Past Events (selected)

Ein Zeichenspiel von Till Velten (DE)

Mit Hildegard Matheika, Khaled Aga und der Position Prof. Dr. Gert Overbeck

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Bloody Mary Bar ab 19:30 Uhr
Gespräch ab 20:00 Uhr

Till Velten im Gespräch mit den Gästen Hildegard Matheika, Medium und Rückführerin aus Mönchengladbach und Khaled Aga, Sänger aus Wien und Syrien.

Position Prof. Dr. Gert Overbeck: «Stigmata: Geschichte und Psychosomatik eines religiösen Phänomens»

Overbeckt ist ehemaliger Direktor der Klinik für Psychosomatische Medizin und Psychotherapie an der Johann-Wolfgang-Goethe Universität Frankfurt

Eintritt: 20 CHF inkl. Bloody Mary

Reservation: info@cabaretvoltaire.ch

Mehr zum Zeichenspiel hier.

Begrüssungsvideo: Studio Velten in Kooperation mit der «Anderen Maria»

Die Andere Maria - Ein Trailer zum Zeichenspiel (Kopie) (Kopie)

by Steven Warwick & Carlos María Romero

in the frame of «Zurich Moves»

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«HQ: (I feel so Mezzaniney)» ist eine Verschmelzung von Warwicks ortssensitiver «Mezzanine»-Serie und Maria Romeros Interesse an Go-go als Ausdrucksform zwischen Performance und Dekor.
In diesem fiktiven Hauptquartier verrichten die Tänzerinnen (Las Mezzaninas) als Dienstmädchen Arbeiten und tragen klassische Konflikte des Plattformkapitalismus aus, in dem Selbstpflege-Rituale und die Bildung von Gemeinschaften monetisiert werden und Gaslighting, eine Form psychischer Gewalt, jegliches Vertrauen zerstört. Sie leben in einer Welt, in der Körper und Klang zerlegt und auf minimale Rhythmen reduziert werden, um eine Atmosphäre zu schaffen, in der Geld bewegt werden soll.
In der Reflexion zeitgenössischer Gefühle der Isolation wird deutlich, dass Fragen der Handlungsmacht und auffällige Darstellungen sozialer Interaktionen unweigerlich mit diesem beunruhigenden Zeitalter des Populismus verbunden sind.

HQ: (I feel so Mezzaniney) is a collaboration conflating Warwick’s site sensitive ‘Mezzanine’ series and Maria Romero's interest in Go-Go as form of work half way between performance and decor.

In this fictive HQ the dancers (Las Mezzaninas) are maids-in-waiting, performing labour and acting out the conflicts found in, and on, platform-capitalism, where self-care routines and community-building are monetised, and gaslighting fragments trust. They inhabit an ecology where bodies and sound are dissected and reduced to minimal rhythms sculpting an ambient to make money move.

Reflecting upon contemporary feelings of isolation, questions of agency and conspicuous displays of social interactions are linked to an age of unsettling populism.

Teaser

Credits

Concept, direction: Steven Warwick & Carlos Maria Romero

Music, text: Steven Warwick

Choreography, performance: Carlos Maria Romero

Performers: Indward De Jesus Romero Mercedes

Production: Michel Hart

Photo credit: Photos by Pedro Anguila

Video credit: Developed at FUGA, video edit by Ana Escario

Biographies

Carlos Maria Romero aka Atabey Mamasita

UK-based Colombian multidisciplinary artist / performer. Founder of SPIT! –Sodomites, Perverts, Inverts Together! with whom they wrote (initially for Frieze Projects 2017) and perform a series of queer manifestos ; Vividero Colectivo –multidisciplinary artists and architects re-claiming as cultural heritage historically marginalised social practices and architectural sites; and Vogue-Chi, a multi-generational queer and allies movement practice and safe space for self-expression and coming together.
www.carlosmariaromero.com


