005 in response to an invitation to tour as a
performance group at the Diverse Universe Festival,
organized by NON GRATA in Estonia. A steadfast ensemble
had already been creating diverse performance events
together in different constellations within the circles
of Open Space, which was founded in 1998 with the
aim of collectively transforming any time and space;
the public space, the museum, commercial space, and
theatre space into real time live art happening. The
process of becoming a performance art collective was
a simple and organic response to that which was already
existent in the Open Space artistic community, for
the interest and feeling of necessity for expressing
ourselves through the medium of Performance Art had
members of this nomadically changing group, Michael
Steger, Philip Brehse, Luz Scherwinski, Lars Crosby,
Amy J. Klement, Andreas Stadler, as well as short
termed collaborators, Berlin based and also International
Performance artists such as Kim Baek-ki, Franziska
Bosse, Im Malys, Jessica Slote and Nicholas Vargelis,
to name a few, are rather extreme in their differences,
backgrounds and approaches to performance, and that
is possibly the essence of what is unique about us,
and that which keeps our works fresh and unexpected.
The Performunion has performed at numerous locations
in Berlin, (Theatres, Galleries, shopping malls, clubs,
U and S-Bahn, parks, nomans land, beaches and in street
intersections), and toured abroad extensively at International
Festivals in Estonia, Finland, Denmark, France, Italy,
South Korea, Toronto, Canada and N.Y.C.
Digital Dramaturgy Lab (Canada)
Antje Budde, Myrto Koumarianos, Karyn McCallum,
Don Sinclair, William J. Mackwood, Michael Reinhardt
& Nazli Ahktari
"Stare. Print. Blue. Voyeuring the Apparatus"
is one of the biggest provocations possible today.
We live in times of rapid acceleration. In physics,
acceleration is the rate at which the velocity of
an object/body changes over time. But acceleration
is also present in the rapid capitalist production
that is heating up the scales of desire and consumerism
while destroying the resources of our planet.
Everything needs to happen in an instant and it needs
to be translated into results, products, and real-time
ranking. Data streams are racing through our bodies
and through the machines/apparatuses/computers that
we use and mostly don't understand. We're starting
to wear them as wearable technology, providing ourselves
with constant statistics on our being, thinking, and
feeling. No time for process, for critical making,
creation, experience, contemplation.
Brecht, writing on taking the time to think about
the relationship between artists' naïve assumptions
of independence and their dependence on a socio-cultural
apparatus within which they work, comes to the conclusion:
Thinking that they are in possession of an apparatus,
which in reality owns them, they defend an apparatus
over which they no longer have any control. (Brecht
GW 17, pp.1005f.)
The "Blue Brain Project" is currently trying
to create a synthetic, computer-based human brain.
Banking machines radiate blue light non-stop. Smart
phone apps like the color blue. Let's stare into the
apparatus and see the desire for the color blue evolve
in a woman-machine creature, a modern-day Centauris'
virtual acceleration and material mess colliding in
slow-mo. Patience. Anxiety. Fear. Fascination. Endurance.
You will be on the street, staring into the machine
monitor/window until the obvious blurs and starts
to make sense. Take the time. Be brave. Survival in/with
slowness. Slowness is beauty. Go slow: A form of industrial
action in which employees work at a deliberately slow
pace. (A Dictionary of Business and Management, 2014)
aka the Trash Queen in a designer plastic bag
transforming nature into a substitute nature, human
beings are able to survive under the most varied conditions.
The Trash Queen in a dress of white plastic bags performs
the substitute nature that is created as culture:
trash bags are ubiquitous and can - depending on their
size - be used not only as bags for carrying things
but also be utilized for SURVIVAL: as a tent, as protection
against cold and rain, as a water container, and can
also be reused multiple times. In a scream-dance,
the Trash Queen, aka ADLER A.F., shows how human beings
shape the world so that it serves their purposes.
The stage design calls to mind the Pacific Garbage
Patch, a carpet of plastic garbage in the Pacific
Ocean that is larger than Central Europe and points
to the problems that human beings have in dealing
with plastic garbage.
is first of all a basic instinct that is deeply related
to any kind of being.
We fight to survive before this becomes a need.
As animals, we fight to survive before rationally
knowing that our survival is in danger.
Mice change their breathing and move faster before
cats hunt them-cats have also already jumped away
when we try to catch them.
we have more difficulties surviving when we use language.
