TanzMedienAkademie 2012

TanzMedienAkademie 2011 Documentation

2

Index

48 Again

50 Conductividad

6 Preface 8

“pèlerinages” Kunstfest Weimar

10 TanzMedienAkademie 2011 – prerequisites

12

About the TanzMedienAkademie

14

Bauhaus-Universität Weimar

16

Guest institutions

18

Fachmodul “Media in space”

20

“Summaery”

24 The building

26 The workshop

52 Dziewczynka z zapalkami

54 Finding

56 Herrenausstatter

58 Le rayon vert

60 Lift

62 Out of hummingbird

64 Pogorina

66

Shadow trace

68

Something around the sound

70

Time square

72

Untitled with frame(s)

74

Untitled with lines

28

About the workshop

30

Lectures

32

Dance training

34

Three exercises

76

Parade

38

Nightlab

78

T-Shirts

40

Technology

80

Participants and team

42

International understanding

102

Thanks!

104

Credits

106

Imprint

44 Performaces

46

About the presentation

3 Index

4

Preface

by Nike Wagner

We live in the digital age in which visual forms of communication characterize the lives of the young. New artistic challenges are not only taken up by the computerbased arts, but also by experimental contemporary dance and performance art. Both disciplines seem to embody the “iconic turn” of our time – to communicate no longer through writing and text, but trough images, sounds and movements.

How do technologically produced images relate to human bodies – imaginary, space-independent flickers on the one hand, inflections and reflections of the organic on the other – how do they interact with each other, what new forms of expressions do they breed? Those aesthetic questions are investigated by the TanzMedienAkademie.

The TanzMedienAkademie annually brings together young artists from the fields of dance and media art. Its goal is to introduce them to other, quite different means of expression and to give them the opportunity to deal with each other creatively. They get the chance to sharpen their own artistic developments, but also to learn about other principles, viewpoints and approaches to artistic creation. Almost casually, the cooperation of the young artists also promotes essential survival skills: work and social relationships develop and professional networks emerge – indispensable for the future path of life.

that the cultural differences between the participants seemed to be of less importance than the differences between the disciplines. Probably it made sense that in 2011 the project’s development process was at least as important as the final artistic results – which were enthusiastically received by its audience. An analogy to the long history of collaboration between the three countries of the „Weimar Triangle“ comes to mind.

The development of understanding is always an experiment with an uncertain outcome, no matter if politically or artistically motivated. Essential above all else is to provide opportunities that allow processes of dialogue and approach to occur.

The Kunstfest Weimar TanzMedienAkademie is based on this concept, and it is this that also constitutes its success.

The success of 2011 was „double and threefold“… who knows how the seeds sown by the project will grow!

In 2011 Weimar celebrated the 20th anniversary of the „Weimar Triangle“. For „pèlerinages“ Kunstfest Weimar this meant a most welcome opportunity to add a further, intercultural aspect to its interdisciplinary TanzMedienAkademie. To communicate through dance and new media – beyond the means of language – seemed to provide a wonderful expansion of the pedagogical project towards a new political dimension. As such, students from three institutions in Germany, France and Poland were invited to participate in this year’s TanzMedienAkademie.

Naturally, the processes within the workshop took on their own dynamic and it was surprising, but also encouraging,

5 Preface

6

“pèlerinages” Kunstfest Weimar “pèlerinages” Kunstfest Weimar is an interdisciplinary festival under the artistic direction of Nike Wagner, taking place from late August to early September and attracting a diverse, international audience each year.

The name “pèlerinages” (“pilgrimage”) is taken from the piano cycle “Années de pèlerinage” by Franz Liszt. The word implies the belief that art has an experimental, ever unfinished, restless quality, always striving for the new. Consequently, this festival places an emphasis on unconventional programming, modern and contemporary works and the commissioning of new creations. To show its deep bond to Franz Liszt, local hero of 19th century Weimar, the festival relates every year to one of the romantic titles of Franz Liszt´s works such as “Heimweh” (2004), “Irrlichter” (2010) or “Vision” (2011).

The festival offers mainly music and brings highly renowned artists to Weimar. From 2004 until 2007 the Hungarian pianist András Schiff and his orchestra played finest chamber music. In 2011 French pianist Pierre-Laurent Aimard mastered both classical and modern music. Other important artists included Tabea Zimmermann, Vesselina Kassarova, Daniel Barenboim, Zubin Mehta, Christian Gerhaher, Michael Nyman, György Kurtág and Olga Neuwirth.

Yet “pèlerinages” Kunstfest Weimar is not only music. It opens up to a wide range of arts featuring contemporary dance, exhibitions, theatre, literature, discussions and films.

Contemporary dance has become more important over the years. The performances stand for high quality and attest to the great diversity of this vital art form. The programme includes repertoire pieces of legendary choreographers like Merce Cunningham and Pina Bausch as well as the works of promising and progressive young choreo-graphers such as Yasmeen Godder, Nacera Belaza or Damien Jalet.

In its ambition to promote new talents, “pèlerinages” Kunstfest Weimar took a further step. In 2006, the “TanzMedienAkademie” was founded – an interdisciplinary educational programme for young professionals graduating from different colleges/universities.

7 Kunstfest Weimar

TanzMedienAkademie 2011 – prerequisites

10

About the TanzMedienAkademie The TanzMedienAkademie was born from an interest in innovative forms of art and the desire to help young artists in their difficult transition into professional life.

Supported by the German Federal Cultural Foundation, “pèlerinages” Kunstfest Weimar launched a singular programme for interdisciplinary research in 2007, bringing together young dancers, choreographers, media artists and composers, giving them the opportunity to collaborate in a joint media performance.

Ever since, carefully chosen students or alumni at the beginning of their career get the chance to participate in an intensive workshop to develop new pieces of art.

Guided by professionals, they experiment with movement, sound, light, space and projections. A major focus is to get the different disciplines into a lively correspondence and keep the artistic process transparent.

Space has always been a major theme of this workshop. Space in its potential to open or limit options, to inspire through its structure or its historical charisma.

During the first two years, the TanzMedienAkademie was located in the gigantic former “Viehauktionshalle”, a vast empty space vaulted by a wooden roof construction. In 2007, “wald - forest”, an installation using light and sound by the international media artist Chris Ziegler established a proper space within this hall for the choreographers und dancers who worked under the supervision of the Swiss dance artist Arthur Stäldi and the American performer Ted Stoffer. In 2008, when the artistic supervision was given to the choreographer and dancer Ingo Reulecke (Berlin) and media artist Markus Wintersberger (Wien), the participants had to explicitly exploit the huge dimensions of this hall.

In 2009, the location changed. In three different places of the city – a museum, a theatre, a former Nazi-cinema – three different installations served the performers to explore the relations between architecture, dance and sound. Artistic directors were Nik Haffner (dance) and Carsten Seiffarth (media).

In the following two years, the TanzMedienAkademie moved into the main building of the Bauhaus-Universität Weimar with its historical van-de-Velde-architecture and the project was developed in close connection with the university. This implied an intense exploration of the great architecture and allowed a Semester-

TanzMedienAkademie 2007-2010 Fachkurs becoming part of the project, during which the participating Bauhaus students got introduced to the performative uses of media. In 2010, Kunstfest Weimar invited students from the faculty “Zeitgenössischer und Klassischer Tanz” (ZuKT) of the Hochschule für Musik und Darstellende Kunst Frankfurt, directed by Dieter Heitkamp who worked together with two supervisors for the media section – the video artist Stefan Kraus (Bauhaus-Universität) and film maker/media artist Lutz Gregor.

