Workshop with Filippo Pasquali and Franziska Gerth Katapult
11.11.: 19- 21 Uhr, Studio 1
12.11.: 11- 15 Uhr, Studio 1
13.11.: 11- 15 Uhr, Studio 1
Sliding Scale: 160 – 200 Euro
3 x- Payment in Circles available: 200 Circles
Reservation and questions: firstname.lastname@example.org
“Some geologists believe that exfoliation results when rocks formed at depth are exposed at the ground surface; the previous compressional forces would decrease and thus allow the rock to expand by fracturing parallel to the surface” (encyclopedia).
As we are constantly compressed by information and stimulation from our surroundings, global crises, overwhelming environments, endless things to do, as we are members of a massively disturbed thing. It seems a question of survival to peel off what is not actual anymore, even for a little while or just a few breaths.
It’s like the moment we are cleaning our windows from the sticky smog of the cities out there, when we get to see the light stronger and clearly again.
We imagine exfoliation as a process of becoming clearer porous surfaces (matt or bright doesn’t matter). Exfoliation as a geological and metaphorical dynamic against cognitive occlusion. We aim to open the narrowness letting go of dead cells from our surfaces.
In this 3 days process, we will use the power and respect of reduction and minimalism. We will face the difficulties of taking out excesses, what is not needed, in a research of impermanent presence and bare life. Through daily practice of meditation, body work, butoh and somatics (BMC, Continuum) we will re:connect with ourselves and explore our expression of the moment in a creative process to share a loss of margins through a performative and ritual dimension in a concern of care for a beauty that resists.
I see identity as a study in multiplicity. I am a dancer, environmental anthropologist, baker, skipper, mason, pastry chef, activist, apprentice poet and gardener. I calibrate my artistic work to apprehend the falls and eco-social flaws of the planet we commonly inhabit, in a confluence of flesh, poetry and politics. Dance is a territory where I wish to explore the dignity of a humanity faithful to its limits, recognizing a far-sighted love for its condition. I conceive the art of movement as a state where we allow ourselves to admit the intimate and the vulnerable, of the decentralization of the Self, to let oneself be acted by the forces and the critical issues of the world. Is it possible to create remedial actions to disarm us of the growing symptoms of environmental apathy, sensitive shrinkage, ecological egoism?
The resources, methods, techniques that accompany me and shape my practices are Butoh, somatics (BMC, Alexander Technique, authentic
Alexander Technique, authentic movement), books and the minds that write it. I thank and name some of the people who have influenced my body the most my body: M-T Sitzia, Matthieu Gaudeau, Asaf Bachrach, Moeno
Wakamtsu, Masaki Iwana, Atsushi Takenouchi and Hiroko Komia, Maruska Ronchi
Ronchi, Minako Seki, Imre Thormann.
Born in the far echoes of the GDR, I noticed quiet early that nothing is as it seems. Things that seem to have passed, continued through the memory of my body, or the memory of other bodies. I can still sense years of repression through the force of the state in the way I walk. Hush. Use language.
By the time it turned me into an unsettled, curious mind and activist. I studied Latin America and its’ Resistance Movements. Along the road I fell in love with the poetry of existence itself. To exist means to dance. To dance in- between. In between sky and earth, life and death, me, you and all beings on earth. We often perceive our world as stable, but as we start differentiating we could look at our bodies as porous clusters in an ongoing exchange and oscillation with its surroundings. Movement and transformation are eternal. Dance is a place where all oppositions can finally meet and conversate. Where we can sense the proximity of qualities and the beauty and necessity of difference. A place to inquire what it really means to be “human”.
I am thankfull to carry a huge influence from Minako Seki, Atsushi Takenouchi and Hiroko Komia and Maruska Ronchi in my body. As well as Ko Morubushi and Motimaru really inspire me. My practice is also informed by Judo, Capoeira Angola, training with Joseph Bartz, Enrico Paglialunga and Continuum as an somatic practice.