𝟿𝟻𝘹𝟷𝟺𝟻
𝘈𝘯𝘯𝘶𝘢𝘭 𝘌𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘋𝘳𝘦𝘴𝘥𝘦𝘯 𝘈𝘤𝘢𝘥𝘦𝘮𝘺 𝘰𝘧 𝘍𝘪𝘯𝘦 𝘈𝘳𝘵𝘴 

𝟸𝟶𝟷𝟾 

Where does painting begin, and where does it end?
What happens when the painter herself becomes the painting?
Does the canvas stay within its comfort zone, or does it move, with the artist becoming the canvas?
These questions are explored in the performance '95x145,' where the physical limits of both the canvas and the painter are analyzed.
The interplay of limbs and bars results in geometric shapes, attempting an aesthetic measurement within the context of the canvas and its relationship to the frame.
In motion and stillness, the body itself conveys form and color.
A playful duel between both components, oscillating between dominance and control, strength and power.

𝘔𝘌𝘎𝘈𝘓𝘖𝘗𝘖𝘓𝘐𝘚 
𝘐𝘯𝘵𝘦𝘳𝘷𝘦𝘯𝘵𝘪𝘰𝘯 𝘢𝘵 𝘝𝘦𝘳𝘯𝘪𝘴𝘴𝘢𝘨𝘦 "𝘔𝘖𝘓𝘓𝘠 𝘔𝘖𝘓𝘌𝘋𝘌𝘛" 𝘣𝘺 𝘊𝘰𝘳𝘯𝘦𝘭𝘪𝘢 𝘙𝘦𝘯𝘻
𝘗𝘳𝘰𝘥𝘶𝘻𝘦𝘯𝘵𝘦𝘯𝘨𝘢𝘭𝘭𝘦𝘳𝘺 𝘋𝘳𝘦𝘴𝘥𝘦𝘯

𝟸𝟶𝟷𝟿

"In the performance 'MEGALOPOLIS,' the significance and shaping of identity through historical-cultural influences and psychosocial factors are examined. This process is illustrated through the performative framework of a visit to the exhibition 'Molly Moledet' by artist Cornelia Renz, led by performer Karolin Kutteri. This visit simultaneously serves as a quest, a journey, or a path to an unknown destination. The performer carries items that she deems essential and symbolic under her 'second skin,' emphasizing its role as a shell, protection, and packaging of human existence. During this visit, the performer observes the exhibited artworks and takes breaks at selected pieces, responding to each artwork with an object that was previously concealed beneath her 'skin' and is now revealed.

Additionally, at each artwork visited, an official identification document is methodically left behind as a trace. Some objects are left as remnants accompanying the artworks. In front of the artwork 'Heimathunger,' the performer arranges a cozy picnic with a Bavarian pretzel and Israeli date spread, complete with a cushion and a cherished photograph. In a nostalgic moment, just before departing, the 'box of symbolic items' is searched, and the body is adorned with a sentimental heirloom. The container of the heirloom is left behind.

Subsequently, at the artwork 'Sweet Home,' the performer retrieves an old die from the box and plays an abstracted version of the game 'Juden raus' - an anti-Semitic board game marketed by the toy manufacturer 'Günther und Co.' during the Nazi dictatorship from 1936 to 1938. With the exclamation 'Auf nach Palästina!' (Off to Palestine!), the performer rushes to the next artwork, leaving the die behind.

At the artwork 'Yes, we ...' and the red line drawn by the performer, the handling of internal and external boundaries is emphasized. How close may one approach an artwork, and how close does one allow an artwork to approach oneself? The performer peruses and reads from the abandoned book ('Figurative Design - A Guide for Teachers and Learners' by Gottfried Bammes) within the 'Akademie Renz' series of works.

Finally, the performer takes a sniff of the flower in the 'Blaue Blume' installation and decides to place the 'box of symbolic items' beneath the artwork."

(Text: John Hinnerk Pahl) 

𝘔𝘖𝘉𝘐𝘓𝘌 𝘔𝘖𝘝𝘌𝘔𝘌𝘕𝘛 𝘈𝘚𝘚𝘖𝘊𝘐𝘈𝘛𝘐𝘖𝘕
𝘓𝘶𝘥𝘸𝘪𝘨-𝘞𝘪𝘯𝘥𝘩𝘰𝘳𝘴𝘵 𝘏𝘰𝘶𝘴𝘦, 𝘖𝘴𝘯𝘢𝘣𝘳ü𝘤𝘬
 𝟸𝟶𝟷𝟾, 𝟸𝟶𝟷𝟿, 𝘵𝘰 𝘣𝘦 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦𝘥...

