Buzzing across borders, buzzing across times: Secret Secrets of the Beehive crosses the killerbee-histories of Brasil and Germany while turning the facts of the 20th and 21st century into humming hallucinations: What did Ernst JÃ¼nger do in SÃ£o Paulo and in Leipzig? How does one become a beehive or a beestate? What would a postcolonial honeybee-democracy look like? How does one become a german killerbee? Is history a swarm made out of swarms? Is the eye of history buzzing? And why is the “god of the bees” the future?
Between past and future friendly fire explore the the roots and routes, the secret dreams and nightmares of the globalized present as theatrical cultural entomoligists. The result is a theatrical situation between surreal installation and historical-performative fake: the LOFFT becomes a beehive in which german-brasilian history is buzzing and we close our eyes while looking into the dreammachine which is theatre – TURN ON, TUNE IN, DROP OUT!
The motto is: swarm out! Because the swarming out of bees is not only one of the oldest models of colonialism. In Europe bees have functioned as political animals which connect aesthetics and politics since centuries. Reason enough for friendly fire to become a swarm let loose the killerbees of theatre: LET IT BEE!
conceived, produced and performed by Melanie Albrecht, Jan Brokof, Rebecca LÃ¶ffler, Mariana Senne, Helena WÃ¶lfl,Â Michael Wehren
photoÂ Raymond Romanos
Oct 23 (opening) â€“ Jan 31 â–º Travestie fÃ¼r Fortgeschrittene Teil 3: Durch WÃ¤nde GehenÂ @Â GFZK
This is the third and final part of “travesty advanced”. After “Wait a minute!” And “training” comes “Walk through walls”. Title refer to the same installation by Anna Witt, the current winner of the Art Award “Europe’s Future” that brings together two very different refugee stories. Clashes on issues such as normality, diversity, inclusion and exclusion presented in (Wait a minute!) and (training). Then modes of action and collective experiences were generated to exceed Â ideological borders and open up new spaces for thought. Now performance comes to the forefront.
Noise is a central motif in the work of Berlin based Canadian video artist Jeremy Shaw. He has repeatedly dealt with the transcendental, whether stimulated by drugs, religion or dance. A central source of inspiration has been Shaw Ken Russell’s leading feature film “Altered States” (1980) in which a scientist in altered states of consciousness offers his insights into human existence hopes as he pushes the limits of his being.Â For his video installation “DMT” (2004) he documented the mind-altering effects of the drug Dimenthyltryptamin on his friends. In “Best Minds Part One” (2007) he transformed Pogo dancing hardcore punks by means slow motion into dancing shaman.
Shaw’s latest film “Quickeners” (2014) leads us 500 years into the future of Quantum humanoids: They are all wirelessly connected by the abstract entity “The hive”. They act with pure rationality and are immortal. A minority “quickener”, suffer from human Atavism syndrome (HAS), a disorder that afflicts sufferers with ordinary human desires and feelings. more info