I have watched the video recording of the previous staging of the performance and liked the high physical energy it generates.
I'd compose and perform the sonic scape for the performance. I may as well try to use spatial context of the venue into the composition if there´s enough time and the necessary technical means.
An experimental dance piece that describes outcomes of oppressed violence inside human beings while they´re trying to overcome the impossibility to communicate with each other.
It depends on who are 'the others' and which context the relation is based on.
It's maybe not 'essential' but it's just a nature of human being.
I'd rather question what is 'togetherness'?
It's all that counts.
It will be interesting or it'll be a disaster. But I'd go for it anyway. It's always nice to see someone express him/herself in totally unexpected way!
To read the comments of people/artist who previously collaborated with Sebastian.
My role as I see it is to contribute to the dialogue that emerges from the conceptual origin of the piece and to facilitate connection and exchange between ideas and their physical realization.
Firstly an exchange of ideas/concepts between the collaborators, the relation of this concepts to the performance. At a later stage build a directed but open dialogue with the participants/performers.
In my understanding this project is an exploration of possible ways for people of being together, or separated beyond physical proximity or distance.
Loneliness noun for lonely: lacking friends or companions; sad because of this; solitary; isolated. In my understanding, to prioritize loneliness, i.e. isolation, means not to seek relations with others, or even avoid them.
It’s rather the opposite that holds true. I think this question raises the issue of ‘Solipsism’.
Togetherness: warm fellowship, as among members of a family. The quality, state, or condition of being together. together: in(to) company or conjunction; simultaneously; one with another; in unbroken succession.
Yes, I believe connections between humans are essential to the life of the individual, however this does not mean being constantly engaged in activities with others. As humans we are always together, never truly isolated, only the mind can create an illusion of isolation.
I expect the project to take a physical form, and in the process to bring new knowledge to its participants and to communicate to the audience, which I also consider to be a participant.
The challenge varies in relation to the degree of openness of the participants, their ability to engage physically, emotionally and mentally in the project. The difference with professionals, has to do with their independence in relating with the work and with others. To the extent in which experience brings an awareness of one’s limits, reactions, comfortable and less comfortable areas, presumably general member of the public will find these matters new in the context of creating and performing a physical work. In other words the challenge to support people in dealing with a new experiential context, and to facilitate their learning, while creating a piece.
As a costume designer, the opportunity to contribute to this project through the medium of body paint seemed a unique and engaging opportunity. My inspiration begins with tribal paints; war paint, celebration paint, identification, belonging, excluding.
To create a design on the body, a pattern that both unifies the community, identifies the individual dancers, and binds them to their partner. A combination of research and design before the workshop period shall give me a starting point from where the final piece shall evolve. This evolution must reflect the opinions, characteristics and work of the others cooperating to produce this work.
My role in the project is to yet to be entirely defined. Ideas are already formulating in my mind, yet the cooperative nature of the project means the final design shall depend on the workshop process. It shall echo the collaboration and personalities of the people involved.
Super Collide to me represents interaction. I cannot help but relate the title to the Hadron Collider and trying to understand our most fundamental elements when we cohabit, 'collide'. Human feeling; how we relate? need, communicate, feel love, make love. How we discuss desire? How we feel desire? How society inflicts and controls our ideas of desire and support? Where is love desire? And where is love support?
Loneliness to me is vital. Love- to lose it, to feel loneliness heightens the desire for love, whilst also making one more wary of love. Loneliness places pressure on us all to form relationships, one can see through pack animals and from early human existence the benefits of forming alliances, tribes, and herds. Strength is found in numbers, but more importantly pure joy is found in shared experience, through laughter, through touch, through community, through just being together.
Yes, I think the emotion of loneliness is essential, just as companionship is essential. Loneliness allows emotion and personality to grow, it is a powerful force. To feel pain, to feel heartbreak, to feel wretched and used, such emotions are vital and beautiful in their own right. To be able to use one's own power to heal the bruises is human existence at it's most graceful.
Without doubt, I believe them as parallel symptoms. Like positive and negative, the existence of one compounds the existence of the other, they are essential to our conscience, vital elements which make humans human.
Sexual attraction is a reminder of our animal selves, even without speech our body language and eye contact have an intense power. I cannot help but find my behaviour subtly altered by my impression of how attractive I find somebody. I also often feel the the weight and affect of having my own body and beauty judged, of how much someone's behaviour can change. This cycle can be hard to discuss, hard to admit especially once one is in a relationship already. It is commonly noted how prudish British behaviour can be, our society moulds much of our behaviour and as the next question highlights change in location brings about the contrasts of socially acceptable behaviour.
Hopefully through the journey of Super Collide the similarities and differences between our cultures and societies shall be highlighted. Through discussion with Sebastian we have talked about the overall aesthetic as something almost tribal. It interests me to consider our 'civilised communities' as 'tribes' and in some way reduce our behaviour to it's most simple needs, through travel we can see how cultures do indeed contrast, or whether our experience of relationships, friendship, love, and sex remain similar.
There is a chasm formed between the movement of a trained dancer and someone who dances purely for release. The aesthetic of Super Collide is not dependent on the quality of movement of the individual dancer, however, the quality of the movement shall be reliant on the confidence of the performers, it shall be our responsibility to fuel the performers with confidence in the project so they feel confident when performing this piece.
Sebastian Klemm and more current studio artists at ΛRCΛDIΛ_MISSΛ have their space open to the public to promote their process, practice and finished works. The gallery also presents past studio artists.
ΛRCΛDIΛ_MISSΛ, Unit 6, Bellenden Road, London SE15 4RF, UK
The Architecture Department of the Royal College of Art is hosting a series of discussions and debates along the theme of Alternative Approaches to Architectural Practice.
Sebastian Klemm is invited to present his immersive artworks, his ideas and attitudes that encourage a self-determined practice.
Royal College of Art, Kensington Gore, London SW7 2EU, UK
Performance by Sebastian Klemm
featuring Helga Wretman
Viktoria Zavartkayova, Giorgio Giusti, Sebastian Klemm, Nik Kosmas, Helga Wretman, Consuelo Guijarro, Sibylle Trickes, sound: Vincent Schmid, costumes: Vânia Oliveira, make-up: Marion Bleutge, film: Hannah Leiss, photo: Saskia Groneberg
WITH FRIENDLY ASSISTANCE OF
Künstlerhaus Stuttgart, Intermediales Gestalten ABK Stuttgart, Studio 'Patalab London, Der Zauberlehrling Hotel, Restaurant tesa SE
Künstlerhaus Stuttgart, Studio Program, Reuchlinstr. 4b, 70178 Stuttgart