Our tendency as people in a particular society is
to seek for a meaning for it. The environment we have
created is structured in a way that we get to say:
I am surviving....
As a refugee/prisoner
As a minority
As a black person
As a worker
As a foreigner
As someone infirm/disabled
As a philosopher
As a reporter
As a nation
As an institution
As a citizen
As a mother/father
As a senior
As a teacher
As a scientist
As a doctor
As an artist... or any other noun that comes to mind.
In the time that it takes for us to formulate this
'as', we take away something from our instinct and
in this sense act slower, since we put something in
between: we think.
are forced to react through thinking by war, hunger,
the environment, politics, people, violence, information,
culture. Only very few extreme situations can bring
us to move before thinking. As human beings, we have
built the trap into which we fall.
I can strain my brain wondering if it's possible to
go back to instinct, to divest ourselves of language,
to go back to a primary simple status of being...
And only then, perhaps, will I understand what survival
of the Survival - International Performance
= a concept quite relative: for one, having sufficient
food and water to live; for another, escaping death
by bullet or bomb, for yet another, the freedom
to live one's beliefs or convictions; while for
the lucky, maintaining a living standard to which
one has become accustomed.
Survival = a concept quite relative: since ensuring
the survival of some so often requires sacrificing
the survival of some other.
- ERLEBEN - AUFLEBEN - VERLEBEN - AUSLEBEN - SCHÖNLEBEN
- ABLEBEN - LIEBESLEBEN - WEGLEBEN -
VORLEBEN - TRAUMLEBEN - ARBEITSLEBEN - ARMLEBEN -
KUNSTLEBEN - HOCHLEBEN - KRISENLEBEN - ÜBERLEBEN!
There is such multi-dimensional life around the world,
yet only survival has real meaning!
Surviving as an artist requires art:
along with the aid of food, water, and air. Intellegence
and education nourish our actions and the five deadly
sins prepare the basis! Survival is an eternal cycle
along with death.
to survive. Survive or cross.
Crossing serenity and chaos
Crossing the "I" and the "you"
Through a space
A space to change and to be changed
With action here and now
Action as a poem
"May the poetry of life be our absolute weapon"
* Raoul Vaneigem
is surviving and consuming. When consumption is greater
than what is necessary to live and becomes a commercial
life style, a collision happens; like our collapsing
society where the poor are barely able to consume
and the rich continue to create this big gap between
human beings through branding consumerism, games,
and rules. How does one survive in such a monopoly
as capitalism and continue to be creative and positive?
Awareness, anger, and hunger transformed into surviving
power and resistance, into a fight for choice and
our right to food and clothing that is not modified
or controlled but determined by ourselves?
now go. Walk out the door. Don't turn around now cause
you're not welcome anymore. - Gloria Gaynor.
Yeon Kim (KR)
My project focuses on transmigration and in particular
people who move abroad and are eventually forced to
get married for papers. It examines the questions
surrounding immigration policies, fake marriages and
the drastic measures which people have to take in
order to ensure their survival in a foreign country.
I am focusing on women who need to get married abroad
to avoid their traditional patriarchal duties in their
local communities. This performance will also look
at how men are implicated in arranged marriages to
local or foreign women which may help them attain
a more honorable place in their families.
what you need to survive.
wonderfull possiblities become orphans
much is lost.
First dies all purportedly unnecessary:
the beloved nonsense ...
although what is needed?
Lets be rapacious!
of the Survival - International Performance Festival
Freeman MacWilliams (USA/Germany)
That is a question, isn't it?
Survival in prison
Survival out of prison
me survival means learning to live without.
Finding ways and means to be and
not only of me but also my community
take a walk and talk about ---------------
Mapping might well be called "the science of whereabouts."
My Pseudoscience of Whereabouts is based on maps made
by foot - which I call also the distance
The only distance apparatus needed is a pair of legs
to walk in the space looking for ----------------
A walk in a desert landscape. This will be my contribution
to the Survival Festival.
I have heard people say that this generation has given
up on growth and that they just want to survive. I want
to be a part of the guerilla that will reinstall the
word growth in our time´s consciousness, because
we must not only survive, we shall for fuck sakes grow!
Grow beautiful again.
