"Die Verbindungslinien zwischen zeitgenössischem Tanz und Bildender Kunst sind vielfältig. Während der Tanz sich immer wieder von der Formensprache der Bildenden Kunst inspiriert zeigt, gibt es von der anderen Seite her eine Hinwendung zu performativen Formaten, die in Museen und Galerien stattfinden. Vor dem Hintergrund dieser Entwicklung schafft das International DANCE Festival München gemeinsam mit der Akademie der Bildenden Künste München eine neuartige Kollaboration: Die Studierenden der Klassen von Alexandra Pirici (Performance) und Julian Rosefeldt (Medienkunst) wurden eingeladen, im Rahmen eines Open Calls Konzeptideen für performative Arbeiten zu entwickeln.
Der Schwerpunkt liegt auf Arbeiten, in denen menschliche Körper und deren wechselseitige Beziehungen im Fokus stehen. Von den eingereichten Konzepten wurden von einer Jury zehn Arbeiten ausgewählt, die im Rahmen des Festivals umgesetzt werden. Die Präsentationen finden in den Ausstellungsräumen von zwei Kunstmuseen statt: Im Kunstbau des Lenbachhauses und im Haus der Kunst.
Der Eintritt zu sämtlichen Performances dieser Reihe ist frei."
Studierende der Klasse Julian Rosefeldt: Pierre-Yves Dellanoy, Santiago Achilla, Nicolas Hoffmann
Studierende der Klasse Alexandra Pirici: Aurora Biancardi, Noemi Calzavara, Lea Geerkens, Zahra Ghadimianazar, Lee Kern, Josefine Simonsen, Carla Vollmers
Sunday 25.05.2025 14:00–16:00 LENBACHHAUS
Lea Geerkens: Drinking from Someone’s Back, In the performance *Drinking from Someone’s Back*, various body positions in space are used to explore images of dependency. The act of drinking becomes the central theme through bodies, costumes, and sound. Five performers are equipped with a bottle worn like a backpack and a long tube functioning as a straw. This raises questions about non-existent justice: Who drinks from whom? What relationships form in space and among each other? Are they symbiotic or parasitic? What happens when a bottle runs dry?
Nicolas Maximilian Hoffmann: Walking Title, Our relationship to the world has become indirect. More and more, we don’t see things ourselves. Instead, we hear about them, read a comment, watch a short video with supposedly the most important moments. Our interactions are mediated. The concept of an artwork becomes the artwork itself. The dystopia of the metaverse takes shape. With *Walking Title*, I want to translate this experience into an immediate reality. A disruption of everyday life, a glitch heightened with cinematic tools, guiding associations, tugging at the thin thread of reality.
Noemí Calzavara: Recall a wave, a ripple, a vanishing sand castle, Claudio Murabito and I embody waves together. The contemplative performance revolves entirely around the elements. Their shifts, repetitions, and accumulations are composed analogously to waves that increase in intensity, mix, and merge. The performance is meant to be simply watched. To let oneself be interrupted in what one is doing. And then to once again join the steady rhythm of the coming and going of waves.
Josefine Luka Simonsen: Moving through Lipsi (together), The performance refers to the historical dance „Lipsi“ which was commissioned by the SED-government of the GDR in 1959 in order to establish an East German dance tradition on one hand and to form a national identity through movement on the other hand. Together with two dancers I will remember this dance critically and take it as a starting point to physically reflect on the influence of movement on the construction of identities and communities.
Friday 30.05.2025 14:00–16:00 HAUS DER KUNST
Santiago Archilla Salcedo: Caporal, I bring the traditional work songs of the *Llaneros* from Colombia and Venezuela into the Haus der Kunst. Using only my voice, my body, and two ropes, I create the atmosphere of the steppe. I sing the calls of the cattle herders, guide the audience, and shape the space. From *Cabrestero* songs to milking songs to candle songs, a ritual of remembrance unfolds. My performance makes it tangible how culture, nature, and power structures are interwoven.
Aurora Biancardi: As Long as it Takes, 62 characters, printed on fabric, cut, sewn, and embroidered into square modules with two ribbons on each side, are knotted together. Each module displays a fragment of graffiti that has lost its legibility. The performance explores the meaning these various parts can acquire when freely reassembled into a single artifact. The performance silently infiltrates the space, unfolding knot by knot in a dimension hovering between care and shamanism.
Lee Kern: No Time for Sculpture, Figurative sculptures can be a catalyst for group identity and foster a shared sense of self. They have been used – and often misused – for such purposes. I want to create a kind of failed sculpture that is chaotic, ever-changing, and ultimately turns against itself. Referring to the marble bodies of ancient statues, I use everyday materials to transform myself into a surreal hyper-body. This work is a protest against the idea of rigid, carved-in-stone bodies and preserved, often questionable ideals.
Pierre-Yves Delannoy: CO PAIN, I present „CO PAIN“, an endurance-based performance that explores themes of community, identity and transformation. This piece questions the place of labour within my mother's family, who were and still are obsessed with making bread. Therefore, I will be preparing a huge amount of bread dough. With each slap of the dough on the floor, repeated over and over like an echo of myself, I call out to the outside world, rejecting my loneliness and at the same time being alienated by my relentless labour.
Zahra Ghadimian: Long Live International Solidarity, This action performance is inspired by the powerful slogan echoed at every German demonstration against the current Iranian regime. The chant symbolizes global unity, resistance against oppressive governments, and a call for solidarity. I will bring the rhythm of the slogan to life – not through spoken words, but through the stomping of feet. I invite the audience to join with their own steps to form a collective voice that reflects the hopes of all those fighting for a better world.
Carla Vollmers: Shit (...) I Forgot (...) Again, My work „Shit (...) I Forgot (...) Again (...)“ appears in fragments. I explore how spatial positioning affects perception and memory. Different perspectives create different images: A supposed touch may reveal itself as an illusion from another angle. This work negotiates how shared memories are formed, shifted, and are shaped by subtle power structures.