In 2011, celebrating the 20th anniversary of the “Weimar Triangle”, Kunstfest Weimar wanted to relate to this important political concept of friendship and cooperation between Germany, Poland and France. The idea was a “Weimar Triangle” of the arts, creating an interaction between young artists of the three countries and promoting their mutual understanding through artistic collaboration.

The students from the German BauhausUniversität, responsible for the media part, were to meet with dancers of a French and a Polish institution: The Centre Chorégraphique National de Danse Contemporaine - Angers (CNDC) and the Dance Theatre Department Bytom, both leading schools for contemporary dance/choreography in their countries. The artistic supervision was assigned to video artist Stefan Kraus (Bauhaus-Universität) and to the international choreographer Prue Lang.

11 TanzMedienAkademie 2011

About

12

Bauhaus-Universität Weimar Art, science and technology

With faculties and areas of study such as architecture, art and design, civil engineering and media, the BauhausUniversität Weimar has a distinctive identity.

The Bauhaus-Universität Weimar has become well-known for its wide range of teaching and research activities based on civil engineering and architecture-oriented disciplines. Today the university offers an extensive spectrum of education with over 30 courses of study, including free art, design, web design, visual communication, media design, media culture, architecture, civil engineering, material sciences, processing technology, environment and management.

The term “Bauhaus” stands for the eagerness to experiment, openness, creativity, a close link to industrial practice and internationality. Building on the tradition of the Bauhaus movement, all the faculties are involved in the creation of public spaces. The goal is to get science, art and technology working together analytically, creatively and innovatively on the planning, construction and design of current and future spaces of habitation. Practical experience plays an important role in all academic fields, as well as in artistic development.

Testing, certification and product development are just as important to civil engineers as they are to media developers and designers.

13 TanzMedienAkademie 2011

Institutions

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Centre National de Danse Contemporaine - Angers, France

Since being founded in 1978 by the American choreographer Alwin Nikolais, the École supérieure of the national centre of contemporary dance has evolved greatly – each successive director having chosen a slightly different direction for the school. Since February 2004, the CNDC has been under the direction of the choreographer Emmannuelle Huynh, continuing its experimental tradition of contemporary dance and proposing a school project closely linked to the dynamics of contemporary creation. The school encourages the development and the use of experimentation in both interpretative and creative work, along with a finely honed critical sensibilty and introspective reflexion on dance. It also advocates a dialogue with other artistic practices in order to foster the chorographic artists’ imaginations in other domains and art forms.

The school’s project is bound to the CNDC as a choreographic national centre – a venue for creation and presentation of contemporary works while also inviting artists and companies for residencies. This institutional specificity deeply influences the student’s itinerary in the school. The École supérieure of contemporary dance at the CNDC offers two different programmes of study: The Dance Artist Programme (FAC), a two year course culminating in a national, professional dance diploma of higher learning (the DNSPD) and a bachelor’s degree, in partnership with the University Paris VIII. The project brings together practice and theory, giving students working tools and helping them to situate themselves clearly in the today’s world.

The Essais programme, developed in 2004 by Emanuelle Huynh is a two-year master-level programme for young creators, in partnership with the University Paris VIII and the École supérieure of beaux-arts of Angers-EPCC Tours-Angers-le Mans. Essais is a workspace of open, intensive work emanating from contemporary choreographic thinking, linked to visual arts, cinema, literature, and other related art forms. It encourages autonomy in the definition of a project, of knowing how to place oneself in the contemporary artistic field and therefore fully risk being a creator.

Dance Theatre Department Bytom /Ludwik Solski State Drama School Krakow, Poland

The creation of the Dance Theatre Department in Bytom by the Ludwik Solski State Drama School in Krakow in 2007, the country’s first dance curriculum within the framework of the university education system, was long overdue. By establishing a historical changeover in thinking about the human body and in understanding the performing arts and dance, it marked the beginning of a new era in the process of professionalization of dance in Poland.

The foundation of this new education programme goes back to a grant by the Polish office of the Leonardo Da Vinci EU Programme in 2005 to the Silesian Dance Theatre under the artistic direction of Jacek Luminski. With involvement of a group of international experts from respected European dance schools (e.g. Folkwang Hochschule, Essen, Germany, Dartington College, UK) and renowned Polish scholars, dancers and actors, a novel dance curriculum was developed which was then structurally implemented by the State Drama School of Krakow under the leadership of Professor Jerzy Stuhr.

The goals of the Dance Theatre Department are focused around the processes of artistic versatility of an actor/dancer. The nine semester long curriculum, culminating in a state diploma, offers an interdisciplinary education combining modern dance, ballet, acting, art theory, philosophy, dance and theatre history, Polish folklore, music, anatomy, deep body-mind techniques, new media, improvisation, directing and composition, and much more. Although the main focus of the curriculum is on practical experience, the students are also well educated in the arts and related academic subjects. The physical training focuses on Polish Contemporary Dance Technique and styles of artistic creation developed from local melting pot traditions (found in Jewish folklore as well as in Kurpian and Podhalan ethnic cultures). Monthly workshops by international teachers further introduce the students to educational and artistic practices in foreign countries. All these foundations, including post-Grotowski and Boguslaw Schaeffer’s instrumental acting, enable the students to create and institute their roles in contemporary dance theatre, as well as to develop their own artistic approaches. A broad background of theoretical and practical skills and accomplishments provides a springboard into original, creative and individual professional work in the arts.

15 TanzMedienAkademie 2011

Institutions

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Fachmodul “Media in space” SS 2011 The initial setup of the TanzMedienAkademie – media artists meet dance artists – was opened up to students from all departments of the Bauhaus-Universität.

understanding. For this reason regular media jam sessions at the project- and design-workshop Gaswerk were a vital part of the artistic development. Here students could elaborate new ideas supervised by experienced media artists.

The interaction with light, sound and projection in a real environment made the students understand that an abstract idea must be the driving force behind media art and creating it often consisted of mastering very tedious problems. There are no easy, intuitive creations for the most part. Even simple interactions need to be thoroughly planned and require skills that were previously unknown to most of the students. It was important for them to experience a workflow that used a dialogue between the idea and the making of an idea, constantly readjusting with each development, instead of sticking to a rigid plan that may prove unfeasible to a beginner.

Thus, students of media design, art, product design, visual communications and architecture participated this year.

They were inscribed in a work module that would introduce them to the most important techniques in media performance. This included a MAX/MSP+Jitter class with Marc Sauter and Timm Burkhardt, as well as different lectures about different ways to make media interactive and performable. Choreographer Prue Lang gave the media students an introduction to the world of contemporary dance and also showed some examples of her own own works. Furthermore, the festival for contemporary dance held by the Deutsche Nationaltheater Weimar in July, offered the opportunity to see many different dance pieces.