Henrik Vestergaard Pedersen
the World As We Know It comes to end, when your phone
won't give you directions, and google is not there to
tell you what there is, when civilization ends by virus,
economical breakdown, ecological disaster, emotional
melt down, meteorite, flood, volcano, sun flare or zombie
invasion, what will our social convictions and experiments
be worth? We spent decades testing models of living
together in more fair, more healthy, more just forms:
Can our collaborations, collectives, associations, alternatives
serve as models for a new society, or are they just
a luxury capitalism allows its freaks?
Lee Dunbar (England/Germany)
to survive is to continue living
is to live without fear of survival
of the people are a sleep. They are dreaming this capitalistic
dream where the most important thing is how much you
own, how high you can go and how you can be better than
the others. Even humanity is measured by money. It will
end up in destruction of mankind.
This is a bubble. And I want to break that bubble. What
do we really need to survive?"
body lives, I keep my soul survive.
My soul will survive in heaven, in hell and in
My soul is not made for the earth, I couldn't
sell it to anyone.
I'm looking for someone who needs my soul, and
I will give it to someone.
Then I survive, it will last inside someone.
= ÜBER-LEBE !
Schau - erblickst du dort den Nebel
Umwoben von uralten mystischen Gestalten
in Ihnen lebt die eine Wahrheit fort und fort
Nebel-ada-Leben /\ nebeL-ada-lebeN
schaust in den Spiegel
küss das Wasser
Leben-ada-Nebel /\ lebeN-ada-nebeL
Fotograf und Dj.
will benefit human health and increase chances for
survival of life
on Earth as much as the evolution to a vegetarian
diet. Albert Einstein
will more greatly enhance the health and chances for
surviving of human
beings on the earth as taking the step toward
of the Survival - International Performance Festival
is a word.
The word that makes you live
To get the coin to struggle with boredom
To cry the drop and drink it all
To embrace the world and burn it all.
Give me your word to go on.
and Curator of the Survival - International Performance
the themes of our past art festivals, actually all mean
Survival is a big theme, an invitation, so who hasn't
Chaos is the modern Don Quixote! Where are the fuckin
Windmills of Governments and Industry ?! I will fight
To my sofa chats-
You are invited
have been thinking about doing a performance in relation
to what people need in order to survive in an urban
environment. Western society has lost touch with the
harsh reality of nature and the primitive ongoing struggle
to survive. Human beings are instinctively hunter gatherers
but the process of looking for food water and shelter
has been replaced by the hunt for financial gain. What
happens when you strip people of their daily cosmopolitan
routines and immerse them in the struggle to survive
on the street?
a live action which places the participants back into
an environment where they are without their normal creature
comforts for a predetermined amount of time. This could
be as simple as confiscating people's phones for 24
hours, or telling people that they could not eat any
food which had been bought forcing them to scavenge
like homeless people.
idea would be to sign people up for a workshop and then
give each person a shopping cart (or tell them where
they could find one), confiscate their phones, wallets
and keys and tell them that they were not allowed to
frequent any of the places which they normally go to
for 24 hours (job, friends, home, internet etc). The
group would come back to the location where the workshop
was taking place and share their experiences of what
had happened during their 24 hours on the street.
participant would be given a GPS locator so that a photographer
could take photos of the various participants, which
would be shown during the festival as documentation
of this project. This idea could be elaborated upon
and it would be possible to incorporate other performances
which are also dealing with the idea of survival.
believe in the theory that the world consists of brilliant,
stellar spiritual beings - human beings who actually
come from another planet. According to this theory,
the world must be more beautiful than the way it is
now. But, the reality hurts me. The fact that, every
single day, somewhere on this earth, there is a war,
a massacre, suffocates me. In the name of religion,
nationalism, and capitalism, humans pull the higher
level of their own spirituality down to fit in a specific
practical, physical form in order to hide their anxious.
Anxiety thus accompanies my, our, daily life.
My statement for Survival is that it my struggle to
pull myself up to my own being again and not to become
lost in this mad, human-made anxiety. The performance
work for the Survival Festival 2014 will deal with my
personal background combining questions about history.
It will represent what it means to be a South, and North
Korean, immigrant artist living in Berlin, a city that
shares the same experience.
The project has its origins in the image of street
vendors, who carry their equipment on their own bodies.
Inspired by this form, I design portable structures.
They serve as platforms for exchange and gaming, as
an extension of the body intended to create interaction
with the audience. The idea is to imagine strategies
against precariousness in the form of new occupations.
