This performance is connected to the video "Woman", filmed on the Cliffs of Mother in Ireland: During the shooting of Woman,

I wanted to transmit a feeling of defeat, despair and humiliation. I shrouded the face of the figure to represent numerous faceless victims, a sense of shame, danger, of abuse and death. This wor was inspired b! events and e"periences which have altered m! perception of the world. # world that inflicts b! violence and is dominated b! a lac of respect for women:

This performance is an art$music h!brid about the ancient figure %enthesilea, &ueen of the ama'ons. (et in the present, the performance, inspired b! )einrich von *leist+s lurid drama, is an apocal!ptic happening $$ combining original live music, dramatic installations and historical film footage. The elements are interwoven to create an unsettling tableau where social boundaries and conditionings are deconstructed. The film dives into the world of the collective subconscious,e"ploring the battle of se"es and internal conflicts,and in the end, encourages us to follow our own inner voice.

-allen #ngels $ plagued and tortured. )igh$fl!ing $ moving out for a$&uesting happiness. This will be m! last hope. T). %/0C.1#I2 (3ICID.(. #nd therefore m! lips are longing for the devil4s hand. Will he hear me5 Will I, m!self, hear me5 Then I4d be saved. (aved from m!self. #ll hell brea s loose and I go into the battle against m!self. #gainst m!self. #gainst m!self. )#T. I( 6.2.0#T.D 78 (.1-)#T. $ (/ W.1C/M. T/ T). %/0C.1#I2 (3ICID.(.

.ine %erson tan't f9r etwa :; min. einen *reisf<rmiger (chreittan' mit rh!thmisch geset'ten )9pfern. Die %erson tr=gt mehrere 1agen /utdoorbe leidung und ist mit diversen -laschen voll Wasser beh=ngt. .ine 'weite %erson ommt und er l=rt, dass sie nun Wol en herstellen werden. Der T=n'er legt die -laschen ab und 'ieht sich schnell bis auf die 3nterhose aus. .r tr=gt sehr viele (chichten *leidung. Der %artner sch9ttet das Wasser 9ber den vom Tan' erhit'ten *<rper. Dampf steigt von dem *<rper auf.

M! submission is a video$based performance about the ambiguit! of political action>inaction. During the piece, I wear a rabbit mas and deliver a speech of moc political philosoph! accompanied b! precisel! choreographed gestures. Motivated b! televised protests to protect wor ers+ rights, the piece is a ritual embod!ing the tense relations between labor, art, movement, and ta ing to !our bed. What4s a girl to do when there are beasts that sleep with both e!es open, and the! set their sights on our rightful place5 %erhaps we should start dreaming from the wrong place and see what happens.

Due to a number of cancellations on saturda! night, there was an empt! space. ?. as ed if an!one would li e to spontaneousl! offer a performance. #. got up applied a little red lipstic to her lips and drew us in onto the stage as if to tell us a stor!, creating a sense of intimac! and intrigue. )er presence was incredible and the performance simplicit! itself she too me through a vast range of emotions from fear to delirious hilarit!. I cannot sa! an!more e"cept that she is a master of performance, simple genius.

In December @ABC, and the whole wee leading up to Christmas, @;; (anta+s fuelled Copenhagen with red and white happiness. The! turned up on s ates, the! were singing, the! had animals with them, and then suddenl! the! where all in the department store Magasin. )ere the! shared their gifts with real Magasin customers. 46ifts4, which the! had ta en down from the shop shelves. This is the greatest performance ever made, as it is the best Danish artwor ever. Therefore I DEarathustra+s 3ncleF have made several re$constructions of this performance. Toda! for the first time outside Denmar G at the *DW in 7erlin.

performative art brutH banal but thoughtful, a condensation of a certain matri" of subversion but not in a simple wa!. # developing of a certain almost DpostF7rechtian process of wa ing up those who are listening and watching. 1i e old %apa T'ara the$artist$as$a$genius is moc ed as the whole C/2T.M%/0#08 #%%#0#T3( /- #0T reduced to a simple umbrella and the artist as the instrument, as the C1#(( /- .D3C#T.D E/M7I.( who share the )/18 %)#11I#C (#3(#6. /- *2/W1.D6., the politics of 7//M, ...

This proIect has been started in ?anuar! J;@@. It will be the greatest thing that has ever been done in art histor!. It will be ama'ing. it will be outstanding. it will be overwhelming. It will be perfect. It will be ever!thing that !ou can imagine. .ver!thing and much more. This is the greatest thing that will be done. The greatest thing that can be done. .ver.

7CI% is a performative mathematical or scientific model based on site$specific, labour$historical, material culture research. It can be performed b! large groups of diverse people with little or no performance e"perience, with ver! short preparation time. It is a social event which attempts to develop a popular participative wa! to represent the human stories inscribed in the things we use and see around us ever! da!. 7CI% ma es accessible, and e"pressive, the material comple"it! of our h!per$modernit!.

