gallery

ESPACE

Interstice

Delirious

The Onion Man

Remote

Haugtussa

Unravel

Ether, Earth

Perimeter

a videodance by HYENAZ

Perimeter is an audio visual work and interactive documentary by HYENAZ, featuring performances by Mad Kate, Adrienne Teicher, Mmakgosi Kgabi, Martini Cherry Furter and Simon(è) Jaikiriuma Paetau. It asks the question: what does it feel like to understand oneself as “just outside” and yet also “just barely inside” an identity, a concept, a philosophy, a group, a family, a home, a situation, a gathering? What is the feeling of just barely belonging? Both inside and outside? What is it like to be “foreign” to a place which is familiar? What is foreign inside? Perimeter was exhibited at Come Alive - a multidisciplinary immersive exhibition on sexualities and eroticism at Het Nieuwe Muntgebouw in Utrecht in 2022. Adrienne Teicher chose the perimeter of her semi-discarded Jewishness; Mad Kate delved into their relationship with her assigned-female body and sisterhood; Mmakgosi Kgabi explored her complex relationship with the feeling of joy; Martini Cherry Furter danced between notions of the “real” and “performative” self and Simon(è) Jaikiriuma Paetau, who lives between Germany and Columbia, chose the perimeter of the peripheric body and the intersecting lines of race, gender and class present in each of their homes. The core of the work is a sharply cut music video, with stunning artistic direction by Yeorg Kronnagel and cinematography by Robert Mleczko, wherein the five artists perform these unstable territories. What they create with their bodies is emotionally raw, yet hyperstylised, allowing visitors to the gallery to witness how playfulness can emerge even in territories which are traumatic. The music elicits associations with the underground techno scene of the city of Berlin in which all five performers live. Presented around this nucleus is an interview with each of the artists, which play simultaneously on five separate screens. It was in these interviews that HYENAZ and their collaborators discovered and elaborated their perimeters, giving themselves space to describe in careful detail, aspects of their existence which normally live beneath the surface of awareness. This gives visitors the unique opportunity to look inside, and behind and beyond the subculture of queer performance in Berlin. PERIMETER was composed in Bitwig on Ubuntu Linux. The field recordings were collected on slow movement journeys of volunteering and research for FOREIGN BODIES, a project about bodies in relation to each other, bodies in motion, bodies in repulsion and attraction, bodies in migration, bodies in resistance to management and control. Every sound is built from field recordings … a scrap of metal against a metal fence atop a hill in Samothraki… a busy cafe in Palermo, speaking to our collaborator and fellow musician Yusuph Suso … the sounds of labour in a refugee aid kitchen in Dunkirk… saxophone samples by Bartłomiej Kuźniak from an ancient cave in Częstochowa … clarinet samples from Alex Spree in Berlin initially recorded for Queercore: How to Punk a Revolution. All the layers of this composition have a story that we will not forget. theme: music video

String Quartet No.5:V

SENSIBLE

the garden with roses

a videodance by Elpiniki Zaira

A lullaby for the children who are no longer alive is the musical path the heroine of the film follows. The woman fills the container with water from a forgotten fountain. She carries it tenderly, as if it were her own child. Her body confronts the grandeur of birth and death, within the crevice of rocks that resemble a vulva. Through a journey from light to shadow and back to light, she reaches her original goal. At the edge of the rocks, she empties the water into the sea, returning her child to the womb of the earth. Concept - Σκηνοθεσία - Μοντάζ - Color Grading: Ελπινίκη Βουτσά Ρεντζεποπούλου | Χορογραφία - Ερμηνεία: Ματίνα Κοκολάκη | Διεύθυνση Φωτογραφίας: Μιχάλης Γοναλάκης | Βοηθός Σκηνοθεσίας: Χρήστος Ροζάκης | Οπερατέρ: Μιχάλης Γοναλάκης Ελπινίκη Βουτσά Ρεντζεποπούλου | Location Scout: Σεμέλη Βουτσά Σοφία Κάσσαρη | Cave & Canyon Manager: Σεμέλη Βουτσά | Σύνθεση: Κάτια Ανδριανάκου Διεύθυνση Χορωδίας: Κατερίνα Βασιλικού | Ambitus Choir: Νικολέττα Καραβάνη Νάγια Πασχάλη Κλαίρη Γάσπαρη Γεωργία - Χριστίνα Αλεξοπούλου Χριστίνα Γεωργίου Δήμητρα Κόλλια Λώρα Βοβώνη Αναστασία Αρχοντάκη Milda Kalvaityte Χρυσάνθη Σουλιώτη Χριστίνα Σουλιώτη Έμυ Ραυτοπούλου Μαρία Βλαβάκη Ειρήνη Μπανταλάκη Σταματέλου Σταμάτα Μαργαρίτα Μαυράκη | Ηχογράφηση - Μίξη: Γιώργος Καρυώτης | Sierra Studios | Κόντραμπάσο: Σταμάτης Φουσέκης Γκάιντα: Χρήστος Ροζάκης Ακορντεόν: Κάτια Ανδριανάκου | Ομάδα Παραγωγής: Σεμέλη Βουτσά Κάτια Ανδριανάκου Χρήστος Ροζάκης Σοφία Κάσσαρη Κυριάκος Τσιτωνάκης theme: music video

Feeling

The Carrier Bag Archives

a videodance by Marta Łyżwińska, Zuza Jeglorz, Julia Dutkiewicz

Stories shape how we inhabit the world. Some of the ways we tell them seem as real as the world itself. But what if we challenge the position and gender of the omnipotent narrator? Who are we as storytellers? What kind of story will we leave behind? In her essay "The Carrier Bag Theory of Fiction", Ursula K. Le Guin questions the way stories are told. Instead of building legends of spears and conquer, she proposes receptivity, represented by a bag — the first container used for gathering and collecting. In place of the hero, there emerges a collective subject; instead of a linear plot, a tangled rhizome of interwoven threads. Le Guin's text is not just a reflection on narrative structure but also on how human history is recorded. Can we view history through a lens other than that of wars and heroes? Are we even interested in the slow, repetitive nature of everyday life? How do we tell stories that are feminine, queer, marginalized, and distant from capitalist reality if not by rejecting the very tools that uphold traditional narratives? This video is an attempt to answer these questions. The narrator in the film embodies femininity, queerness, and non-normativity. She serves as a vessel for (marginalized) stories while allowing her body to become a medium for storytelling. Using the soft, empathetic language of dance and gesture, she invites the viewer to get lost in the story and rediscover it anew, drifting in the cyclical motion of ebb and flow. Her address is directed toward all beings—not necessarily human—with the hope of preserving her story from oblivion. The repetition of gestures highlights the nature of everyday life, celebrating cyclicality over singularity. The narrative threads diverge, loop, and disperse, only to reconnect on the split screen. Much like Nancy Tuana's concept of viscous porosity ("Viscous Porosity: Witnessing Katrina"), these stories stick to and permeate one another without forming a linear, hierarchical structure. They forgo the hero and traditional action in favor of a web of interwoven concepts and events, with a collective subject moving in multiple directions at once — a fascinating mess, akin to the depths of a vast carrier bag, comprehensible only in its entirety. Creators Concept, direction, cinematography, and editing: Marta Łyżwińska | Choreography and dance: Zuza Jeglorz | Costume: Julia Dutkiewicz | Music: ori lichtik theme: empowerment

When the hawk comes

The Clown