A purely theoretical discussion on the techniques of technology-driven art is futile. Only the experimental process and experience itself – the struggle with the numerous possibilities and many obstacles that get in the way of intuitive real-time media performance – enables students to create with deeper

17 TanzMedienAkademie 2011

Fachmodul

18

“Summaery” ”WuMo”

by Jiayao Chen and Yue Gao

Final exhibition of student works at the “Gaswerk”

”Privacy”

by Liu Yuanyuan

”untitled”

by Paul Winkler

The student’s experiences obtained during the semester were to be consolidated into one final showing within the “Summaery” – the BauhausUniversität’s annual exhibition.

In an intensive week the students created a multifaceted exhibition in which they put their new skills onto the scene. The hard work was celebrated accordingly with barbecues and a public party as a finissage of the exhibition before the students left for the short summer break.

19 TanzMedienAkademie 2011

“Summaery”

20

”Please Dance”

by Anna Eppstein, Sandra Guzman, Sebastian Häfele and Judith Rautenberg

”Hats are the most unnatural of all items of clothing”

by Assia Bodrova

”Fräulein Raum, mehr Space.”

by Jonas Späinghaus, Georg Lichtenegger, Ludwig Völker and Stefan Pach

”Sound - interaktiv”

by Marie Grund

21 TanzMedienAkademie 2011

“Summaery”

22

The building The birthplace of Bauhaus.

The main building of the university was built between 1904 and 1911 based on plans by Henry van de Velde.

As one of the most influential art academies of the early 20th century, this is where the Bauhaus movement was founded in 1919. Today, the building is listed as a UNESCO World Heritage Site.

In 1860 the Grand Duke Carl Alexander founded a school of arts in Weimar. In 1904 he hired the Belgian architect and designer Henry van de Velde to design a new building for his school. His design shows big atelier windows on the north side. In the foyer is an original sculpture by Auguste Rodin, called Eva. The building was modified and extended throughout its history, but under the supervision of architect Thomas van den Valentyn the building was completely renovated and almost fully restored to its original condition in 1999.

Today it is used by the Faculty of Architecture, its dean, the Faculty of Art and Design and the president’s office.

23 TanzMedienAkademie 2011

The building

The workshop

26

About the workshop August 13 until 30, 2011

The general idea of the TanzMedienAkademie workshop is to give the participants as many new experiences as possible as well as an intensive personal and artistic exchange reflecting on the relationship between dance and media through an experimental approach. Furthermore, there are public presentations at the end of the workshop that are attended by quite an audience. Thus, the challenge was to find a good balance between theoretical input, practical exploration and the need to consolidate many ideas into producible short pieces. To avoid the students getting stuck in technical troubleshooting, which may take weeks to solve, participants could count on the technical support provided by Stefan Kraus, Marc Sauter, Timm Burkhardt and Bjรถrn Jung, while Prue Lang assisted the students in developing their pieces into presentable formats.

27 The workshop

About

28

Dance/choreography students learn media techniques.

Lectures The lectures tried to give students of both disciplines – dance and media – an overview over the methods and tools of contemporary media art.

Each lecturer, Prue Lang, Stefan Kraus, Marc Sauter, Timm Burkhardt, Björn Jung and Robert Wechsler, introduced some of their own work, so students would know what to expect from each of them. Robert Wechsler from Palindrome, who has been working with dance and motion tracking from the beginning, conducted an inspiring workshop about the use of motion tracking in a dance context. Marc Sauter gave an introduction to sound production for stage and performance, whereas Timm Burkhardt and Stefan Kraus delivered some insight into the use of video and projections and how to control them. Björn Jung completed the lectures with a demonstration on the use of electronics that reach beyond prefabricated interfaces.

29 The workshop

Lectures

30

Dance training

Media students learn dance techniques.

Every morning the participants met for interdisciplinary dance training and body work.

This was not only a necessity for the dancers, but also an invitation to the media students to experience a form of expression that was as new to most of them as processing codes are to the dance students. The idea was that each participant, regardless of his/ her initial education, could experience the others’ way of working, in order to better understand and respect it. Only mutual respect allows for a fruitful interdisciplinary collaboration. The training was adapted to be accessible to all participants. It became especially interesting when some of the participants also gave the morning training, bringing a taste of hip-hop, Polish folk music, and other individual interests.

31 The workshop

Dance training

32

Three exercises “Transform space” “Transform time” “Bauhaus”

“Transform space”

To help the students explore, create and socialize, Prue Lang and Stefan Kraus came up with three exercises with different departure points, to be worked on in mixed teams.

This was also important in splitting up the nationalities and social groups, so that the participants could get to know each other very quickly. All exercises had to be solved within the architecture of the building and were quite abstract in nature, forcing the participants to come up with a solution from within their group, as there were no obvious solutions at hand. Many ideas that were explored in these tasks were later developed into the final performances, sometimes causing quite funny situations.

33 The workshop

Three exercises

34

“Transform time”

“Bauhaus”

35 The workshop

Three exercises

36

Nightlab

When students are confronted for the first time with the vast range of possibilities that modern media technologies offer, they often have quite naive ideas about their practical implementation, as – theoretically – everything is possible. The first step into working with media production is to understand the kind of work involved when a pure idea has to be produced. The participants experience in a playful way that it is one thing to have an idea and to force it straight into reality – which usually turns out to be a question of money – and another thing, to have an idea that is flexible enough to transform and grow throughout the creative process and therefore can be produced whatever the material conditions may be.

The nightlab started after dark. Students were free to attend the nightlabs, which extended open end into the night and sometimes morning hours. While the lectures were aiming to teach theoretical knowledge, the nightlab allowed the students to experiment with whatever devices, spaces and choreographic practices they wanted, for as long as they wanted and with whom they wanted. The nightlab encouraged the participants to take over the building and use it as their creative playground. The magic of the nightly hours in the charismatic building, the surreal encounters with nightly visitors and the blurry perception of time that comes with the working at night, had an impact on most of the students, although it cost them a lot of energy. Often, the experience was unpleasant at first – as it is one thing to state that the light has to be blue and it's another thing to make it blue with tiny binary coded dip switches. Yet further on, it was exactly these situations that made the participants understand that none of these are actual obstacles and there is no reason to be afraid of technology.

37 The workshop

Nightlab

38

Technology

The key goal of the workshop was to enable everyone to work with media.

As most things don’t feel easy when done for the first time there was a strong emphasis on the technologies everyone can handle very quickly: light and sound. One room contained all the equipment that was collected to give the participants a large choice. Different lights, tripods, cameras, speakers, mixers, overhead and video projectors, laptops, media servers, tons of cables, magic arms and software licenses were available. The range of experimentation spanned across the whole spectrum from simple hand controlled lights and the sound of a flute to sophisticated software, programmed in only a week in Processing and Max/MSP+Jitter. While the creative process seemed sometimes dominated by the sheer wrestle with these operations, it was never overwhelmed by it, because the question of how all this could make sense together with the dance and the building was driving all of the experimentation.

39 The workshop

Technology

40

International understanding

France, Poland and Germany form the “Weimar Triangle”, and the schools from these three countries sent participants to the TanzMedienAkademie. But the cultural diversity was even bigger, as there were guest students from China, Columbia, Kazakhstan and Chile involved, so “international English” was the common language throughout the workshop.

It was wonderful to see how all these people from very different backgrounds and cultures enjoyed each other’s company so much, not only while working, but also in their small amount of free time.

There were quite some evenings when the participants would end up partying together till dawn. And although this might have had some influence on the early morning training, it was also an essential part of the interdisciplinary exchange and a solid ground for mutual understanding.