𝘗𝘢𝘳𝘵 𝘐
A representative of the 'Mobile Movement Association' unexpectedly appears at family and company gatherings, introducing their newly established organization focused on the physical integration of mobile phones. Her aesthetic presence combines whimsy and simple extravagance within an extraterrestrial context. Her mere presence instills discomfort and nervousness in the audience.With poise and distance, the unknown representative first presents an introductory video, followed by a mobile group game involving cell phones. Finally, she demonstrates the research—the transformation of both human and mobile phone. As a cyborg, the representative interacts, with control shifting constantly between both components, highlighting the difficulty of finding compromise between their power positions.In the end, the representative swiftly disappears, leaving the audience restless and bewildered. The paradoxical relationship between the mobile phone and the consumer is portrayed and pushed to the absurd.Part II
The representative of the Mobile Movement Association visits the diploma opening ceremony at the Dresden Academy of Fine Arts. She appears as a cyborg and presents the research findings of her institute directly. The performer moves freely through the spaces, corridors, and courtyard as if she were a visitor to the vernissage. She encourages interaction and participation from the viewers through conversations and by offering a unique selfie as a keepsake of the happening. Viewers can access a special website via a QR code on her nametag, containing explanations of the performance and the taken selfies.To establish decisive contact with the audience, a brightly lit and animated mobile phone display, resembling glasses on the performer's nose and in front of her eyes, provokes attention. The display features a slideshow comprising statistics on mobile phone usage, bizarre interviews with mobile phone critics, the diversity of the app world, personally created emojis, as well as a digital representation of facial expressions and gestures. The mobile phone, as a data carrier, takes on the additional role of the 'data presenter.' A miniature Las Vegas unfolds on the screen, attracting the gaze and curiosity of the 'pre-participants.'In the ensuing conversations between actor and audience, the performer assumes two roles to create and maintain a constant feedback loop. One role is that of the cyborg, with a digital, un-rhythmic voice, initially explaining content like a dictionary entry without emotion or feeling. As the conversation progresses, the cyborg adds ironic comments to the recitation of dictionary entries, establishing a connection to the vernissage. These remarks allude to an underlying psychosocial dimension, which currently plays a significant role in cyborg research.When the viewer feels comfortable in the situation, the performer suddenly switches roles to that of a regular vernissage visitor, speaking in a typical local dialect and addressing the audience about personally carried items or clothing. This initiates a mundane, everyday conversation. The performer continuously switches between roles, creating constant attention, flexibility, and curiosity among the audience, leading to active interaction and participation.

𝘗𝘐𝘕𝘒 𝘗𝘐𝘎𝘓𝘌𝘛
𝘧𝘦*𝘮𝘢𝘭𝘦 𝘐𝘯𝘵𝘦𝘳𝘷𝘦𝘯𝘵𝘪𝘰𝘯 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯
𝘋𝘳𝘦𝘴𝘥𝘦𝘯 𝘈𝘤𝘢𝘥𝘦𝘮𝘺 𝘰𝘧 𝘍𝘪𝘯𝘦 𝘈𝘳𝘵𝘴
𝟸𝟶𝟷𝟿

Who doesn't know it? Sexist clichés, splendidly and arrogantly presented within the dusty and widespread hierarchy of everyday conversations for women*. They arise, among other things, due to societal influences and refer to tendencies from obsolete, patriarchal days.

Examples include waiting, being ignored, and being assigned a lower place in the conversation hierarchy, all of which are considered normal. These behaviors are tolerated, accepted, and swallowed, making them socially acceptable and passed down in an endless cycle to the next generations.

In my performance 'PIGLET PINK,' I address this sociological boomerang in the form of a choreographic translation with physical gestures.

𝘋𝘌𝘛𝘖𝘜𝘙
𝘚𝘵𝘢𝘵𝘦 𝘖𝘧𝘧𝘪𝘤𝘦 𝘧𝘰𝘳 𝘙𝘰𝘢𝘥 𝘊𝘰𝘯𝘴𝘵𝘳𝘶𝘤𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘛𝘳𝘢𝘧𝘧𝘪𝘤, 𝘋𝘳𝘦𝘴𝘥𝘦𝘯
𝟸𝟶𝟸𝟶

The performance 'Detour' was conceptualized and executed exclusively for the vernissage 'Roadshow' of students from the Dresden Academy of Fine Arts at the State Office for Road Construction and Traffic.As part of a scavenger hunt, the performance spanned the entire area of the State Office. Hidden, remote corners, favorite spots, and small patches of green were transformed into experiential waypoints, gaining new attention and appreciation. At each station, a small snack was provided, inviting participants to pause and enjoy the surroundings.The final destination was an office in the main building, referred to as the 'Reward Center,' which was adorned with various works related to detours. The room's contents included a video compilation of interviews conducted on the theme of detours, featuring a cross-section of people of different ages, genders, residences, and backgrounds. Another installed element in the room was an interactive map of Dresden, where participants marked their favorite routes and described them with three attributes.To refuel, there were two different snacks composed of ingredients the performer had randomly discovered during her own detours and creatively assembled for the performance.

