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Notice Me

... consists of three parts. The artistwin introduces its working methods by re-opening the process of the choreography "REportable" for the audience. The first part is about getting into conversation with dance itself, and therefore the artistwin reads a letter it wrote to dance: "How are you, dance? Do you still lough about the adversities that happened to you?"Choosing the form of a letter the artistwin departs on reflections about collaboration in art and about the shared risk of work. In the second part the audience itself repeats part of the working process of REportable: the will collectively create movement by writing. The third part is a concert in which the borders of viewers and performers blur: Everybody is invited to do the movements that were commonly created. For this concert Hubert Machnik performs his "Empty Rooms" live.

Dear Dance.
(...) Oh what a narcissistic child you are! Your desperate need for love and appreciation, and your desire to become rich and powerful, has made you tired. Now you are exhausted even before you got to learn how to stand on your own two feet. Imagine how much you could have spoken out, if you had only put your cards on the table and confessed that in your family it was simply a bit more difficult to learn talking and walking. Unfortunately, you seem to have chosen the shortcut and learned all the tricks and fallacies necessary to keep the game veiled as game instead. Don‘t be alarmed; we don‘t accuse you. We don‘t want to convince you that we witnessed any of your simple tricks or deceptions of any sort. Anyway, there exist so many stories that claim something first and the opposite after. It might be the reason that you became bored to death the last few decades.(...)

Concept and Performance: Kattrin Deufert und Thomas Plischke
Music (live electronic): Hubert Machnik

A production of Gemeinschaftspraxis e.V. Hamburg.
Funded by the Kulturbehörde der Freien und Hansestadt Hamburg.
Coproduction: deSingel, Antwerp. Kampnagel, Hamburg. PACT-Zollverein, Essen. steirischer herbst 2007, Graz.
Supported by the National Performance Network with funding provided by the German Federal Cultural Foundation as part of its project Dance Plan Germany.

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Konsequenzen
ein Spielversuch

I Nehmen Sie sich Zeit!
II Nehmen Sie sich Platz!
III Nehmen Sie sich Ernst!
IV Seien Sie kein Spielverderber!

Für einen unbestimmten Zeitraum verwandelt sich das Studio 3 in ein interaktives Spielfeld mit mehreren Spielsituationen: ANGST HABEN 1+2, STAUNEN, SCHREIBEN, SPINNEN, TEILNEHMEN, KLAR SEHEN, SCHÖN REDEN, FALLEN, SPIEL OHNE KOPF, FEDERN LASSEN; Die genauen Spielanweisungen finden sich vor Ort an den einzelnen Stationen. Beim Eintritt passiert das Publikum automatisch die erste Station: ANGST HABEN 1. Hier können Sie entscheiden, ob Sie vom Zuschauer zum Spieler werden wollen. Sie können an jeder Station so lange verweilen wie Sie wollen. Sie bekommen all das Material am Eingang geschenkt, das Sie für Ihr Mitspielen brauchen: einen Stift, mehrere unterschiedliche Karteikarten, um Notizen zu machen, sowie eine Aufforderung zum Spiel, die Sie gegebenenfalls an der Station „SCHÖN REDEN“ öffentlich vortragen können. Sollten Sie ins Spiel kommen, halten Sie sich bitte so genau wie möglich an die Anweisungen vor Ort. Bitte wechseln Sie auch von Zeit zu Zeit Ihre Station, um den Spielfluss aufrecht zu halten. Sie sind nicht der einzige Spieler im Raum! Versuchen Sie, das Spiel der anderen nicht zu stören oder gar zu unterbrechen. Sollten Sie dennoch eine Mitspielerin benötigen, erkundigen Sie sich bitte vorher nach deren Spiellaune und -lust.
Über Rhythmus, Dauer und Dichte des Spielverlaufs werden Sie nicht allein entscheiden können, dennoch sind Sie beteiligt:
Hören Sie sich zu!
Schreiben Sie leserlich!
Passen Sie auf sich auf!
Behalten Sie die Übersicht!
Verzetteln Sie sich nicht unnötig!

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directory : in be twin

... is a combination of the first two directories "directory : europe endless" and "directory : songs of love and war".

"directory : europe endless" is a double-portrait of the artistwin, a passage along and trough their lives. It embarks from childhood memories along myth, suicide, family, gender-trouble and work on a journey from countryside Bavaria, Berlin, the slums of Rio de Janeiro, Bologna to arrive in Brussels again, where the artistwin finally met and decided to work together. "directory : europe endless" finishes with the meeting of deufert +plischke in Brussels in 2001. After an intermission the story of myth, suicide, family, gender-trouble and work is continued in their second "directory : songs of love and war".
In 2005 deufert +plischke embarked on a journey together, to the fringes of europe until 200 km north of the polar circle from Germany to Denmark and Norway. They were traveling with a photo by Diane Arbus, her famous twins on the dashboard of their 22 years old Saab. The image of the twins is set in-front of an ever-changing landscape. In "directory : songs of love and war" deufert +plischke tell the story of their self-invention, as artist twins, as brother and sister and incestuous couple.