41 The workshop

International understanding

Performances

44

again

1. Stock

Lift

Le rayon vert

Herrenausstatter

Dziewczynka z Zapalkami

Erdgeschoss

Pogorina

Untitled with frame(s)

Behind the scenes, the format of the evening set a logistic challenge to the whole team, since most of the perforFranziska Nössig, mers were part of several pieces and Thüringische Landeszeitung, 31.8.2011 each piece was performed several times.

But thanks to a meticulously working schedule, everyone’s precise timing and helpful festival ushers channelling people patiently queued for up to one hour in order to get the movements of the spectators, both themselves a place. Altogether, about 300 spectators – the shows ran very smoothly. maximal number possible – got to see the performances.

The team had expected a lot of audience movement and flucPublic interest in the showings turned tuation at the various performance spaces, yet it was striking out to be very high; admission was free, to observe that most visitors tried to see each piece in its full but audience capacity limited, so many length and stayed until the end of the evening.

Untitled with lines

“Movement, light- and sound-installations set the main building of the university in a completely new scenery, and given the newly created ‘spaces’ one eventually had to rub one’s eyes. The brilliant play with and against the architecture should have deserved more than two showings.”

Something around the sound

Finding

At twelve stations within the building (e.g. hallways, classrooms, the staircase, the elevator) sixteen performances/installations were presented. The audience was invited to move around freely and it was left up to each spectator where he/she went and how long he/she stayed at each place. Equipped with a small camping stool and a map including a timetable, the visitors made their way through the building, coming together as one audience only for the opening and final performances.

Oberlichtsaal

Shadow trace

On the evenings of August 29 and August 30, 2011, the main building of the Bauhaus-Universität turned into a live exhibition space.

2. Stock

Time Square

About the presentation

Out of hummingbird

Bauhaus Atelier

Conductividad

Eingang

45 Performances

About

46

Media: Judith Rautenberg Choreography/Dance: Jan Lorys

Again

The videowork Again deals with recurrent moments in human life that are perceived as desperate and oppressive situations. In single movie sequences these situations are visualised as a white box wherein dancer Jan Lorys interprets feelings of claustrophobia and isolation. These are leading to impacts like fear and depression, paralysis and madness as to self-abandonment.

Finally all these illustrations are generating the attempt to leave the situation, means to leave the box.

The single movie parts are combined to create a general composition consisting of several boxes. In this way the impression of Jan climbing from box to box is generated. So he keeps on doing, again and again without the possibility of finding a way out.

Judith Rautenberg

47 Performances

48

Conductividad

Conductividad is a dance performance which combines the body movement with sound. By the terms of conductivity, the installation is made of different elements that conduct electricity; the human body, wires and graphite.

The performers interact with each element (wires and graphite) to generate different sounds. The body itself, in contact with the other elements, works as a bridge that allows the electricity to flow through. The performers play with the change of sound, from high to low Media: tone, this is given by the quantity of Sandra Guzman electricity that is conducted. More the Choreogr./Dance: electricity higher is the pitch.

Zuzanna Kasprzyk Daniela Kome˛dera Sandra Guzman

49 Performances

50

Dziewczynce z zapałkami

I tried to use the program like an attempt to show me on the screen and in life in general, as the body.

Because we are the body and we are using the body to dance. At the beginning I wanted to show limitations in the body, in light and in program, what limits are in this, like for example I am visible in the light, and not on the outside of it, like if I wouldn't exist, in moment when I move I exist, and when I'm not, I don't exist and generally, even when we are standing in one position, really our body makes small moves…

However later when I thought about Dziewczynce z zapałkami – Girl with matches I started to think what I can do with the equipment, stuff, which limit me, show possibilities, not limitations. When I danced, I imagined what my body is doing with me, how it moves me. My stuff moved me, caused motion, discovering of new possibilities, of movement and feeling of myself.

On the other hand this piece was about create space. When I danced I painted on the screen, but also changed the space around me, I moved the space.

On the begining I were in small light, I sat on the floor and moved only arms and moved the upper part of my body.

Later I stood up and created the space around me. I danced in the third part of the whole space. I felt free at that time, like a girl who dreams.

Daniela Kome˛dera

Media: Timm Burkhardt Choreography/Dance: Daniela Kome˛dera

51 Performances

52

Media: Marc Sauter Liu Yuanyuan Choreography/Dance: Zuzanna Kasprzyk

Finding

Finding contains 4 lights which are only lamphouse. I was controlling the real-time switch and frequency of lights and made the background of stage staggering with dancers shadow during the performance. It was increasing sound which was controlling by Marc during our performance, helping audience to focus and bringing more powerful atmosphere into the piece.

Arguments and conflicts have run through our cooperation, so we had to work hard to find out the feeling and the common language of each other. This kind of contradiction has generated the main topic of our work – finding, so we plot interchangeable roles when the dancer ends the performance. When Zuzanna Kasprzyk finished performance, she motioned to me to transform the roles on stage, I went to the stage to find out the feeling of her dancing, and she came to the lighting controller to play the role of media designer and looked for the feeling of controlling light.

The theme of finding comprises three different meanings.

Firstly, for media artist, if I want to control the lights and the shadow of background in real-time well, I have to find the meaning of body language because it is essential to experience the feeling of dancer. (Or the meaning of body language as essential to experience the dancer’s feeling) Secondly, for the dancer artist, she should create choreography based on the understanding of lighting, she finds the lights from the dark, then avoids lights, and finally feels the lights. The whole is a process of her dialogue with light. She has to look for the feeling of lights. Thirdly, dark stage is also a process of finding for audience. They cannot predict in which position the dancer will appear, and what action she will do. The curiosity makes the audience to find all the time.

Liu Yuanyuan

53 Performances

54

Media: Stefan Pach Jonas Späinghaus Ludwig Völker Choreography/Dance: Clarisse Chanel Krzysztof Nowakowski

Herrenausstatter

Walter Gropius, founder of the Bauhaus School in Weimar 1919, established new artistic and architectural conceptions of space in which the boundaries between arts, crafts and new emerging techniques are blurred. This notion was implemented creatively by Polish dancer Kryzsztof Nowakowski from Warschau and his team consisting of the media artists Stefan Pach, Jonas Späinghaus and Ludwig Völker.

Nowakowski’s movements are projected onto an artificial dancing figure on a videoscreen: Man, music and animation enter into a symbiosis. Moreover, a camera transfers the act of chopping vegetables onto the screen and the artificial dancer is virtually fed.

MDR

55 Performances

56

Media: Anna-Sophia Eppstein Choreography/Dance: Malika Djardi

Le rayon vert

An empty glass cabinet – an “objet trouvé” – in the building of the Bauhaus-Universität is the point of departure of our work. An archive, a very limited but transparent space usually filled up with traces of the past. It made us think of our own bodies as archives: the body is a constant “devenir” archive, a lively archive of movements.

Where does begin the archive? What’s about the identity of a person? The question of the technique appeared essential.

Every body is made out of histories, lights, and disorganisations. All that reflexion brought us to work, for this project, on the presence of the historic and the technique on the empiric scale of the performance: how to capture? What’s related with the notion of archive in a dancer’s body? Where does his movements come from? How to recall the memories in order to provoke a special body state? How to set up a “non-scenic” space? How to “interact”?

