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East-West Study Project"The Art of Encountering III" |
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Structural Concept: 7 Artistic positions from Indonesia encounter 7 local artistically positions in 7 places with the goal, to introduce and portrait methods, models and artistically strategies. Subject matter of the depiction and presentation is, to place implicitly the various similarities, frictions, gaps, and diversions of the models, methods and strategies in a variety of "publics" in the "public space". Duration of the Project: Planned are encounters in the following seven cities: The PartnerCountries are responsible for the organisation and supervision of the seven local artists and the organisatory supervision and support of the Indonesian Artist. The seven Indonesian Artists are (planning Stage/Phase): (Replacements: Tisna Sanjaya, Isa Perkasa) Each PartnerCity chooses local artists to participate and/or collaborates with artists from the other PartnerCities. The seven German Artists for Cologne, Düsseldorf and Essen, Ilsede (Replacements: Christiane Obermayr / Performance Art; Sofie Gref / Performance Art) Dresden: Matthias Jackisch / Performance Art, Christian Schmidt-Chemnitzer / Performance Art, Hermann, Holger / Performance Art, Dr. Walter Siegfried / Dance, Vocals, Christiane Oppermann / Performance Art, Ines Geppert / scenic interferences in the public spaces, Konstantin Lange / scenic Inscenations, Tableaux Vivant It is intended, that co-operative presentations, mutual stage-managing and performances, as well international and interdisciplinary group-performances, that make open interactive situations possible in the various cities. More artists are invited to participate (Principle of the "Strange Seven" ....) Partner-Organisations in Germany Partner-Organisations Abroad
Some Thoughts about the Deriving/Originating of contextual Conceptions These facts can be seen as parameters within the most differential encounters. I call them parameters, because I was shown the most diverse structural differences in various encounters, no touching any cultural inheritance, not the cultural representation of the daily, not founded by the cultural presence of a single person, a population, a nation, but touch the "idiosyncrasies of the daily" and therefore have a temporal longer lasting period of the course of process, then the particular representation of the particular national culture. Next to the ethnographic and anthropologic context, the big interest exists to explore counter-relations that embody themselves as dynamic changes and that have to be defined as pre-cultural forces. This is examined in various fields of problematic and I want to portrait some of them in the following passages. Differences of Body-Movements, Body-Gestures and Body language Movements of humans, before they get stylized into cultural achievements and are chosen to become representative symbols of a culture (dance, music, theater, political, social and religious symbols and rituals) are subject to extensive patters of human actions and activities, whose driving forces can never be controlled. Fields of these forces e.g. are; work, past-times, family - and every form of sociocultural interactivities, biographically grounded and evolutionary - the phenomenon we call public. These patterns of movement form themselves kaleidoscopically to a variety of forms of expressions, that appear, crystallizing quantum mechanically into cultural particles of "The New" and then, much more often, vanish again. The nearly always same question between artists of diverse nationalities: "How do these movements originate and how do the countless variations constellate? How do all this gestures come into existence and how can all unforeseen depictions of behavior take place? I want to classify and define these incidences, performances and the demonstration and/or the vanishing at the place of origination as the "gravitational centre" of the analysis of "The Art of Encounter". Diversion of Transportation of Contents Remitting appears as the next question: How is it possible, that interpretationary modi exist, that gap that facetious and how is it possible, that body-related movements exist, that are free of any interpretation by any variety of observers of any given niveau of education? These movements are not founded or based on any standard of any given or detectable culture. These movements are not recyclable; they are free from any context - this intentionally - and are founded as "the new within the new" in any person. The motivation is the showing, the showing off and the showing of - as I defined it to be the "pre-cultural" within the perception and communication. "The Lake of Quantums" where senses create and force "the sense" to appear or congeal, or happening much more often, to vanish (in itself) again - The Potential. To develop the Framework of Conditions for the Analyzing Modi (Practical Cultural Studies) The third question, that is gestating here: How do the places, institutions, projects and methods look, that establish the foundation and that are inspirating and meaningful? There are methods, tools to be envisioned, executed and exhibited being programs of perception, introduction and demonstration. How are patterns of movements translated into patterns of orientation? How and under which conditions do phenomena evolve within each person, that again then define and become their fixed universe of values, traditions, mentalities, habitués that then again, can be dismantled as not suitable - or that can be municipalized again in to the big game "culture"? Cologne 2008 Important to mention and correlating to this project: translation: sibyll kalff sept. 2008 |
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