“In the end of 2015 I visited the area, which normally isn’t accessible for the public, for the first. I immediately got attracted by the atmosphere of the metal chambers of the gasometers with their impressive height, the strange acoustic and the obvious time marks. It looked like something very unique, which has to be conserved somehow.”
The video Postludium is an obituary for the former gasworks area in Augsburg/ Oberhausen. It shows a ghostlike dance in the empty rooms of the building especially of a historical disc-type gasometer, built in 1915, and another recent disc-type gasometer (“Gaskessel”). This work raises the question of whether a building has a memory and thus also an identity.
The piece “Echoes of Industry” was recorded in the “Gaskessel”.
Dancer: Alessandra La Bella
Credits: Gerald Fiebig, Christian Z. Müller, Alessandra La Bella, Oliver Frühschütz
Nature is determined by chaos as the driving force that leads to order. The strongest form of order is a pattern or rhythm.
Part one Patterns are regularly recurring structures generated from modules in predefined order and repetition. As individuals and social beings we are naturally influenced by patterns: heartbeat and breath have a rhythm (auditory pattern). The genetic code resembles a pattern. Metabolism is determined by “patterns”: Nutrient absorption, transport, transformation and excretion – as well as the course of nature: spring, summer, autumn and winter – birth, growth, reproduction and death. We surround ourselves with patterns: wallpaper, patterned textiles, music, dance, customs, behaviour. Patterns give us security because they are predictable.
Part two – the machinery Patterns also help individuals to fit harmoniously into society and contribute to its success. This fact makes us similar to machines. These work because drives and gears follow certain patterns and thus keep the machinery moving.
Part Three – Perpetual Motion We are part of a system made up of individuals who function according to patterns. If one part fails, it is replaced by another working element – a principle that keeps a system in constant motion.
Dancer: Alessandra La Bella, Jennifer Ruof, Silvana Lemm, Therese Madeleine Thonfors, Natalie Farkas
“After all, rhythm is the repeated pattern itself – the code and the looping. And we all dance to that. We dance to a choreography that is pre-programmed into the interface. This choreography has power: it is the planned moves of control.(…) But really we are just making the same old moves that everyone else on the dance floor is pushing out of their (seemingly) free flowing limbs. We dance, and we are part of the choreography of control.”
“Memento…Boltanski!” is a vanitas dance on the futility of life.
An artificial choreography is generated by variation of order and repetition of 25 stills of a dancing Person. In the same way a rhythm is formed by moduls of natural and artificial sounds (water drops and a machinery’s chattering). A whispering voice recites “The Burial of the Dead“ out of the poem “The Waste Land“ by T.S. Eliot.
In the left part of the screen there is a static image that at first sight reminds us of a sacral motif, perhaps some kind of altar. In fact, it is a table with a bird’s nest in the light of a neon lamp. In it lie small bird skeletons.