My childhood and youth years, growing up in a small town in Switzerland in the 1950es to 1970es among other things have left their mark on me. Apprentiship and collaboration with choreographers and musicians in New York vom 1983—1990, studies in fine arts and cultural / genderstudies at ZHdK from 1999—2006, also being on the move for 30 years in performative matters with performances, exhibitions, interventions and collaboration, this ins public spaces, on music or art stages in Europe, North and South America and Asia, encounters with people and places through the situations of performances and in experiencing and dealing with performative practice in various cultural contexts. Teaching and imparting dance, performance and somatic movement practices in different institutions, at dance and art festivals and in my own praxis since the 1990es, overlap with interests und themes in the orientations of my artistic practice
Incentiv in my artistic practice are my background in postmodern dance, the involvment and confrontation with the body in motion, the risk and play with gravity, the latent loss of control as well as the relationship to space and context in their various semantic levels. What we call body is the (smallest) common denominator, that humans share with other living beings, organisms and things. The precarious is, that it is vulnerable, can go astray and is constantly transforming, that it might let us experience, that we might never have posessed it, that it is always a divided body, that can connect and merge with media and other living beings and organisms. I unterstand body intertwined in space and contexts, it cannot be thought without them.

Art practice is also cultural work: my art practice reaches into other cultural fields, it’s translocally oriented. I am in exchange with artists* in India, UK (Shetland, England), Canada … and co-initiator of platforms and networks for performative practices.

Performances as I unterstand them, are performative interventions in spaces, whose (hi)stor(y)(ies)and contexts both affect the (art) process, but also provoke an immediacy that can only be experienced in the performative situation itself.

From a queer feminist-perspective and -awareness it means relational and not oppositional thinking. Praxis and theory, art and culture, as well as activist approaches can tackle and stimulate each other and mesh. Performances can among other things generate knowledge, whose facts, texts, material in the performative situation in the encounter with others (audiences, visitors*, witnesses*, co-actors* and more) are again put up for discussion and renegotiated. In connection with movement, the somatic, also social-cultural and political-aesthetic aspects of language and space is put to the test.

To me, writing seems just as much an activity as performance. Seen in this light, it is not about writing about performance and dance, but rather writing to and into performance and dance. Performance, as a situation in the art field can thus possibly prompt reflection and (re-)contextualization of the art field as well as everyday politics.

in October 2018