 𝘚𝘵𝘢𝘥𝘵.𝘌𝘳𝘪𝘯𝘯𝘦𝘳𝘶𝘯𝘨.𝘒𝘶𝘭𝘵𝘶𝘳. 𝘐𝘯𝘵𝘦𝘳𝘷𝘦𝘯𝘵𝘪𝘰𝘯𝘴 𝘰𝘯 𝘔𝘢𝘳𝘺 𝘞𝘪𝘨𝘮𝘢𝘯
𝘗𝘳𝘦𝘴𝘦𝘯𝘵𝘦𝘥 𝘣𝘺 𝘝𝘪𝘭𝘭𝘢 𝘞𝘪𝘨𝘮𝘢𝘯 𝘦.𝘝., 𝘋𝘳𝘦𝘴𝘥𝘦𝘯
𝘊𝘩𝘰𝘳𝘦𝘰𝘨𝘳𝘢𝘱𝘩𝘺: 𝘖𝘭𝘪𝘮𝘱𝘪𝘢 𝘚𝘤𝘢𝘳𝘥𝘪
𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘴: 𝘌𝘭𝘦𝘯𝘢 𝘊𝘦𝘯𝘤𝘦𝘵𝘵𝘪
𝟸𝟶𝟷𝟾

𝘍𝘳𝘦𝘪𝘦 𝘗𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘗𝘳𝘢𝘹𝘪𝘴  

𝟸𝟶𝟷𝟾-𝟸𝟶𝟸𝟶

𝘐𝘴 𝘢𝘯 𝘰𝘱𝘦𝘯 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘷𝘦 𝘪𝘯𝘪𝘵𝘪𝘢𝘵𝘦𝘥 𝘣𝘺 𝘴𝘵𝘶𝘥𝘦𝘯𝘵𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘋𝘳𝘦𝘴𝘥𝘦𝘯 𝘈𝘤𝘢𝘥𝘦𝘮𝘺 𝘰𝘧 𝘍𝘪𝘯𝘦 𝘈𝘳𝘵𝘴 (𝘏𝘧𝘉𝘒) 𝘢𝘯𝘥 𝘋𝘳𝘦𝘴𝘥𝘦𝘯 𝘜𝘯𝘪𝘷𝘦𝘳𝘴𝘪𝘵𝘺 𝘰𝘧 𝘛𝘦𝘤𝘩𝘯𝘰𝘭𝘰𝘨𝘺 (𝘛𝘜).
𝘛𝘰𝘨𝘦𝘵𝘩𝘦𝘳, 𝘵𝘩𝘦𝘺 𝘦𝘹𝘱𝘭𝘰𝘳𝘦𝘥 𝘷𝘢𝘳𝘪𝘰𝘶𝘴 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘵𝘪𝘷𝘦 𝘱𝘳𝘢𝘤𝘵𝘪𝘤𝘦𝘴 𝘰𝘯 𝘢𝘯 𝘪𝘯𝘵𝘦𝘳𝘥𝘪𝘴𝘤𝘪𝘱𝘭𝘪𝘯𝘢𝘳𝘺 𝘭𝘦𝘷𝘦𝘭 𝘢𝘯𝘥 𝘴𝘩𝘰𝘸𝘤𝘢𝘴𝘦𝘥 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦𝘴 𝘪𝘯 𝘱𝘶𝘣𝘭𝘪𝘤 𝘴𝘱𝘢𝘤𝘦𝘴.

𝘐𝘯𝘴𝘵𝘢𝘨𝘳𝘢𝘮: @𝘧𝘳𝘦𝘪𝘦𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦𝘱𝘳𝘢𝘹𝘪𝘴

𝘉𝘰𝘥𝘺 𝘢𝘯𝘥 𝘈𝘳𝘤𝘩𝘪𝘵𝘦𝘤𝘵𝘶𝘳𝘦
𝟸𝟶𝟷𝟿
A performance project aimed at exploring the intersection of architecture and the body.
During the project, various movement styles including Contemporary Dance, Butoh, Feldenkrais, etc., were analyzed in relation to the spatial context. The collective insights gathered resulted in a choreography that was publicly performed as the culmination of the project.
Directed by: Olimpia Scardi (formerly of the Palucca University of Dance, former collaborator of Pina Bausch)"

𝘪𝘯𝘴𝘵𝘢𝘨𝘳𝘢𝘮