Steven Warwick is an artist musician and writing based in Berlin.
Warwick’s practice is paradigmatic of an interdisciplinary approach that encompasses DJing and theatre-making along with art, music and writing. His work is disseminated on a multitude of platforms including records, galleries, nightclubs, publications and the Internet. Across these contexts, Warwick creates assemblages of performance, image, sound and language that speak to the ways in which ideologies construct and inhabit spaces, online and offline – from co-working spaces to clubs, television shows and online chat rooms. In its pluralistic live forms, Warwick’s work redefines the expectations and conventions that accompany events such as concerts and public lectures.

by Mavi Veloso

in the frame of «Zurich Moves»

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DE:

Dieses Mal begann ich auf dem Boden. Etwas wird geschehen: Eine Explosion, die Zerstörung aller Ideen. Mit geschlossenen Augen halte ich das Mikrofon in meiner Hand. Ich lasse es über den Boden streichen, zeichne mit den Geräuschen eine Karte meiner Wege. In kompletter Dunkelheit lässt nur das Blitzlicht der Kameras erahnen, wie sich Bilder allmählich entwickeln. Können wir uns in Sicherheit wägen? Ich drehe die Lautstärke auf: Ich muss dich hören. Du musst mir zuhören. Dieser Soundtrack wird zu unserem Liebespakt. Ich tanze, krieche und gehe. Als ob diese Dunkelheit eine Revolution herbeiführen könnte.

MUDA/MUTE (stumm) ist Teil des Projekts #iwannamakerevolution. Eine Recherche, welche Mavi Veloso im Master of Voice am Sandberg Institut in Amsterdam, im Postmaster an der A.PASS in Brüssel sowie in Residenz bei ArtsEverywhere.ca erarbeitet hat. iwannamakerevolution.artseverywhere.ca

EN:

This time I started on the floor. I was afraid that what was going to happen could be a big destruction, something to explode everyone’s ideas. With eyes closed, I have the microphone in my hand. I touch it on the floor as if sticking the surface with sound could map me wherever to go. In complete darkness, camera flashes are the only way to highlight images gradually in development. We wonder if there’s possibility to be safe until the end. I turn up the sound as high as possible. I need to hear you, you need to hear me, we need to hear what. So how can we make this soundtrack become our pact of love? How can we make this noise witness the crime between you and I? I dance, I crawl, I walk... As if this blindness could turn revolution something possible.

MUDA/MUTE is part of the project #iwannamakerevolution, a research conducted at Master of Voice at the Sandberg Instituut in Amsterdam, postmaster research at A.PASS in Brussels, Belgium, and project in residency at ArtsEverywhere.ca iwannamakerevolution.artseverywhere.ca

Duration:
40min

Teaser

Biography

Mavi Veloso is a Brazilian performer based in Amsterdam who works transdisciplinary integrating visual art, dance, theater and music. Her work explores performativity, the relationship between performer and audience, trans feminism and decolonization. As a transgender migrant from South America to Europe, Mavi seeks to embody and appropriate the transformation process, psychological, social and physical, conflicts and cultural adaptation procedures, as well as fashion, queer, trans and drag queen elements to question gender technologies, notions of identity, sexuality, placement and displacement. She has presented in venues and festivals including the van Abbemuseum in Eindhoven, Kampnagel in Hamburg, Kunstenfestivaldesarts in Brussels, Les Urbaines in Lausanne and the 31st Biennial of São Paulo.

Credits

Concept and performance: Mavi Veloso
In Collaboration with: Caio Cesar, Glenn Ryszko, Raphael Daibert, Olga Dimitrijević.
Many thanks to: Thiemi Higashi (video maker), COMO Clube São Paulo, Advanced Performance and Scenography, Pierre Rubio, Lilia Mestre, Perform Back Score Sessions, Nicolas Y Galeazzi, Elke van Campenhout, Adva Zakai, Peter Stamer, Philippine Hoegen, Performing Arts Forum , Sign 6 Brussels, Free Home University, Ammirato Culture House (Lecce), Master of Voice, Lisette Smiths, Marnie Slater, Paul Elliman, Dorothé Orczyk, Snejanka Mihaylova, and all colleagues from Master of Voice/Sandberg Instituut, Suzy Block, Dansmakers, @Jacuzzi Amsterdam.

