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In ihnen rannen die Tropfen wie in ein Gefäß ohne Boden, die Kleider zerflossen auf den Linien, schwer herabhängend und den Rücken beugend, zerflossen ihre Hände.
Später fiel der Regen von weit her und aus einem Himmel der keinen Rand mehr hatte.
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As part of „STRATA“ – a performance-based feature film.
Director of Cinematography & Editor: Verena Stenke // Lighting director, cinematography: daz disley //Masks, costume design: VestAndPage, Balaustio
The performance Katabasis takes place in a supernatural world and refers to a journey through other outworldly areas. Katabasis allows a brief or chronic stay in the underworld, but finds it temporary rest in the cave belly of a living creature.
„The fifth performance-based film project by the duo VestAndPage deals with Deep Time and layers of memory in human history and the geological. In international collaborations and interdisciplinary processes, performance art, theatre, dance, visual art, and music meet science in human prehistory caves.“
A VestAndPage production, Germany, 2021
Supported by Fonds Darstellende Künste with funds from Federal Government Commissioner of Culture and the Media
Foto Fenia Kotsopoulou
with contribution by VestAndPage (it/d), Sara Simeoni (it/d), Marisa Garreffa (aus/it) and Fenia Kotsopoulou (gk/uk)
Schmelzen is a performative approach to the state of solidification and spaciousness under ice. The church space becomes a common breaking point and can be sensually experienced through performance art, dance, video-, sound installation, objects and texts.
I move glassy, my eyes under ice. Sharp below the freezing edge. Where the water has assumed peace. I can be at home there. There where silence leads to standstill. On this edge. Where it gets sharp. Where I am focused. Where it sticks. At the Eisleib. I move in Ice Age, floating slowly. The wind that pierces the cracks in the ice.
Fotos Rainer Deutschmann
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The performance mobilé “We will always have Rome I“ retraces the marks and circumstances of a nesting deer in my belly. The deer is one thing that has to be taken care of. Therefore, my body becomes the disguise, the knife, the carrier. For the deer to pass through times, I exist. Thats why a mother is there. It lives fleetingly, always ahead of time, conflicting past, obscuring future. In stillness and vitality, the deer will always be revolutionary, confrontational and so, my birth giving rib shell.
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Magazzini Del Sale, Venice
A performance by VestAndPage, Andrigo&Aliprandi, Sara Simeoni, Fortini Kotsopoulou and Marcel Sparmann, followed by the concert for video and sound “I’d prefer not to” by Mauro and Matilde Sambo
A dialogue between voice, sound, image and movement
around
dissensus and disintegration
The beginning and the end
Attraction
and subtraction
The first and the last
And again.
Foto Lorenza Cini
CO-CREATION LIVE FACTORY Dissenting Bodies Marking Time
European Cultural Centre | Palazzo Mora & Palazzo Michiel, Venice
with the generous appearance and voice of Cecilia De Gasperi
Foto Jacques Martens
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[grey_box]Part I – Radio. Im Schlafzimmer meiner Mutter, lag ein Vogelei in einer Kaffeetasse mit Stroh. Ich fragte wofür sie es brauchen würde, sie antwortete: als Radio.
Part II – Apfel. Als ich den Apfel aß, saß meine Mutter im Gehäuse tot auf der Bank und mein Vater nahm die Abkürzung, und kam barfuß in meinen Mund gelaufen. Er sagte, er wolle ihr einen Kuss auf die Wange geben. Jetzt lebt sie mein Leben.
Part III – Lachen. Mir scheint meine Mutter verwechselt was, als ich lachte, hat sie mitgeweint.
(nach Herta Müller) [/grey_box]
Dwelling Body, Palazzo Mora, Venice, Italy 2018
with Enok Ripley and Ashley-Louise McNaughton
As the title Anam Cara suggests, the artists – soul friends – gather and unveil hidden intimacies of their lives. They perform to find and draw from a common origin, their bodies engaging in acts of recognition and belonging. Anam Cara cuts across the normative, morality, categories of thought. The soul is uncaged, free from constraint, to foster companionship. An absolute „I“ is unthinkable, for the „I“ is social. When more people share their sensory perception of the reality and live it as a felt mutual experience, the mirror of Narcissus falls into pieces: individual selves become relational and call for the collective, having no more reason to determine their singularity.
Anam Cara – Dwelling Body does not take place in a univocally descriptive or representative staged act. It follows a non-linear narrative structure, which develops through time-based interaction between the artists and the viewers, so as between people and cultures. Eventually, it is a founding aesthetic momentum where actual places, metaphorical places, invisible places and imaginary places are home of a perceptual itinerary, which the artists and those who will come to attend will shape in the now.
VestAndPage & Francesco Kiais, September 2018
Fotos Lorenza Cini
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[grey_box]this might be about colors
as I’m changing colors, as I’m changing faces and the story told by the deer
without a doubt, there are some darker colors, shades and outlines
that have been waiting to be seen since weeks
feelings without anchor, without roots
but present and this taste of loneliness, maybe exclusion, better
pain leaves you unattended
pain is reality, inhabit by only one character
but the pain has faded and with it the blue strings
not for ever, of course, too easy, too let‘ say, superficial
it’s more like a drop of water in a bucket with painted air
and not to forget the warm and soft, the brownish orange moments of being high as a side effect of the medicine some other, less pleasing, more anoying, well sometimes a dark layer, greyish, over head and neck and rips and hips
weird, organs seem to move, still, adjusting
and the narrative change without looking, of course, without asking
and a snail appeard from nowhere, dropped on my floor
I’m drawing like I dream
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The deer is one thing that has to be taken care of.
Therefore, I am the disguise of the deer.
For the deer to pass through the times, I exist.
Thats why a mother is there.
The deer lives fleetingly, always ahead of its time.
For the time being the deer will always be revolutionary.
It lives in me, not to be called white.
The deer is just white.
May not be called white.
Not because it hurts, but when people call a deer white, these people die for life.
These last 2 weeks I learned a lot. You and the deer taught me incredible valuable lessons, and it’s still just the beginning of a great journey. I would be honoured and happy if I could continuesly count on you and this fabulous community. Please, let’s nourish and feed this community, let’s make place for everybody within, let’s be always ready to give a hand, a word, a hug. Please, let’s be strong, so who ever needs support are caught, is seen and heard. These last days were the prove, you proved, we all did.[/grey_box]
