Performance work

this is a chronological list of collaborations with and work for other artists

2025

Time flies and almost a year has passed since our last gathering at @planetamanas. We are delighted to come back to Lisbon, laying rug constellations, weaving oneiric entities together for a long night of sonic rituals.

We open with the screening of ‘I Don’t Want to Be Just a Memory’, directed by Sarnt Utamachote @sarntolstice , that follows several Berlin groups of friends who remember loved ones who have died and reflect on the contexts in which life and death are expressed within queer communities. Mourning and persevering after the loss of a friend, how do we make sense of the mental health crises and rate of suicide within the queer community. The screening will be followed by a conversation with Sarnt, Nëss, marum and Lou.

The night’s seance will be imbued with resonance from these topics as we gather on the rugs to process what emerges when we face these challenges head-on. We open the night with songwriter Nëss @nessnby , whose mournful songs range from punk to whimsical chants, and a multimedia performance by el bango @e.l.bango who grapples with tales of community, lineage and blackness. The night will thicken with the dreamful music of Living Room’s beloved Carolf @ca_rolf, and infinity rug’s hosts @lou__drago and @marum.welt who will play hybrid sets of deeper frequencies and emotions, against hopelessness, towards the sunrise.

Performers Aaron Lang @a.h.lang and Jules Petru @shiazlegz with foraged delights and jugs of plenty, somatic games and spells, watching over us as a flickering candle in the night. João Carinho’s @mtcarinho ephemeral installations with salt and seasonal flowers will take the shape of an altar, a site for offerings to the beyond, a testament to life cycles, from Spring blossoms to withering leaves.

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alpine agriculture meets contemporary performance art

In “field work”, Hannah Schillinger and Aaron Lang reflect on European agricultural fieldwork through the medium of contemporary dance. Like fieldwork, their dance practice is characterized by a careful cultivation of space, time and matter. Together they kaleidoscopically explore movements and entanglements between the two practices such as physical labour, social class, production and reciprocity, rhythms and rites, co-creation and collaboration. In a dreamy, surrealistic landscape between sculptural painting and simulation, the performers in costumes and with props by Louis Caspar Schmitt set out in search of a queer and feminist entrance into Alpine culture and folklore that does not cling to representations of the past, but rather develops them in a proactive way, reconfigures and imagines possible futures. With lighting design by Vito Walter and sound by Madelyn Byrd, “field work” creates a world in which nature, humans and technology strive for balance, in which the historical and the futuristic interweave, and which bursts stereotypes by sketching out a new approach to cultural heritage.

Credits:
Konzept, Choreographie & Tanz: Hannah Schillinger
Co-Choreographie & Tanz: Aaron Lang
Sound: Madelyn Byrd aka slowfoam
Bühne und Kostüm: Louis Caspar Schmitt
Licht: Vito Walter
Produktion: Laura Manz

Partner:
HochX München
TANZWERKSTATT EUROPA
Choreographisches Centrum Heidelberg
Tanztendenz München
Studio 2.2 Berlin
DOCKART Berlin

Förderer:
Landeshauptstadt München Kulturreferat
Bayerischer Landesverband für zeitgenössischen Tanz e.V. – BLZT
Kulturstiftung der Stadtsparkasse München
Choreographisches Centrum Heidelberg
DOCKART Berlin

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2024

“1 Compensation 2 Termination 3 Delivery” is an immersive performance that delves into the intricate relationship between humanity, nature, and technology. This multidisciplinary piece seamlessly integrates themes of land use within the Anthropocene, animal interactions, digitalization, and timeline shifts, crafting a narrative that stresses the human body in various roles.⁠

Curated by Stephanie Kloss and Jaro Straub⁠
As part of B-LA-M Festival ⁠
at Inselbrücke, 10179 Berlin⁠
bridge next to Die Möglichkeit einer Insel

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Paris, 1935: a pulsating metropolis at the centre of Europe. The city has become a place of exile for thousands who had to leave Germany after the National Socialists seized power in 1933. As early as the 1920s, Lion Feuchtwanger was one of the first who recognised how dangerous Hitler and his party were going to be. In his novel Exil, completed in 1939, he managed to bring the time before the outbreak of the Second World War to life – for the coming generations who would not be able to comprehend how most people did nothing although the brute force of the National Socialist rulers became more and more apparent. Feuchtwanger’ characters struggle with the question of what it means to do “the right thing” in this situation and tell stories of careerism, opportunism, oppression, moral courage, love and betrayal.