We tried to explore these questions through this work. We created a sound-collage out of discussions, invented stories, musical pieces and recorded sounds that lead to movements concerning the memory of a particular body. The choreography acts by fragments, such as the memory. Those fragments are putted aside, melt, transformed like a collage of gestures, technical moves, expressions. Adding light, we found a mean of capturing these movements: an overdimensional projected scan-line running through the space, interrupting the scene and investigating the body in these very moments. During this scan period pictures are created that in the end are projected into the glass cabinet, fill the empty space and reveal the “archive of the body” to the public.

Malika Djardi

57 Performances

58

Lift

Choreogr./Dance: Paulina Giwer Lina Schlageter

Create a space of another dimension inside the building. The space of the lift has a special light, sound, and function. It’s a space of transit that is used to transport people from a space to another. It is not crossed by people.

We wanted to work on this imaginary of Zero Gravity and experience it with movement/dance, to disturb the perception.

We also use the soundtrack records of Stanley Kubricks “Space Odyssey” to feed and open the imaginary of the moving picture we were presenting; and the blind spot of the lift as wings, to affect time and space.

Paulina Giwer/Lina Schlageter 59 Performances

60

Out of hummingbird

Inspiration to this project coming directly from architecture. I really like picture of those stairs. The looks really sharp, heavy and industrial, but from the other hand empty space between each stair give an illusion of lightness. I always like stairs for many reasons. For example when I thing about stairs they are always practical we used them to change levels. But in the same time stairs are really comfortable place too seat and think or drink. So I spend a lot of time just seating there. Then came to me idea of swing. Swing was really opposition to stairs in many ways and that give a interesting tension to those space.

And this space give me impulse to make a piece about childhood. About my perception when I was younger and smaller. How funny was to don’t respect the rule, just because I forgot about them or even don’t know that they exist. What was important for me Choreogr./Dance: in those performance, I try to have a lot Jan Lorys of fun. To make something unsuriously.

Jan Lorys 61 Performances

62

Media/Choreography/Dance: Marcela Santander Corvalan Margot Joncheray

Pogorina

mix of in all his(her) states inked by places carried(worn) in full body pressing flight(leak) of time(weather) and by space a listening to tell a little about one to go away a try(essay) to say words of the mixes of the relations minimal music which gives rhythm to the road advance(move) for a moment which touches eat away to enjoy to tell to listen to looking for the smallest sounds of skin caress(cherish) of salt sweat drips face breakthrough in full stomach in front of the electro wall shock shock beautiful non-stop sleepless night to feel(smell) telling to make a commitment enchanted Margot Joncheray 63 Performances

64

Shadow trace

Shadow Trace shows the beauty and mystery of girls through the shadow of dancer's figure and movement. It captures the images of dance by the camera and feedback to the projection, then leave the trailing smear on the wall.

Media: Jiayao Chen Yue Gao Choreography/Dance: Paulina Giwer Lena Kasprzyk

Two dancers show their body from the face shot, shoulder, arm, fingers and so on, till the whole body's movement. The image of the projection on the wall looks like the close-up in the film when they make the face shot, and after that, when they dance with a bigger movement, the shadow on the wall looks like follow them with their every beautiful movement. In the performance, the two girls act as two beautiful and naughty friends, they use the following shadow and their interactive dance movement to show the pure and special friendship between girls. In the same time, they show the beauty and mystery of girls as well through the effect of trailing smear and dreamlike light.

Yue Gao

65 Performances

66

Something around the sound

This dance installation proposes the audience to enter a space inhabited by sound, light and five moving bodies in different parts of the room. These three layers, which were conceived independantly, coexist throughout the performance creating a dialogue. The sound transforms itself over time as slices of brief improvisation and other live events affect it. It becomes a proMedia: tagonist; and the dance and the light Assia Bodrova antagonists that accompany this transMarie Grund formation of sound.

Georg Lichtenegger Choreography/Dance: Corentin Le Flohic Clarisse Chanel Marcela Santander Corvalan Corentin Le Flohic Jan Lorys Lina Schlageter

67 Performances

68

Time square

Time Square is the choreography, where very important thing is special place built in the wall. This is a big window, where the dancer moves at different speeds of music. Important element is also light, which creates a dramatic situation. Music, which was specially created for this choreography is somewhat mysterious. This music also gave inspiration to seek a dancer new things constantly in motion. It’s a world where nothing counts only move in the window, which symbolized the dream of another, the new life that is outside the window. Also, this is a place where a certain fear of leaving this unique place.

All elements of the choreography are currently setting up a story of a dancing and this place.

Lena Kasprzyk

Media: Georg Lichtenegger Ludwig VĂślker Choreogr./Dance: Lena Kasprzyk

69 Performances

70

Untitled with frame(s) Untitled with Frame(s) is a dance and video performance that creates a collage of video clips during a live dance performance. Sebastian H채fele programmed a visual loop machine and invited the dancers Corentin Le Flohic and Malika Djardi to interact, experiment and offer him footage of their body movement. A reconstructed piece of Bauhaus art was used as a canvas for the projection. Starting with one little frame showing a live picture of the camera, clip after clip was recorded and added to the collage. Each performance took between 5 and 7 minutes and was shown in a loop afterwards.

Corentin Le Flohic / Sebastian H채fele

Media: Sebastian H채fele Choreography/Dance: Malika Djardi Corentin Le Flohic

71 Performances

72

Untitled with lines

Media: Sebastian H채fele Marc Sauter Choreography/Dance: Corentin Le Flohic

The performance Untitled with Lines by Corentin Le Flohic and Sebastian H채fele shows the refined result of their playful experimentation during a two week workshop. It is an exploration of perception. A video projector was used to create a grid of moving lines in the hallway they used as their stage. Those lines are constantly transformed and distorted by the depth of space and the body movement of the dancer. They merge space, body, movement and time into a unity. Corentin Le Flohic developed a choreography to enhance this effect. To complete the work sound effects by courtesy of Marc Sauter were added.

Corentin Le Flohic / Sebastian H채fele

73 Performances

74

Parade

When I discovered the main building of Bauhaus-Universität what took on my attention was this spiraling stairway on the entrance hall. It was very disconnected from the big hall's architecture made out of squares and straight lines. Also, the first little closed entrance space is designed with curves. By forming two human spiraling lines,  I wanted to reconstruct the connection between those two spiraling spaces with this physical bound.

Gathering the whole group was also a way of presenting each artist. With very simple tasks such as walking together on a very slow rythm, being aware of this rythm, of these peculiar spaces and people, we created a parade of looks, of a group with individualities, an awareness.

Choreography: Malika Djardi Dance: all

Malika Djardi

75 Performances

76

T-Shirts

For the participants and coordinators it were made 33 t-shirts, related to the theme “media” and “dance”. Before being sprayed with a fabric dye, a pattern was layouted on a t-shirt from cables and parts of electroMedia: nic equipment. Each t-shirt has its own Assia Bodrova pattern, every piece is different.

Assia Bodrova

77 Performances

Participants and team

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Assia Bodrova was born in 1986 in Almaty, Kazakhstan. In 2008, she graduated from the Kazakh-German University, Almaty, and obtained a diploma in the field of “International Relations”. For over five years she worked with the NGO “Our Heritage”, which supports Kazakh artists. Assia Bodrova has experiences in film production, sales management and the organization of film festivals, as well as craft fairs.