In “Directory: Songs of love and war” deufert + plischke develop their fiction of the identical twins and put it to a test, probing the notion of difference ex negativo. From time to time we see digital images of ‘identical twins’: mirrored images of a body dressed in white knitted tights, seen from the back. It is either Deufert or Plischke who is shown, converted into twins by the cutting process of digital editing. It is a deeply melancholical transformation, as it depends on the mode of the digital: radically cut off from time and space, the identity grounds in an infinite loss. Remark that the bodies are seen from the back, a strong symbol for our proper difference and invisibility, as it exposes our impossibility to look between our own shoulderblades. It’s a paradoxical erasure of difference, that thematizes its own futility: it desires to be grounded. “Directory: Europe endless” relates moments of Deufert’s and Plischke’s childhood and family life, stories of coming of age with art. The performance doesn’t relate the life of two artists from A to Z though. Rather, it seeks to probe in a fashion reminiscent of Foucault’s genealogy the singularity and contingency of events that have marked Deufert and Plischke, and made them to whom they are – as people and as artists. “Sometimes I feel the desire to empty my head, to pour all the thoughts, the dust which became my history, all the coincidences of life onto the streets. Unsorted empty thoughtlessness.” Most of the narrated memories are dramatic of character and circle around similar themes, such as identity, gender trouble, loss, mourning. It is an associative and fragmentary account, with attention for coincidences and details; it doesn’t trace origins so much as the disparity of events inscribed onto the body’s surface.
(Jeroen Peeters)

directory :songs of love and war is mentioned as one of the five best performances 2005 in the annual report of the belgian theater critics by Jeroen Peeters.

coproduction: BIT Teatergarasjen Bergen, Schaubühne Lindenfels Leipzig, Tanzfabrik Berlin; with special thanks to KhiB Bergen and Westend05 - know your rights.

voices: Kaethe Fine, Martin Hargreaves, Gillian Carson

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Sofia SP // science is ficiton

A Science-Fiction Performance by deufert + plischke
with Greta Gancheva, Mila Odazieva, Willy Prager and Maya Stevanowa

We write the year 2468. The former space station "Sofia / SP" has been changed into a centre of cultural and scientific research. A, B and C are supposed to dig out memories on earth that were lost in 2007 after a big interplanetarian crash. Some of the gone memories shell be reactivated via a duty free freezing of the senses. Thus sharp images and pure fragments of the human being will be filtered. This procedure leads to a new, nonlinear restructuration of data that will be sent every 13 minutes by the interplanetarian comission AbbA (agency of big and beautiful adaption).

a production of Goethe Institut Sofia, Odavision (Sofia) and deufert +plischke

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As if (it was beautiful)

In this performance deufert + plischke focus again on space like a schizophrenic acoustic machinery. It is the story of three: Bonny ,Clyde and Bonny & Clyde. Three voices, multiple faces, no mouth, ten fingers and bodies with exits to uncertainty.The basis of the machinery is the solowork „fleur (anemone)“ of 1998 that became an essential part in the shared life of the artistwin deufert +plischke. It was the performance that created the desire to work together. Now, after three years of a shared live and work it becomes the proposal for yet another work

In the annual report of the belgian theater critics the performance as if (it was beautiful) is mentioned as best performance 2004 by Elke van Campenhout and as one of the best five performances by Jeroen Peeters.

for marianne

movements, sounds, images by deufert + plischke
with texts by ghérasim luca
sound and light coordination: harry schulz
production: heike albrecht

a production by frankfurter küche (leipzig)

coproduction: De Singel (Antwerpen), Schaubühne Lindenfels (Leipzig), Künstlerhaus Mousonturm (Frankfurt);

with very special thanks to: ImPulsTanz / Vienna International Dance Festival

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Marcus Steinweg

1971 born in Koblenz, Germany
Lives and works in Berlin, Germany

Work Experience
Marcus Steinweg is currently teaching philosophy at the Art Academy Braunschweig.

Exhibitions Projects

Artworks with Thomas Hirschhorn:

- Nietzsche-Map (2003)
- Hannah-Arendt-Map (2003)
- Foucault-Map (2004)
- The Map of Friendship between Art and Philosophy (2007)
- Spinoza-Map (2007)

Collaborations in Art-Projects of Thomas Hirschhorn:

- World Airport (Biennial of Venice, 1999)
- Bataille Monument (Kassel: documenta11, 2002)
- Doppelgarage (Berlin: Arndt & Partner Gallery 2002)
- Stand-In (Barcelona: Fundacio Miro 2003)
- U-Lounge (London: Tate Modern 2004)
- Unfinished Walls (London: Stephen Friedman Gallery 2004)
- 24H Foucault (Paris: Palais de Tokyo, 2004)
- Swiss-Swiss Democracy (Paris: CCS, 2004 / 2005)
- Utopia Utopia. One World, One War, One Army, One Dress (Boston: ICA 2005, Wattis Institute San Francisco)

Bibliography

Books:

- Autofahren mit Lacan (Koblenz 2001)
- Krieg der différance (Koblenz 2001)
- Der Ozeanomat (Cologne 2002)
- Bataille Maschine (2 Vol., with Thomas Hirschhorn, Berlin 2003)
- Subjektsingularitäten (Berlin 2004),
- Behauptungsphilosophie (Berlin 2006)
- Mutter (with Rosemarie Trockel, Cologne 2006)
- Duras (with Rosemarie Trockel, Berlin 2007)