• Ten Scores for a Sculpture

    Ten Scores for a Sculpture

    Performance Night on Drawing and Choreography, Haus am Lützowplatz, Berlin

    2017

    The resulting of “Ten Scores for a Sculpture” model forms of social interaction in space and therefore the space itself. Social forms of collective behavior become plastically visible in the space and leave behind graphic traces of presence. As a kind of catalyzer, the sculpture emphasizes the interactive, physical potential of interpersonal existence so that it is engraved as forms of traces and abrasion.

    The sensing ability of the body to “put itself” into the space, the respective body, the material, the elements, the substance, is a significant aspect connecting fundamental questions of sculpture, dance, and choreography. Correspondingly, the movement and form potential within the collective was generated through improvisations in the studio.

    The scope of action for the performance is established by the constructivist-seeming sculpture “Hieroglyph Ceiling” from 2015/2016. The sculpture is a walk-in space, an airy black box. It is a data collector for fleeting and incidental movements that are transferred from the involved actors via head antennae to the respective borders of the space via seismographic graphic traces. Analog “Headsets” – pipes attached to the heads with a piece of charcoal at the end – act as tactile communication organs and body-expanding dance prostheses. They draw paths in the air, visually connecting with the delicate metal bars of the sculpture and through somnambulistic scraping contact, creating a surrealist overall image of a network of relationships in space.

  • Ten Scores for a Sculpture
  • Ten Scores for a Sculpture
  • Ten Scores for a Sculpture