Since 2011 she is a master student at the Bauhaus-Universität Weimar.

Clarisse Chanel was born in 1985 and graduated in 2007 with a “Diplôme en License d’Arts Plastique” at the Sorbonne, where she mainly concentrated on video art and performance. Parallel to this she participated in many dance workshops and university performances and became a member of the dance formation at the RIDC (Rencontres Internationales de Danse Contemporaine) in Paris, France.

In 2009 she was awarded the EAT, a prize for young talents in contemporary dance. In 2011 she graduated with a “Diplôme National Supérieur du Danseur” from the CNDC in Angers as well as a bachelor’s degree in dance from the University Paris VIII. During her studies she worked with a wide variety of choreographers such as Ko Murobushi, Jeremy Wade, Cécile Proust, Fanny de Chaillé, Stacy Spence and Loïc Touzé.

She also participated in the productions “Sacre Fac-Similé” by Dominique Brun and in “Les Épopées Miniatures”, a creation with the Congolese choreographer Faustin Linyekula.

From 2005 until 2009 Jiayao Chen studied at the animation department of Tongji University in Shanghai.

There she acquired specific knowledge in animation, including animation art design, movement in animation, visual-audio language, 2D and 3D software applications. Parallel to this she created and produced her own animation short films.

Jiayao Chen gathered practical experiences at a video production company and a Shanghai television station, where she produced TV column packaging pieces for several Shanghai channels. In 2009 she started her master's degree in media art at the College for Communication and Art at Tongji University.

In March 2011 she enrolled in the master's programme of media art and design at the Bauhaus-Universität Weimar as an exchange student.

Malika Djardi received a bachelor degree of economics and sociology before she oriented professionally towards dance and performing arts which she studied in Lyon, Montreal and at the Centre National de Danse Contemporaine in Angers. During her education she developed her own creations. Among them are the project “Replay” for the festival “Les Coups de Théâtres” directed by Joris Mathieu and a videodance workshop with the title “Time In/Time Out”. In 2010 she was invited to participate in “SKITE”, a residency in Caen, where, together with other artists, she created the piece “Love Song”. In her recent works she explores the dancing body as a medium of documentation. Fragments of gestures, images, sounds and histories are used to transform memories into performance.

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After graduating from high school Anna-Sophia Eppstein (*1987) travelled for seven months through South America, where she volunteered for a NGO. In 2007 she became enrolled in psychology at the Free University Berlin, but soon started assisting at the costume department of the Schaubühne Berlin. Since 2008 she has studied architecture at the BauhausUniversität Weimar and gathered some practical experience within an internship at David Chipperfield Architects in Berlin.

In 2009 she participated in a project on set design for the International ShortFilm-Festival Oberhausen and was involved in the “Postoil City”-exhibition of the magazine “ARCH+” in Aachen.

Yue Gao was born in Shanghai, China. There she studied at Tongji University, focusing on radio and TV directing and obtained a bachelor degree of art. Since 2011 she is an exchange student in the master's level of the interactive media design programme between the BauhausUniversität and Tongji. In her education she was introduced to new media and is now trying to include interactive designs in her projects.

Paulina Giwer, was born in 1987 and studied contemporary dance for two years in Kalisz before she entered the Dance Theatre Department, Bytom, at the Ludwig Solski State Drama School, Krakow, in 2008. Since 2009 she has been involved as an assistant and a performer in the annual International Dance Conference and Performance Festival, Bytom. In 2010 she participated as performer and volunteer in the contemporary dance festival “Cyrkulacje”, Wrocław.

Marie Grund was born in 1982. She first studied mathematics and art at the TU Dresden before she moved to Weimar in 2005 and became a student of art and philosophy at the Bauhaus-Universität and FriedrichSchiller-Universität Jena. Participation in international projects led her to Krakow and Venice. During her time in Dresden she performed as musician in the “Werkstattorchester” of the Music Academy and in 2007 she played the flute as guest musician in the band “Clueso” as well as at the “Stüba Philharmonic”.

Since 2006 she is a member in both bands “N.E.M.O” and “Hinterhausquartett”. In 2004 Marie Grund started to learn Tango Argentino in Dresden.

From 2007 to 2009 she was a member of the “Tanztheater Erfurt”, directed by Ester Ambrosino and Christina Numa.

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Sandra Guzman was born in 1984 in Columbia, where she studied industrial design with an option in fine arts at the Universidad de los Andes, Bogotá. After her graduation she worked at a firm designing exhibition furniture and corporate design, and at the theatre Colsubsidio in Bogotá in the field of set design and costume design. Since the fall of 2010 she studies media art/media design at the BauhausUniversität Weimar at master's level.

Sebastian Häfele first studied media technology for four semesters in Emden. Since his interest mainly centred on media art, he switched to the art school Offenburg in 2006 where he attended classes in painting, graphics, animation, photography, dance and performance.

Parallel to this he worked for the German-French theatre Baal-Novo and created projections for stage sets. Since 2007 he studies media design at the Bauhaus-Universität Weimar, focusing on computer graphics, animation and virtual set designs. In 2009/10 he attended the faculty for design and fine arts at the Concordia University Montreal.

The dancer, performer and visual artist Margot Joncheray (*1986) studied at the School of Fine Arts in Rennes. She is an associate of the “Groupe d’Experimentation Plastique du Sonore” which creates concert-performances and multimedia installations, participated in many expositions and was invited to several residencies.

In 2010 she pursued her research at the faculty of musicology and worked within the context of numerous projects by the Musée de la Danse, Rennes (direction Boris Charmatz). She performed in the “show must go on” by Jérôme Bel and created the piece “mb2” which was staged in Paris, Rennes and Brest. In 2011 she became enrolled in the programme “Essais” at the Centre National de Danse Contemporaine - Angers.

Zuzanna Kasprzyk was born in 1988 and got her first dance training at the age of nine at the private school for ballet M.M. Szewczenko in Gliwice, Poland. She studies in her fourth year at the Ludwig Solski State Drama School Krakow, Dance Theatre Department, Bytom. Since 2008 she works regularly for the International Contemporary Dance Conference and Performance Festival assisting performers, instructors and lecturers. In 2010 she performed at the 9th International Contemporary Dance festival in Ciało/ Umysł.

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Daniela Kome¸dera (*1989) first studied cultural sciences with specialization in choreography at the Academy of Economics and Humanities in Łódz´. Since 2009 she attends the faculty Dance Theatre, Bytom, at the Ludwig Solski State Drama School, Krakow. As a dancer and actor she gathered professional experience by participating in the TV-performance “Oratory of the Warsaw Uprising” (2009). In 2011 she danced in the piece “Piepsichum” of the Silesian Dance Theatre.

From 1998 until 2001 Lena Kowalska (*1988) attended the ballet school Olgi Sławskiej-Lipczyn´skiej in Poznan. During her time at high school she already collected experiences as dancer and actor at various theatres. After graduation she studied dance for two years in Wrocław. In 2008 she worked as a teacher for contemporary dance and video-clip-dancing in Oława. Since 2009 she attends the faculty Dance Theatre, Bytom, at the Ludwig Solski State Drama School, Krakow.

