For it to End (Perf. Soo-Hyun Hwang, Sound M. Lutz) and Long Walk (Perf. Patrick Lartey, Sound M. Lutz) at the Interchange Festivalin Sydney (AU).
The Interchange festival brings together short dance works, a forum and the sharing of new ideas by over 20 national and international choreographers and interdisciplinary artists. Interchange Festival will take place on 13-15 November at our home at the Drill, 1C New Beach Rd, Rushcutters Bay.
ORFEO – EINE MUSIKTHEATER-PERFORMANCE NACH CLAUDIO MONTEVERDI
Marielle Sterra und glanz&krawall zeigen Monteverdis frühe Oper (1607) an verschiedenen Orten im historischen Gebäude der Alten Nervenklinik der Charité. Unweit des Berliner Hauptbahnhofs befindet sich dieser blinde Fleck einer rational durchgeplanten Gesellschaft. ENTWEDER WIR BLEIBEN IM IRRENHAUS ODER DIE WELT WIRD EINS, steht dort auf einem Gemälde eines Patienten. Wolfgang Herrndorf, selbst Patient, schreibt 2010 in seinem Blog: „Einer geht immer auf und ab. Das ist der Traurigste.“ Eine Beschreibung, die auch auf Orfeo passt: Er gibt sich ganz seinem Verlust hin und überschreitet so die Schwellen der Realität. Was liegt dahinter? Weiterlesen →
~ this is my rite ~
while sorrow shines light, all sincerity breathes bravery, every fall becomes flight, and love endures life
Dance artist and choreographer Charlotte Jarvis performs this is my rite, a unique form of poetic dance drama, directed by David W W Johnstone. This courageous artist explores the seasons and emotional landscapes of human life.
Ten choreographers – Avantika Bahl (Mumbai, India), Charlotte Jarvis (Edinburgh, Scotland), Diya Naidu (Bangalore, India), Hemabharathy Palani (Bangalore, India), Mehneer Sudan (Mumbai, India), Patrick Lucky Lartey, Pradeep Gunarathna (Hidderalalage, Sri Lanka), Prasanna Saikia (Kolkata, India), Soo-Hyun Hwang (Seoul, Korea), and Woo-Jung Kim (Seoul, Korea) – have resided in Bangalore since January 5 in this choreography residency organised by Attakkalari Centre for Movement Arts. These choreographers will be mentored by an international panel of specialists – choreographer Philippe Saire (Switzerland), mix media artist and light designer Margie Medlin (Australia), musician-composer and sound artist Martin Lutz (Germany), playwright and director Neel Chaudhuri (India), musician-composer, sound designer and singer Samar Grewal (India) light designer Jonathan Roberts (United Kingdom) and choreographer Jayachandran Palazhy (India) – in areas of dramaturgy and a range of scenography aspects. The resulting original works by the ten choreographers will be premiered at the Biennial.
To track the process and progress at the residency, log on to facetsresidency.tumblr.com.
The video WE CAN’T DO PERFECT follows the print production of the book BANGALORE A–Z over a period of four weeks. It reveals the complexity of book making and celebrates the beauty of the crafted object. The video was filmed on location at Grafiprint, Bangalore, India. The sound for the video is composed by Martin Lutz.
The Bangalore A-Z is a limited edition notebook conceived and designed by Anja Lutz. It combines personal takes, ideas and advice about the city, contributed by a variety of locals and visiting artists. From ‘Autorickshaw’ to ‘Zebra Crossing’, the entries are dispersed throughout the publication alongside some visual references. The inspiration for this publication is the Indian Ledger Book, the omnipresent account book where everything seems to be noted down: visitors, transactions, receipts etc. A huge bureaucratic effort that is a legacy of the British colonial past.
In close collaboration with Chandra Mouli from Grafiprint, Anja Lutz developed the form of this publication, referencing the Ledger Books in terms of paper quality, two colour printing, binding technique, edge colouring and embossing. Taking the possibilities and techniques of this traditional printing house into consideration, the Bangalore A-Z is printed on a 1974 Heidelberg one-colour off-set press, it is machine stitched and hand-bound with a half-calico hardcover. The foil embossing on the cover was executed with a 1952 letterpress by Maya Machinery of Calcutta. The edge colouring is done by hand with pigments that are traditionally used in religious ceremonies.