Statement — CV — Portfolio

* 1955 in Zug.

I grew up in the landscape and society of a small town in Central Switzerland. Important years of apprenticeship in many respects and a wide divergence from my origins are:
from 1983-1990 working with choreographers, musicians and female musicians in New York, in one of the most heterogeneous metropolises with immigrants* from all over the world, from 1999-2006 studying fine arts and cultural / gender studies at the ZHdK and translocal encounters and exchanges with people and places in different cultural contexts.

Being on the move for 30 years with performances, exhibitions, interventions, collaborations and in mediation in (semi-)public spaces, on music or art stages in Europe, North and South America and Asia. As co-initiator of platforms and networks for performative practices, I also see artistic work as a cultural methodology.

My artistic practice is based on a somatic understanding of movement, body and space, a basic orientation based on sensory perception and observation. The resulting movement practices can be applied productively and reflexively in many areas. I let myself be guided and seduced by the complexity of the application fields of dance, performance and art. This aspect also comes into play in my teaching in various institutions, at universities, at dance and art festivals and in my own practice.

My background in postmodern dance and the examination of the body in motion are essential in my artistic practice. It is driven by the risk and play with gravity and thus, inherently, the latent loss of control in relation to space and context in its various levels of meaning. What we call bodies is the (lowest) common denominator that humans share with other living beings, organisms and things. Its state of being is precarious: it is vulnerable, a divided body constantly subjected to social transformation processes, a body docked to media, which can connect with other living beings and organisms.

I see performance as (artistic) interventions in spaces, spaces that are places whose (hi)stories and social and political references affect the (artistic) process - however concrete, however subtle. These levels of reference can become noticeable in the performative situation peripherally and polyphonically. A queer-feminist perspective and perception is also implicit. Roughly speaking, this may mean and also call for: 'to think relation-oriented and not in terms of oppositions', to constantly track down the diversity of the queer that is in all of our performative being. How practice and theory, art and culture can not only stimulate each other, interlock and 'incite' each other in a specific context, points to a subliminal activist potential.

Performance could also function as a generator for active knowledge-experience: The performative situation creates a space in which spectators, visitors, witnesses, co-actors, those present and absent during the performance are included in a process. Together with facts, texts, objects/materials and media used from research and in the live situation, they act as active mediators in the performance space beyond the live act. In the encounter with others and other people they are not only indirectly physically experienced, but also put to the test and thus renegotiated. They can (in reflection) lead to other, queer insights and findings.

For me, writing about performance and writing into performance is poetic-performative from a spatial perception. Writing can take unusual perspectives on live situations and lead them beyond their live moments, which may mean: experiencing performance and the presence of oneself and others 'in the limelight' of writing, reflecting on oneself and one's surroundings and connecting them with everyday politics, can make possible different relations to artistic and non-artistic fields.

Performance is more than a live act, it lives from its differences to being culturally anchored. To grasp it from within and beyond it and to transfer it into other extended and deepened media expressions than the live act is a track I have been following for a long time. Where it leads me is open.

November 2020


portfolio in German