Corentin Le Flohic studied fine arts at Rennes II University where he graduated with Maîtrise in 2004. By practicing sketch, photography, video editing and performance, he discovered several approaches to contemporary dance. In 2006 he joined Michel Hallet-Eghayan's dance classes in Lyon where he studied for two years modern and classical dance. Afterwards he spent nine months in the Extensions programme in Toulouse’s CDC, working on a large range of dance practices (from A.T. De Keersmaeker’s repertory to Body Mind Centering). Until June 2011 he was a student in the F.A.C. programme of Angers’ CNDC, working on Dominique Bagouet’s repertory, participating in creations with Dominique Brun, Faustin Linyekula, Murobushi Ko, but also pursuing his own work, combining video-projection, dance and singing.

Georg Lichtenegger (*1983) finished an apprenticeship as a tax accountant before he studied a bachelor’s degree in recording arts in Munich. During this time he did an internship at the Münchner Kammerspiele and worked for independent theatre productions. After his graduation he started writing plays, and two of these, “Zwei Schwestern” and “Bella” were staged and directed by him. In 2010 and 2011 he participated in the international theatre festival "versionale" in Berlin. Since 2010 he studies media art at the BauhausUniversität Weimar.

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Jan Lorys was born in 1989. He attended a private theatre and dance school in Krakow and performed in several musicals during his high school time. After graduating he studied for one year at the private acting school “Lart Studio” in Krakow.

There he met the choreographer Iwona Olszowska and participated in her project “Light-cube-brother”, which made him strive towards becoming a dancer.

In 2010 he moved to Bytom in order to study at the Dance Theatre Department, Bytom, of Ludwig Solski State Drama School, Krakow.

Before turning to the arts, Krzysztof Nowakowski (*1990) studied management from 2006 until 2009 in Warsaw. Since 2011 he is a student of the Dance Theatre Department, Bytom/Ludwig Solski State Drama School, Krakow. He is member of the Agustin Egurrola-Formation of modern dance V2 which won multiple championships in Poland and Europe. He also performed in several Polish TV-shows and dance competitions. Krzysztof Nowakowski is also a licensed instructor of dance sport with specialization in hip hop.

Stefan Pach was born in 1984 in Limburg an der Lahn. Having finished school and his military service in Koblenz in 2004 he started studying “Optotechnik und Bildverarbeitung” at the University of Applied Science Darmstadt. In 2006 he moved to Wiesbaden in order to study communication design at the University of Applied Science Wiesbaden which he finished with a bachelor of arts. During his education he spent one term in Turkey at Anadolu University Eskisehir. Since 2011 he is a master student of media art and design at the Bauhaus-Universität Weimar. His portfolio includes book design (“kültür alakart”, awarded “ITB Berlin Buchwald 2010”), illustration (won the competition “Simgesel 2009”), corporate design (“Pure Data Convention 2011”) and free artistic conceptual works.

Judith Rautenberg (*1982) was enrolled from 2003 to 2005 at the Ludwig Maximilian Universität München in social anthropology, philosophy and religious studies. During this time she gathered work experiences in the field of fashion photography, documentary and journalism, and worked as author for magazines. From 2005 on she spent tree years travelling through Asia. Afterwards she visited the Art School in Baden-Württemberg and since October 2009 she studies fine arts at the Bauhaus-Universität Weimar.

89 Participants

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The Chilean born Marcela Santander Corvalan graduated from the dance-theatre programme of the Scuola d'Arte Drammatic Paolo Grassi where she also participated in many workshops (by Erna Omarsdottir, Damien Jalet, Constanza Macras, etc.).

Parallel to her dance and theatre training she attended the University of Trento as a history major. She performed regularly for diverse venues in Milan, Italy, from 2005 until September 2009 when she began her studies at the CNDC in Angers, France. In June 2011 she received the “Diplôme National Supérieur Professionnel du Danseur” from the CNDC Angers, as well as a bachelor degree in dance from the University Paris VIII.

Lina Schlageter got her first dance training at the age of six. After graduation from high school she attended the regional conservatory in Paris concluding with a diploma in choreographic studies. She then entered the CNDC Angers where – besides the workshops and classes proposed by the school – she had the opportunity to work on her own projects and participate in projects of other students.

During the education, she also had the chance to work with artists and choreographers of different nationalities, cultures, and from different aesthetics or artistic fields, e.g. Dominique Brun, Faustin Linyekula, Jeremy Wade, Emmanuelle Huynh, and Cécile Proust. An internship in her second year led her to Antwerp where she assisted the creation of a piece by choreographer Sara Manente. In June 2011 she finished her education with the “Diplôme National Supérieur et Professionnel du Danseur”.

Jonas Späinghaus was born in 1988 and studied media sciences in Siegen from 2007 until 2010. Among his student works were several film projects, two of which were awarded the university’s film prize “Goldener Monaco”. After his graduation he moved to Weimar in order to study media design at the Bauhaus-Universität Weimar with a special focus on film. During the TanzMedienAkademie he gathered his first experiences in the field of motion tracking and media installation.

Since 2006 Ludwig Völker (*1983) studies media art at the Bauhaus-Universität Weimar. He spent one semester at Mimar Sinan University, Istanbul. With his sound designs he successfully contributed to several prized short films, video installations and audio plays. The video clip “Kaffee und Kippen” won the Neo Prize of the ZDF and the Backup Clip Award as well as the sponsorship award for young professionals of the “Flensburger Kurzfilmtage”. The animated short film “Taucher” won the Full Dome Technical Award and his own audio play “Der repetitive Struwwlpeter” received the 3rd prize of the faculty of media design.

After having graduated with bachelor of fine arts he is now studying media art at master's level at the Bauhaus-Universität Weimar.

91 Participants

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Paul Winkler (*1987) is a student of product design at the Bauhaus-Universität since 2007. Being interested in a wide range of media he is also attending classes in fine arts, architecture, media design and photography. Often his works have an artistic approach and deal with scientific, social and ethical questions. He is interested in controversial issues, which force him to think creatively and to exchange views with other people. Among his student projects were the interior design for a juvenile prison and an installation for a scientific exhibition in the Phyletic Museum Jena. Generally, he appreciates working collaboratively with others, to share and receive ideas, perspectives and inspirations. At the moment, Paul Winkler is studying as an exchange student at the School of Design and Crafts in Gothenburg, Sweden.

Liu YuanYuan studied animation art at the Communication University of China and new media art at Tongji University, Shanghai. He created several 2D animation films that gained attention and won several prizes. His film “???” was selected for the Sino-French Animation Show and was awarded with a one-month scholarship in France.

The film “Choose” won the third prize of the “Sustainable Energy Solutions Animation Competition” of China and was shown at the summit of G8 in July 2008. Further, the film was nominated as best experimental film for the Animation Academy Awards, Beijing, and won the silver medal at the Beijing Student Film Festival in 2010. Similarly successful was his film “Mole in the face”. Since 2011 he studies media art and design at the Bauhaus-Universität Weimar.

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Artistic supervisor dance:

Artistic supervisor media:

Prue Lang is a choreographer and performer.

After graduating from the Victorian College of the ArtsUniversity of Melbourne, she joined Meryl Tankard’s Australian Dance Theatre. In 1996 she moved to France, working with Compagnie L’Esquisse CNDC Angers (Bouvier/Obadia), Compagnie Cre-Ange in Paris as well as her own independant projects. In 1999 she began an important collaboration with William Forsythe as a leading soloist and choreographer of the Frankfurt Ballett. Since 2005 she has been working as an independant choreographer presenting her work in international festivals, theatres and museums throughout the world.

