Deborah Schamoni

Hologram on tour (excerpt)

I arrive by train. A wake in the terminus, all the passengers disembark together. I watch them walk on both sides of the track, two flows made up of lines. The lines continue through the escalator, into the central hall. The space is tight. People walk really close together, almost touching one another. But this never happens. 5 minutes later the place is empty.

Look at me and walk. If you drop the metal bar, don't look at it. I’ll kneel and grab it for you.

Then continue to walk on this invisible line. If you see someone else from the group look at you, go to him and touch his hand. But don't look at his hand. Always look at each other. In the eye. Don't look at the audience, unless it's someone you recognize. If I wouldn't know you, I wouldn't even know what to do.

Breathe. You share the same air.

hier soir j'ai été voir ma soeur en concert avec son orchestre j'étais seule dans la salle. Seule avec ma soeur. Seule avec le choeur. The choir piece:

Ich laufe mit einem unsichtbaren Tiger die 5th Avenue hoch, plötzlich sehen ihn auch die Menschen um uns, alle zusammen beginnen sie zu schreien. Il faudrait des voix, des voix qui se superposent les unes aux autres. Et un Âne, Anne. Transmission de pensée.

Their music forms hooks, which fasten to my limbs and draw me into every dark brick corner of the gallery. What’s left is my consciousness, which is pulled by empathy into the twisted lyricism of her words. I’m a character in the staggered narrative of the unfolding song.

Down a darkened alley, the slow motion epilogue to a prolonged fistfight between two haggard nationalists, muffled murmur of knuckles sinking into flesh. A girl pukes in the entrance to Mcdonalds while the automatic sliding door, stuck on a crushed empty happy-meal, endlessly repeats its opening-closing action. Three pre-pubescent boys sit on a bench, sharing an oversized can of polskie pivo. I walk faster so as not to miss the train, but my surroundings seem to be slowing down. I pass the darkened windowpane. I glance into the cracked glass and see nothing in it but the reflected glare of orange streetlamps. An inebriated howl closes in on me from behind. My tendency to ‘not-engage’ is trampled by the realization that I am a part of it and always will be from now on.

Text: Jeanne Graff, Stefan Tcherepnin


Rage I, Performance

by and with: Zoltan Ara, Billy Bultheel, Ian Edmonds, Eva Kruijssen, Olga Pedan, Lea Welsch. Text by Leda Bourgogne / Anne Imhof

Rage deals with the relation between dominance and submission, slowness and passivity through structural motives in space. A room, b/w light, de-saturated, smoke that makes the air visible, breathing, opium. During the performance, the room unfolds around compositional axes, increasing steadily, fast and slanting, developing in-between the bodies of performers and the audience. A picture in time emerges, the relation of performer to performer transfers to the relation between performer and viewer. Language constitutes a horizon. Composed of different modes, it corresponds patterns of repetition and overlay that relate to the invisible, linguistic core of the piece. Inner perceptive expression remains on a level of potency. It enfolds a net in-between the one who speaks and the one language is addressed to. It remains ambiguous till the end and is anticipated as such.
The piece is arranged for seven performers. Time frame is 2-4 hours. To be first presented in the gallery space, Deborah Schamoni, Munich (70m2).

Rage should be shown in relation to the piece School of the seven bells (2012 – ongoing).

Rage I, Performance

von und mit: Zoltan Ara, Billy Bultheel, Ian Edmonds, Eva Kruijssen, Olga Pedan, Lea Welsch. Text by Leda Bourgogne / Anne Imhof

Rage verhandelt das Verhältnis von Beherrschung und Unterdrückung, Langsamkeit und Passivität durch räumlich strukturierende Motive. Ein Raum, schwarz-weiss Licht, de-saturierend, orange, Rauch der Luft sichtbar macht, atmen, Opium.
Der Raum entfaltet sich in der Performance durch kompositorische Achsen, stetig ansteigend, schnell und abfallend, die sich sowohl zwischen den Körpern der Performer und dem Publikum entwickeln. Es entsteht ein Bild auf Zeit in dem sich das  Verhältnis von Performer zu Performer  auf die Relation von Performer und Betrachter überträgt.
Die Sprache bildet darin den Horizont. Zusammengesetzt aus verschiedenen Modi, entspricht die Sprache Mustern der Wiederholung und Überlagerung, die sich auf den unsichtbaren – sprachlichen – Kern beziehen. Innerhalb des Wahrnehmbaren verbleibt der Ausdruck auf Ebene der Potenz, die durch sprachliche Handlungen ein Netz zwischen Sprecher und Adressat entspinnen, das sich bis zum Schluss als uneindeutige antizipieren lässt.
Die Performance Rage I wird erstmalig zur Eröffnung von Anne Imhofs Ausstellung bei Deborah Schamoni gezeigt.

Rage soll in Verbindung und als zweites Bild neben der Arbeit School of the seven bells (2012 – fortlaufend) gezeigt werden.