Walking Huis (2019), by ienke kastelein


Walking Huis*
Script for a performance

Walking Huis is a performance for three people to simultaneously walk the floor plan of their own (birth) house within a demarcated area in a public space: re-entering a space by re-membering.
The proposition is to do this in large vacant spaces, buildings that have been stripped of their history and have a neutral non-personal appearance.
It can be done in (semi) public spaces, possibly in the presence of others – chance audiences – who become aware of it in passing-by.

Performers: Liesje van den Berk, ienke kastelein, Lisanne Sloot,
Video recording: © ienke kastelein, Amsterdam, 2019

Getting ready
One day we managed to stand up. How did we do that? Where? And when?
How did our first steps follow? Were we “falling and catching ourselves” like Laurie Anderson sings? Anyway we started walking, moving around, most likely in a house.

The performers are standing in the middle of the space, focus on their breathing, feet touching the ground. When they feel ready, they take their first steps at their own pace.
Carefully, hesitantly, accurately.
Walking they re-enter their houses from memory – discovering an internal space, walking the plan of a ‘memory-palace’, each in their own ‘house’, while simultaneously sharing an actual space, layering it with a choreography of time.

ienke kastelein

*Translation Huis: House

Anonymous flowerbed (2024), by Paul Henning

In Dutch cities, in spring around Easter, tightly constructed flower beds appear in public spaces. These are mini Keukenhofjes,  just as artificial as the Keukenhof flower show  itself.
In response to that, I made my own Keukenhofje from pointers/name tags that you can find in herb gardens-botanical gardens. Just as colourful, just as natural. The signs are waiting for something nameless to come up, as a mockery of the habit of classifying and naming everything around us.

Paul Henning

Time and Time Again (2024), by Timo Kahlen


¿loɹʇuoɔ uᴉɐƃǝɹ ǝʍ plnoM ¿sƃuᴉɥʇ ǝƃuɐɹɹɐǝɹ 'ʇɐǝdǝɹ 'ǝsɹǝʌǝɹ ¿ǝɯᴉʇ uᴉ spɹɐʍɹoɟ puɐ spɹɐʍʞɔɐq uɐǝl plnoɔ ǝʍ ɟᴉ ʇɐɥM ¿ɹɐǝuᴉl-uou ǝɹǝʍ ssǝɹƃoɹd puɐ ǝɯᴉʇ ɟᴉ ʇɐɥM ˙ɯnᴉpǝɯ ǝlᴉƃɐɹɟ ɐ sᴉ ǝɯᴉʇ
from the ‘Wackelpudding Series’
HD-video with sound,
01:04 min.
© VG Bild-Kunst 2024

timo-kahlen.de

315.39 Language Disorder: (aka) Fjárveiting, by Peter Christenson


HD-video with sound
00:35 min.

Peter Christenson (b.1979, USA) is a multiform conceptualist who works across media, platforms, and environments. As a social worker and former psychotherapist, Christenson often uses the moniker PSYCHOLOGARTIST to highlight the interdisciplinary, socially-engaged, and interventionist nature of his practice, sometimes classifying artworks with a specific diagnostic code from the “Diagnostic and Statistical Manual of Mental Disorders,” a widely accepted instrument for psychiatric diagnosis.

peterchristenson.com

Eggs dance (2023), by Sebastian Hänel

Part 1
I was on a train through Poland. Before I ate my boiled egg, I made a drawing with it.
Balancing on the page of my sketchbook, I circled the egg with the pencil. Moving it, but avoiding letting it fall off the page, I gave the object the greatest possible freedom to move.
A kind of balance between freedom and control. The egg controlled my hand, my hand controlled the egg.
A game. Lines triggered by the round object (and the train) and my reactions to it.
A dialogue.

Part 2
Eventually I completed it into abstract shapes by expanding the lines according to their intensity. Sometimes to make them invisible, sometimes to use them as boundaries.

What has been my work now?
Transformed images of the movements of an egg?
To have a concept and follow it?
To be open to strange ideas?

druckfeld.org

Augmented Body in the Landscape, by Adrian Wood

The workshop Augmented Body in the Landscape aims to develop new pathways to experience the relationship between our bodies and the places we inhabit, and the ways that technology changes that relationship.
The participating artists chose from several sensing technologies: a stethoscope, a thermometer, a field recorder, a scent cone, and binoculars.
Each technology extends parts of the body that offer us sensory feedback — ears, eyes, nose, fingers (for touching). The participants explore the area using the technologies. They bring observations back into the studio, which they process through a series of language- and gesture-based prompts.
They then synthesize what they have generated – observations, gestures, language and sensory experience – to create a site-based embodied performance.
Augmented Body in the Landscape was created in collaboration with students of Katie Schetlick’s “Performing the Environment(s)” class at the University of Virginia on March 14, 2023.