Her work often challenges formats for dance performance, embraces interdiscplinary collaboration and develops realtime choreographic systems. Her latest work is a “sustainable dance performance” that runs 100% on its own energy, investigating the issue of sustainable development in artistic practice.

Stefan Kraus is a video artist and designer.

His projects MXZEHN – “25 Masterpieces per Second” and “Bauhausmaschine” use – with different content – live controlled light, image and sound projections to overlay the brick and stone reality with a synaesthetic simulation layer.

In the process of melting space, (video-)light and sound into a subjective experience, art and technology complement to an indivisible oneness. They require each other as much as composition and improvisation. His focus of interest is not the automated interaction with the audience, but the performance of the simulation through the artists – and thus the analogy with a musical instrument. Alongside his teaching at Bauhaus-Universität Weimar Stefan Kraus is a member of the artist collective “Gaswerk” and performs at international festivals and exhibitions.

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The media artist and sculptor Björn Jung studied media art and design at the Bauhaus-Universität Weimar. His installations and sculptures were part of many group exhibitions in Germany and abroad, e.g. “desire machine” at gallery LightBox, Seoul/ South Korea, “An das Gerät”, Halle 14 Spinnerei, Leipzig and „Electric Friends“, Goethe Institut Rom, Italy. In 2009 he was awarded the “Umweltpreis” from the city of Weimar. During the last years, Björn Jung created several projects with performance artists and dancers.

Artistic-technical support:

Timm Burkhardt was born 1975 in Radebeul and lives and works as a graphic designer and video artist in Weimar, Germany. He studied visual communication at the BauhausUniversität Weimar, where he discovered his fascination for interactive installations. Since then he has been developing installations for theatre productions and exhibitions. For his works he received awards by the Art Directors’ Club, LAG Soziokultur Thüringen and the International Festival of Cinema and Technology. Together with Kai Meinig and Ramon Grendene he founded the art and design studio “YouAreWatchingUs” in 2006. Cooperatively they have been producing various reknowned projects in the fields of performing and fine arts, like the mediahybrid-performance “The preENTER Sessions”, the annual OpenStage Festival “Omarillio” and the theatre performance “monoKULTUR” shown at the Deutsches Nationaltheater Weimar.

Marc Sauter first studied philosophy and ethnology at the University of Heidelberg before he moved to Weimar where he graduated in media design in 2007. Since 2000 he is working in the field of sound/music, interactive installation and the programming of responsive environments with special focus on the question of the distribution of attention between technology, human beings and space. He is the music/sound director of the projects Seltsam&Strahler (Albumrelease on Source Records, 2005) and Hempel&Sauter and participated in many exhibitions in Germany and abroad. Since 2011 he receives funding by the German Ministry of Economics and Technology to develop a device for persons with disabilities to turn movement into music.

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Project management:

Project assistance:

Daniela Ebert studied psychology, art history and English in Trier and Minneapolis, USA. Alongside her academic education she performed as actor and dancer in many independent productions. In 2002 she moved to Weimar in order to complete the postgraduate course „art management” at the Hochschule für Musik Franz Liszt. Parallel to this she started working at the department for public relations of the Deutsche Nationaltheater Weimar in 2003 where she also was in charge of the guest performances and organized the annual festival Internationale Tanztheatertage Weimar. In 2006 she joined the team of Nike Wagner at “pèlerinages” Kunstfest Weimar as project manager. She was involved in the foundation of the TanzMedienAkademie in 2007 and has been coordinating this project ever since.

Jana Herkner (*1986) studied culture and management at the University of Applied Sciences Görtlitz/ Zittau. After having obtained her bachelor degree she continued with master studies in arts management at the Hochschule für Musik Franz Liszt Weimar. During her studies she was involved in many different projects, such as in the city festival of Görlitz (2007-2009) and the I. International DanceArtFestival Görlitz-Zgorzelec in 2008. From March until December 2009 Jana Herkner worked for the Institut für kulturelle Infrastruktur, Saxonia, and became the project manager of the VII. International Summer School of Arts. In 2011 she organized the Weimar based literature festival “juLi im juni” which focuses on young authors. Since 2010 she has been working as a project assistant during the festival time at “pèlerinages” Kunstfest Weimar.

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Thanks!

Thomas Apel & team of Bauhaus-Atelier, Eckhard Baugatz, Bauhausmaschine, Andreas Bischof, Fakultät Architektur/BUW, Doris Gohla, Anne Kerzerho, Raïssa Kim, Prof. Wolfgang Kissel, Constanze Lehmann, Christiane Linsel, Alexander Lorenz, Jacek Luminski, M18-team, Uwe Mendler, Manfred Rapp, Richard Siegal, Karo Süßmann, Robert Wechsler, Frank Wolfram

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Credits Artistic supervision: Prue Lang, Stefan Kraus

In cooperation with Bauhaus-Universität Weimar.

Choreography and dance: Clarisse Chanel, Malika Djardi, Paulina Giwer, Margot Joncheray, Zuzanna Kasprzyk, Daniela Kome˛dera, Lena Kowalska, Corentin Le Flohic, Krzysztof Nowakowski, Jan Lorys, Marcela Santander Corvalan, Lina Schlageter Media art: Assia Bodrova, Jiayao Chen, Anna-Sophia Eppstein, Yue Gao, Sandra Guzman, Marie Grund, Sebastian Häfele, Georg Lichtenegger, Stefan Pach, Judith Rautenberg, Jonas Späinghaus, Ludwig Völker, Paul Winkler, Liu Yuanyuan

With guests from: Dance Theatre Department Bytom/Ludwik Solski State Drama School Krakow (PL) and Centre National de Danse Contemporaine - Angers (F).

Artistic-technical support: Timm Burkhardt, Björn Jung, Marc Sauter Technical direction: Alexander Lanver, M.A. Systems Video documentation: Anna Pfannstiel Project management: Daniela Ebert Project assistance: Jana Herkner

Supported by the State of Thuringia and the German Federal Foreign Office.

TanzMedienAkademie Weimar 2011 Raum in Bewegung II is a project by »pèlerinages« Kunstfest Weimar.

Funded by the German Federal Cultural Foundation.

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Imprint Kunstfest Weimar GmbH Am Palais 3 99423 Weimar Fon: +49 (0) 3643 / 81 14 0 Fax: +49 (0) 3643 / 81 14 44 E-mail: pelerinages@kunstfest-weimar.de www.kunstfest-weimar.de Artistic director: Nike Wagner General manager: Ulrich A. Hauschild Editing: Daniela Ebert, Stefan Pach Texts: All participants, Daniela Ebert, Stefan Kraus Photos: Daniela Ebert, Jana Herkner, BjÜrn Jung, Stephen Lehmann, Mezzanine Studio Zabrze, Stefan Pach, Maik Schuck, Jonas Späinghaus Illustration: Anna-Sophia Eppstein, Stefan Pach Layout: Stefan Pach Print: Blueprint. kopie_druck_medien gmbh All rights reserved. Duplication, processing, distribution, or any form of commercialization of such material of the copyright law shall require the prior written consent of Kunstfest Weimar GmbH.

Watch the performances on Youtube: http://www.youtube.com/user/kunstfestweimar