Selfie im Bau in Bronze
performative intervention/meditation and video-work
This intervention is in a narrower and broader sense a clone of the intervention with video work of «Selfie im Bau II» at the Campus Brugg-Windisch in 2020. However: the Campus Muttenz was designed by the pool architects from Zurich and is a completely different building structure with a decidedly different aura than the Campus Brugg-Windisch. Consequently, this required a different scenario for the parcours through the house, its movements and also a different text script.
sphere of action during the intervention/meditation
In a live performance (intervention) I explore and investigate the obvious and hidden movements of the campus building. The building is a cube, and hollowed out inside. My field of action is the entrance area with the public zones from the ground floor up to and including the Belletage on the 3rd floor with the public campus library. The lower three floors are not only the fillet piece, as one of the pool architects said, they are also part of the four-storey atrium, above which a central wing crosses the interior and divides it into two halves. Flooded with light from the skylights, the volume of the atrium is a visible player of the 360 000 m3 of air circulating through the university spaces. The theatrical appearance in the atrium is produced by the transversal flights of stairs. They lead to the first three floors.
mode of movement during the intervention/meditation
Surfaces and the rhythm of their grids, such as interruptions on concrete walls and wooden panelling, furniture, room dividers, waves in the curtains, influence my mode of movement. It is also subject to a subtext monologue that is spoken in different modulations. It talks about the physicality of the building and asks people who work and study in this place questions: how they use the stairs, how they breathe the air, how they physically appropriate the building. It talks about the place where the campus stands and its development through different times, about the materiality of the building (wood, stone, colours, etc.) and their cultural significance. The text tells, compares and is also information. The sound of the words and sentences addresses the physical structure of the building and recalls what is past and hidden inside. With this text I approach the building, I trace its materiality and movements that are hidden, that reach beyond the present time both into 'aerchological pasts', into the construction period as well as into future zones: the movements of material and workers during the construction phase, of pipes, power cables that ensure the communication infrastructure in the building. This text aims to link the interior life of the campus building, which extends and is concealed beyond its present time, with the momentary movements and interactions that happen and are possible in these public zones.
As a fictitious figure, I am dressed in conspicuous clothing and carrying signs that refer to the building's sign system with the cardinal points North, East, West, South. I move at the edges, inconspicuously in dance mode, which could disrupt the flow of movement in this campus zone, if the building was not deserted due to the Corona pandemic. Performer and filming followers are therefore almost completely alone.
iPhones are omnipresent everywhere and have become part of our being, so to speak, they are used in this exploration. So I try to capture details of the interior in selfie mode, with the iPhone pointed at me on a camera stabiliser, while three fellow walkers film, their iPhones pointed once at my legs, then at my arms and head. We influence each other as we move through the rooms, becoming a moving organism. Not only the building structures and the lighting moods guide and influence our mode of movement, but also a subtext. Chance co-writes the script of this being on the move, which can also be understood as a spatial and media research.