The female of these species, waiting for her lovers, lies on the grass and shines. (he cannot fl! but onl! crawl. To spendK enIo! her time she eats the shining males of the 1amprophi'a splendidula, a smaller species attracted b! her traitorousl!. The male of her species can fl! but do not shine K do not eat. We at least hope them to be good loversL The shining artist lies in the galler! covered b! his luminescent dress as a chr!salis in its cold light, similar to those insects, pla!ing over rules K roles

#ttempt to touch ever! visitor of the space before or during the event using an! means necessar! Di.e. social conventions, accidental collisions, restricting spaceF and ensuring that the public is not aware of the performance ta ing place. The piece ends when the last remaining person is touched or the performance is unable to continue due to event programming. The piece ma! be declared as having ta en place an!time after this point.

Disgusting 7eaut! is a performance and music video about schi'ophrenia caused b! abuse. -or me the leech is a s!mbol for ambiguit!. This little blood suc ing vampire is disgusting and ver! health! at the same time. I found it ver! interesting that Een mon s use within their method of meditation certain techni&ues of double bind and parado" communication. )uMnNng as ed )ui Ming: "Without thin ing of good or evil, show me !our original face before !our mother and father were born."

What happen to hidden sounds when we find them5 The performance began with the idea of transforming small noises produced b! cutting, drawing, building up, into a sound landscape. # dialogue without words between two artists spea ing and processing different languages and their sensibilities, tools K things, images that refers to the world, the space K the audienceL # chorus rises up from their actions !et gentl! !et aggressive !et opening to a void that can onl! ma e sense again through our perceptions.

(ehend einen -aden spannend und einem Weg blind nachfolgend in Intera tion mit dem %ubli um $ ruhig und archaisch war die %erformance von 8. Mit voller #ufmer sam eit $ die (pannung war im 0aum sp9rbar $ verfolgte man den tastenden Weg der 7arf9Oigen -rau $ ber9hrte sich ur', bangte mit ihr undverfolgte mit den #ugen ihren weiteren Weg in ihrer Perlet'lich eit.

What e"actl!5 # creature wal 5 # bonus e"tra5 Imagination, presence, transmutation. 7e there or be not. That was all it was about.

7eing presence produced the happening. .ver!one involved and responsible at the same time: performing abstraction. The bowl was full of possibilities elements, images, K media games. The responsibilit! of empath! and euphoria and the opposite. What+s more political K ris ! than being present5 Ma!be turning into a creature as a bonus e"tra.

QWeRll need more rulesS the director sa!s, seven tired participants dispersed through the stationRs platform. QIt+s doneS, answers multitudinous #ntigone QI buried m! brotherT. # shrill whistling, the pla! can start again, practice. 2oise of a train passing 6ren'alleeH no voice resembles his masterRs and onl! earphones represent statements in this schedule informed script, where one rule brea s another and sometimes an accident occurs. (witch teams, Qobe!LS, that is: let the game continue, wor .

The four performers of (. underta e an e"pedition into the un nown, into liminal spaces. %eripheries, where things come to light that are un nown: how the world is build, the construction. The %erformers act as ancient messengers but report with the modern communication tool (M( from the edge of the world. These reports will be transferred into a liminal space itself: a lobb! of a hotel. The periferie of the ever!da! life shifts into the centre and attributes a new meaning.

Ewei M=nner sit'en in einem 6las asten, um den herum sind Euschauer. Im 6las asten sind @@B 6rad und J@,U %ro'ent 1uftfeuchtig eit. #lle V; (e unden wird ein halber 1iter Wasser auf die (teine gegossen und alle V; (e unden heben sie im 6las asten den Daumen 'um Eeichen $ "mir geht es gut". Por ihnen haben vier M=nner den 6las asten verlassen, weil sie es nicht mehr ausgehalten haben. T. ruft aus dem 6las asten den Euschauer 'u: ")aut ab, wir ommen nicht raus". #uOerhalb des 6las astens ann man dies nicht h<ren. : Minuten JW: W. wischt sich mit der )and 9bers 6esicht, dabei l<st sich die )aut von seiner (tirn, rutscht langsam hinunter, wie fl9ssiges *er'enwachs, sie bleibt an der 2asenspit'e h=ngen. : Minuten W;: T. atmet schwer, er schwan t, die #ugen geschlossen. T. erbricht. (ein gan'er *<rper 'ittert. W. reagiert nicht mehr. .r h=lt auch seinen Daumen nicht mehr hoch. Die *ameras 9bertragen, wie er langsam verbrennt. T. verliert das 7ewusstsein. .r ist drei Monate im *oma.

#musing performance. 2ot entirel! sure, what this was all about, but it was good entertainment. -urthermore I li e the girl. 6ot a sweet butt. 2ice dancer.