Kevin Brehse (Germany/USA)
of the Survival - International Performance Festival
Pavel Kralik www.artewax.com
as to my generation
we have lost our fathers and mothers
and are expected to know
what to say to you
to lead you
to advise you
and love you
barely survived the cusp
barely learned the leap
into virtual reality
survived the leap from writing postcards
to the usage of social networks
how do we hold to the challenges
we pertained to have been important
in our youth
in the face of yours
will soon pass the ball
hoping that you
may help us to survive
we have educated and trained our competition
have become in the estimation of some
and are trying to survive the next steps
with grace and with dignity
are we worthy?
R. Weile (Denmark)
& Beate Bendel (Germany)
of the Survival - International Performance Festival
live O.E.. lifian (Anglian), libban (W.Saxon) "to
be alive," also "to supply oneself with food,
to pass life (in some condition)," from P.Gmc.
stem *libæ (cf.. O.N. lifa, O.Fris. libba, Ger.
leben, Goth. liban "to live"), from PIE base
*leip- "to remain, continue" (cf. Gk. liparein
"to persist, persevere;" see leave). "According
to the Dutch Prouerbe ... Leuen ende laetan leuen, To
liue and to let others liue." [Malynes, 1622] To
live it up "live gaily and extravagantly"
is from 1951. To live up to "act in accordance
with" is from the 1690s. To live (something) down
"outwear (some slander or embarrassment)"
is from 1842. To live with "cohabit as husband
and wife" is attested from 1749; sense of "to
put up with" is attested from 1937. Lived-in "inhabited,
occupied" is first recorded in 1873. Live-in (adj.)
first attested from 1955. Expression "live and
learn" is attested from ca. 1620.
1540s, "having life," later (1611) "burning,
glowing," aphetic of alive (q.v.). Sense of "containing
unspent energy or power" (live ammunition, etc.)
is from 1799; live wire is attested from 1890; figurative
sense of "active person" is from 1903. Meaning
"in-person (performance)" is first attested
ROLF LANGHANS (Germany)
Beyond the survival of the individual, the question
rises as to the survival of human beings, considering
that several vegetable and animal species have
disappeared from the globe: How do humans adapt
to the environment with its constant changes by
mutating within their DNA?
Who can survive? and for what?
Genetics tries to give an answer about who might
survive but the reality is much more complex;
the same gene can be good in combination with
some genes but also responsible for disease. Epigenetics
opens up perspectives by not considering the genome
as unchangeable. Environment and way of life influence
what happens deep into our cells, and creativity
might be the response to the possible deficiency
of our genes. Afterall, love and attraction are
the forces that keep human kind alive, and give
the will to survive.
Sing up the dream
Ever poised on unseen thread
Whilst shadows of old battle scars advise
the words of Aare Humalast:
can only see
idea about surviving is not related to the "basic"
and important things connected to the theme.
Surviving and being a survivor is also a task for many
people on the way to retaining some individuality that
doesn't fit with this world, that is not part of the
status-quo, that is not part of this ordinary world.
Extra-ordinary people need to survive in this everyday
This performance is about individuality and how the
individual being needs to survive and reframe himself
more each time inside this mass society and many other
things that try to deny the spirituality and the shining
For me and such people, I'd like to offer an altar:
"Where nature is holy, there is no evil, and everything
around us is respected"
long ago I discovered that all the zombie movies
are for real.
I ask you oh lord human
please stop this death cult
if you do know what I mean
as a human being
as a personality
a bio robot driven by the DNA
a bit of dad
a bit of mom
saw you all go to the streets
the big bang from god
in the bird songs
being an idiot
can never achieve
I mean those other robots
not your kind
you believe it?
Would you believe something else?
did hear the bang
us play the game
let me hold your hand
just a signature
on your death certificate
will drive over you
Making a hero
You died as a free man
cucumber sales man
Presidential Press Secretary
seems weird in the third eye
big war is coming
Putin has gone mad
the big war is coming
Putin has gone mad
big rain is coming
is an alternative
point of view
everything virtual gets erased
there is still a bit of hope
reality remains for a day
at least the bird songs
in the rural may
Ville Karel Viirelaid (Estonia)
is a process to find a meaning of life. The question
here is not "how to survive." What matters
is "why we live and for what we live." The
life of an artist is thus meaningful in the process
of searching for the meaning of life, not merely seeking
desire and following instinct. I'd like to present the
work searching for this meaning in Berlin's site and