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2023

infinity rug offers a moment where sound, collective learning and intimate care come together to forge a space of togetherness. You are invited to bring your own rug to contribute to a rug-constellation. Lay down and get cosy with us, drift off with us. Bringing the domestic to the public realm, we will tentatively explore new ways of being-together and offer a space for reflection, rejuvenation and introspection. Through the evening of Saturday, 02.12., until the morning of Sunday, 03.12., we guide you through a soundscape of field recordings, ambient, experiment and deep-mind music, interwoven with ceremonial performances, texts and poetry, scents, textiles and food offerings.

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2022

Never in our collective memory can we remember a time of such catastrophic climate events, and paired with a loss of faith in much (if not all) of political leadership, it is hard to know where to gather strength to continue working for the protection and preservation of all life. For us, being in community, listening and sharing music and knowledge has always bee that source of perseverance.

Aaron contributed to infinity rug with a round table of unusual urban treasures, at which foraging anecdotes and knowledge about the medicinal and magical properties of the plants and mushrooms are exchanged.

photo by Ali Bay

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PARASIGHTseeing is a performance-based exhibition project series by Jasmin Halama and Frederik Britzlmair, whose second part is presented in the Großer Wasserspeicher. In its investigation of parasitic strategies, PARASIGHTseeing elaborates ways of theorizing systems. But it also invites participation into a parasitized system of its own.
In the characters’ perpetual movements, systems emerge and dissolve within the wider system of the Großer Wasserspeicher. An osmotic/symbiotic relation between the parasites is established through time and space—movement allows for the embodied theorization of organism and machine. In this self-multiplying embodiment, parasitism doubles as theory and practice. It permits an interrogation of the definitional boundaries of organic matter, and the social dimension of these boundaries. PARASIGHTseeing offers, then, the embodied experience of parasitism—of the dynamics of symbiosis, organic outgrowth, and the social strategies that can be gleaned from these. (Jude Macannuco)

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Inspired by the remaining traces of the industrial past in the urban space of Berlin, choreographer I Jung Lim examines how the historical spirit of this past affects society. In this project, she approaches the second significant moment of German ideology in an artistic way. From the perspective of an outside researcher, she unearths hidden social leftovers and cultural relics and interweaves the socio-cultural background of the industrial age – an age characterized by materialistic thinking – with archetypal images. By connecting industrial objects and human bodies, her goal is to create a landscape painting of the body and some of its companion symbols.

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The run in the wheels of late capitalism is fading out. What follows, is a collaborative preparation of the ground for a sustainable future. Energy transition means retreating from fossil fuels and shifting more and more to regenerative sources of energy.
If we look at this process through the perspective of the body, questions arise: How can I protect myself from exhaustion and end (self)exploitation? What helps me to regenerate my energy? What are the sources I access for this purpose? How can we support each other in this process?

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2021

“Practicing Empathy” is a series developed by choreographer Yasmeen Godder and her company since 2019, which has produced a variety of projects that explore forms of empathy. “Practicing Empathy #2by2” was created in response to the first lockdown in spring 2021. The non-verbal interactive movement format invites eight audience members to each dive into an individual shared experience with one of eight dancers in the studios of the Mousonturm, in doing so develop new perspectives on the rules of hygiene and distancing. How can connections, intimacy and emotional affinity be established despite a distance?

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Influenced by the disciplines dance, circus and music, the traditional image of masculinity is questioned in a sarcastic and theatrical way. What does it mean to be a man, what effects do education, emancipation and equality have on masculinity? Six men of different nationalities examine behavior, expectations and traditions.