SONNTAG, 13. Oktober um 18h
Hanna Hegenscheidts Studio 142 im
Kunstquartier Bethanien, Mariannenplatz 2, 10997 Berlin
MEG WOLFE - Shannon does Cloudland
Wolfe portraitiert ihr Alter Ego Shannon im Schatten der Filmindustrie Hollywoods: erwartungsvoll und angetrieben, voller Träume, bereit für die nächste Audition und den grossen Erfolg. Shannon macht in einer Kultur von Selbstgesprächen die Kluft zwischen Schein und Sein auf und lässt uns darin zurück. Ohne Ziel, dem Abgrund nahe.
ARIANNE HOFFMANN - dances with onions
Basierend auf der logomotion Arbeit von Simone Forti macht Hoffmann die Bruchstückhaftigkeit und Körperlichkeit von Erinnerungsprozessen sichtbar.
Um 5 Euro Spende wird gebeten
Dieser Abend wird unterstützt von Hanna Hegenscheidt, Mime Centrum, Show Box LA, Center for Cultural Innovation und Theaterhaus Mitte.
A three-day series facilitated by Liam Clancy (San Diego) and Arianne Hoffmann (Berlin). Taking inspiration from dance, theater, performance art, singing and music, we’ll delve into improvisational choice making, chance and mystery to generate performances that we’ll share with each other during the last hour of each workshop. (in English & German)
*October 3–5, 2013
Thursday – Saturday
10 am – 3 pm
10 am – 12 pm Warm-up, Working with Materials, Exploring
12 – 1 pm Lunch (please bring your own or you can buy something nearby)
1 – 2 pm Performance Preparation
2 – 3 pm Showings
(95 EUR, 75 EUR Student)
Haus am Westbahnhof
An 44 Nr. 40a
In Solidarität mit der Koalition der Freien Szene, Berlin.
Mehr zur Kampagne HIER.
→ Performance / Landau
The Haus am Westbahnhof in Landau presents new works by Liam Clancy and Arianne Hoffmann in October. Please click on the link for a German description.
If you are interested in participating in our workshop leading up to the performance, click here.
→ Indexical Permutations (after The Key Game) (2009)
Choreography: Kristen Smiarowski Sound Design: Douglas C. Wadle Performance: Arianne Hoffmann, Rachel Lopez, Kristen Smiarowski Costumes: Leah Piehl
I am currently collaborating with Kristen Smiarowski on an extension of her Key Game Project
(supported by a Six Points Fellowship, Los Angeles), in a process that merges this piece with its original reference and one of my scores (Doing by Undoing
More details on the process and outcome to follow!
→ VESSEL, resonating
Tanztage Berlin 2013
Choreografie, Tanz, Performance: Arianne Hoffmann
5 min excerpt
CLOSING EVENT for Brandon LaBelle's exhibit “Preparations for common recognition” at GENERAL PUBLIC, with Kim Engelen
June 15th, 6PM
Brandon’s project functions as an imagined setting based on an experience the artist had attending a rock concert. Consisting of a multi-channel audio work of three voices - the band, the spectator, and the stranger - visitors follow the voices as they debate each other on questions of subjectivity, social space and a politics of listening. In addition, constructed mobile panels are presented as an “archive of interruption”, seeking out forms, phenomena and discourses of disruption and how they condition our social and cultural landscape. The project develops the idea of interruption as being generative of community, and for knowing the other.
For the closing of the exhibition, the work will be expanded into a performative event developed in collaboration with Kim Engelen and me, Ari.
Come join us for drinks, food, music, and performance in the backyard of General Public.
I nice visualization of how I understand dance-making.
Action, Word, Move - Public Showing
Sunday, April 7 20:00 - K77 Studio
Our improvisation workshop facilitated by Jeremiah Day has concluded its first ten week session and so some of the group will host an informal evening presentation on April 7th at 8pm.
All who are interested are welcome to come and check out the kind of work we’ve been developing in the last weeks.
Suggested contribution 3-5 Euro (sliding scale).
The second session of Action, Word, Move will run May 12 to June 30, sundays 17:00 to 20:00.
—- TANZTAGE 2013 —-
For my new solo “Vessel, resonating” I built a frame around the idea of resonance, through which I look at body and movement techniques that have been important to my personal dance history and the way I assembled corporeal knowledge in the past two decades.
The display of choreographic skill isn’t as important as the irreverent treatment of it, since I recognize that what determines the “skill set” in each perspective on technique varies as much as the physical skills a technique aims to instill. So I am generally not too interested in “how to convey expertise”; rather I am interested in subtlety and contrast, and in the shifting of awareness, values and frame of mind.
body as sound, body as animal, body as female, body as shadow, body as interiority, body as theory, body as imagination.
I am hoping to create more space for fully corporeal and sensual experiences in and around me with “Vessel, resonating”. Let’s see.
Performances are Monday, Jan 7th and Tuesday, Jan 8th at 8:30pm at Tanztage Festival
Sophienstr. 18, Berlin
Tickets under 030-280 927 93
If you are interested in the other artists on the festival program, click here!
Steadily, feverishly, maniacally working on my new solo, in case you are wondering. Can’t say much more about it right now, but here is a glimpse.
Many loose parts, odd ends, tangents, and filaments as for now.
What is the intervention? What is it doing?
Title… … …
(THANKS to photographer Sonja Koch)
Juxtaposition, discontinuity, not-quite-right, referential jumble (illegible?), shattered pieces of quotes and citations. Threads are an organizational helper, linear progress is an illusion.
What is all this “aboutness”? Why the urge to define?
My dancing has become so hard to decipher.
And I assume that this is true for a large number of contemporary works. With the move away from modern aesthetics, with storytelling dominating many dance works (with exceptions, of course: most famously Merce Cunningham) the maker-viewer agreement was much clearer: The choreographer would make it her responsibility to communicate clearly. Now, with many dance makers and dancers based in a wide array of body techniques and somatic practices, the viewer can’t rely on the previous, linguistic modes to understand a dance. (Questions like: “What is this dance saying?” “What story is it telling?” “What is its vocabulary, its syntax?” are leading to little productive answers, as far as I am concerned.)
So recently, I have made it my practice to dive into this illegibility some more. I am not excluding gesture from my improvisations, but am trying to have them read as movement, rather than as means to the end of communicating. (And yet still, SOMETHING will be communicated regardless, to anyone watching.) What exactly that something is, I do not care much about at the moment. Arrogant? No. Avoiding artistic responsibility? Maybe.
Trying to find out more. Drop me a note if you have thoughts about this. I’d very much appreciate it.