Performance Night, December 14, 2018, 7PM
With: Paula Almiron / Eliane Bertschi / Fabrizia Flühler, Zuzanna Bartoszek, Johanna Kotlaris, Ana Mendes, Ceylan Öztrük, Rhodia, Deva Schubert, Stella, Stefan Tcherepnin, Juliette Uzor / Elie Autin.
Bruch / Break
Breaks can be expressed in many ways. A break down describes something collapsing or falling apart. In German, a departure or a time of change are called “Aufbruch”. New achievements and inventions are referred to as breakthroughs. You can break the law or a code or someone’s will. And at times, breaking up and taking a break can be the same.
How can art react to all these breaks? Should art break with a polarized society and complicate things? In which ways can we break out nowadays? Superficial masks and covers can break; pop stars like Kanye West talk openly about their fragile, breakable facades. Artists stage and embody (their) brokenness, trying to find the right words to express themselves; Kanye describes his mental breakdown as a “breakthrough”.
All these variations show us how diverse – how playful, symbolic or metaphorical – the term „break“ can be. At Löwenbräukunst-Areal there will soon be a physical breakthrough from Limmatstrasse 268 to 270: a break that creates a passage within the building and makes room for a new restaurant. The house will integrate into the neighborhood that has been on the move for several years.
Curated by: Michelle Akanji, Daniel Baumann, Lily-Pauline Koper, and Oliver Roth
Doors & Bar: 19:00
Performances: until 23:30
Imagine the Löwenbrau-Areal's toilet as a single performing organism, with each bowl as an extremity. What would be if the Löwenbräu's toilet could talk or read a manifesto to you? How would a demonstration be encountered in the public toilets of Löwenbräu? In this performance installed for Löwenbräu Lebt! by visual artist Ceylan Öztrük, the toilet is humanized as a voice that demonstrates. By doing this, it not only breaks ground for an artistic intervention at an unusual performance venue, it also addresses concealed issues, and finally let's us hear the toilets honest words.
Rhodia is not your friend, but Rhodia treats you well. Rhodia takes two people at a time to a different place, away from the action. Maybe you will be chosen, maybe you won't. Whether you trust Rhodia is up to you. Rhodia is a loosely connected group of performers led by dancer Guilhaume Guilherme. Using different elements of an accident, they create an experience which interrupts the course of the evening and everyday-life for a short while. As they would in a dream, the elements appear in a nonlinear way, interchangeable, and ripped out of their context. You are sent off with wonder, humour, some fear maybe, and a piece of debris in the shape of a relict.
With Lisa Vilret (dance), Valérie Reding (performance, make-up, costume), Lara Hausheer (stage design, costume, oeil extérieur), Guillaume Guilherme (concept, performance), Nicolas Dubosson (performance), Patricia Bianchi (performance)
19:15 / 20:15 / 22:00
In a performance reminiscent of tableaux vivants, Zurich-based artist Stella investigates the world of cheerleading. A long time ballet dancer and cheerleader herself, she knows the dark side of this meritocratic existence, and thus chooses the smoking and drinking outsiders of such groups as her subject. The girls go up high and they come down again. “Get back up!”, they tell you. “Be unconventional”, they tell you. “But how can you”, Stella asks, “without a body and without a mind?” Collapse. The Jenga tower topples.
With: Shamiran Stefanos, Rakhel Stefanos, Noemi Ceresola, Ivana Kojic
I would not touch the sky with two hands
The basement is inhabited by Paula Almiron and her plants. Collaborating with two performers, the Brussels-based Argentinian arranges a choreographed botanical concert. Employing a device that turns the plant's vibrations into sounds, a quiet, carefully incorporated choreography of seeming randomness manifests. Over the course of three hours, performers, plants, and audience, as well as any living and non-living matter coexists in an intermediate space. Being a part of this symbiosis can teach us a lot about the universe of plants. We may take root in the performance's space, or we may leave and return later.
With Eliane Bertschi, Fabrizia Flühler, and Paula Almiron
Juliette Uzor und Elie Autin
How can I call what is between us
19:45 / 22:00
This performance is a single, uninterrupted stream. Dancers Juliette Uzor and Elie Autin are moving in a continuous, elastic interplay. Meanwhile, seemingly detached from the dance, Maurice Ravel's famous “Bolero” is playing. The audience is challenged to follow the performance's minor, subtle changes. Is the audience perhaps influencing the dancers flow of movement? While the music builds towards a crescendo, becoming louder and more intense, the performance could flow on forever.
With Juliette Uzor and Elie Autin
Colourful Poems and Guided Meditation
Polish artist and model Zuzanna Bartoszek has revised and expanded her Guided Mediation performance for this evening. In a setting which purports a sense of comfort in a cold, inhospitable environment, Bartoszek reads her poems. They speak of solitude, death, and the here and now. Her texts demand focus, so there is no light, only minimal gestures, her voice. And a ten meter long chasm between reader and listeners. This is what it is about: The relation between audience and performer, and the solitude on both side; the way one perceives the poems and the emotions they stir.
With Zuzanna Bartoszek
The ability to break a glass using only your voice was long considered a myth. It has, however, been proven possible, if one hits the exact “clink” sound of clinking glasses. This experiment is at the foundation of Johanna Kolaris' performance. The artist, who lives in Rotterdam and Zurich, has a choir of five singers hidden among the audience. They appear spread across the room, singing in canon and recreating the sound of waves. Water and sound waves blend into a chant, hypnotic as the powerful Sirens' – until the glasses break.
With Selina Batliner, Judith Dürr, Valentina Russo, Sophia Seemann
Over the years artist Ana Mendes, who lives in London and Stockholm, has collected her personal data. Among these are records of medical examinations, x-rays, and vaccines. Her performance could be described as an interrogation, or even as a manifesto against all questionnaires one has to fill out over the course of one's life. But it doesn't have to be described this way. For Ana Mendes, her work is simply the eponymous self-portrait. An automated one, perhaps.
With Ana Mendes
If something leaks, it's usually broken. It gets thrown away, in the best case it gets fixed. Berlin-based dancer and visual artist Deva Schubert harnesses this exact concept aesthetically. Her one-hour piece LEAKS is a composition of movement and voice, as well as a light and sound installation, in which different aspects of leaking out, soaking through, overflowing and discharging accumulate, and which allows the audience to become part of a collective dance. LEAKS is a moving image, created from a random stream of liquids, and the breaking down of limitations, barriers and membranes.
With Deva Schubert and Juan Felipe Amaya Gonzalez
Sweet Talk: Selections From The Cape Cod Songbook
To keep his sanity over the years, American artist Stefan Tcherepnin began writing songs. They are short, semi-autobiographical pieces, which address a variety of subjects connected to his years of living and loving on the peninsula Cape Cod, Massachusetts. The songs create images of people, places and times, that are long gone but remain unforgotten: „A night of reckless driving down Suicide Alley in the dead of winter; a letter of longing for friends lost in post-glare darkness of the mid- to late-90's; the laments of an existential blowfish floating off the coast of Wellfleet at the turn of the 18th century.“
With Stefan Tcherepnin