by Luis Garay

in the frame of «Zurich Moves»

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DE:

Die Performance Oro Lodo (Golddreck) strebt mit grosser Dringlichkeit danach, die Fiktion des Materiellen zu entlarven, wonach alles, was nicht wir sind, uns mit Leben füllt. Luis Garay schafft Umgebungen, in denen Arbeit und Freizeit, Produktion und Reproduktion untrennbar sind. Der Titel Oro Lodo bezieht sich auf den Neobarroso, der vom queeren Schriftsteller und Aktivisten Nestor Perlongher (*1949, Argentinien; †1982, Brasilien) begründet wurde. In dieser verrückten Idee der Rückkehr eines dreckigen Neobarocks sucht das Stück nach einem Schlüssel zur Interpretation der Gegenwart, die voll ist von endlosen Wiederholungen und einer nutzlosen Üppigkeit. Das Stück ist ein Experimentierfeld für Verknüpfungen und Wahrnehmungen, die sich als Gegenvorstellung dessen ergeben, was der Mensch darstellt.

EN:

Oro Lodo works with material fictions where all that is not us is actually animating us. Through proliferation of signifiers, iteration without end and useless voluptuousness, the work creates a landscape where leisure and work are inseparable. Using the twisted idea of a return to a soiled and mudy neo baroque (proposed by Argentinian writer and activist Nestor Perlongher) the piece is a testing zone to assemblage other couplings and states of perception that arise from a counter-imagery of what is represented as human.

Duration:
180min

Credits

Artistic direction Luis Garay Supported by Prodanza, Museum of Modern Art of Buenos Aires (MAMBA)
Photo ©Triana Leborans

Biography

Luis Garay deals with detailed environments where ideas of labour and exercise explore simultaneous states of pleasure, alienation, emptiness and shared agency. He is constantly interested in the question of where a body is. This concern for "localization" traces the constant rendering of subjectivities without coordinates, in exile. He presented recently at The Walker Art Center, Minneapolis, The Vienna Festival, Matadero Madrid, Kyoto Experiment Japan, Pompidou Metz, Theater International de la Cite, Paris, Montpellier Danse, SESC Sao Paulo, Panorama Festival Rio de Janeiro, among many others.

mit Nino Baumgartner (CH) & Søren Berner (DK)

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Nino Baumgartner und Søren Berner laden zu einem «Shortcut» durch die Stadt Zürich ein. Start- und Endpunkt dieses «Shortcuts» ist das Cabaret Voltaire.
Was ist ein «Shortcut» und wie funktioniert er? Das werden die beiden Künstler vor Ort erklären und mit den Teilnehmer/innen erstaunliche Wege, Umwege und Abkürzungen schaffen.

Treffpunkt: Pünktlich um 18:00 Uhr im Cabaret Voltaire, inkl. Energy Boost!
Dauer: ca 2 h
Ausrüstung: Gutes Schuhwerk (Wander- / Trekkingschuhe, dem Wetter angepasste Kleidung)

Die Hindernisse können grösstenteils umgangen werden, doch der «Shortcut» erfordert eine gewisse Trittsicherheit.

Die Teilnehmerzahl ist auf 12 Personen beschränkt.
Voranmeldung bitte via email an: info@cabaretvoltaire.ch

 

Biography Nino Baumgartner (CH)

is based in Bern.
Selected shows and performances:
SHORTCUTS in Bern, Basel, Zürich, Stuttgart (2015-2018); MANEUVER / GROOVE SPACE, Tinguely Museum Basel, (2015); Maneuvers and Formation, Rockbund Museum, Shanghai, (2014); Helix Manuever, Kunsthaus Aarau, (2012)

by Belia Winnewisser (CH)

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On the occasion of the presentation at Cabaret Voltaire, Belia Winnewisser will stage a site-specific performance.

More details will follow shortly before the «Fun & Fury!» Performance Dienst-Tag/To-Do's Day.

This «Fun & Fury!» Performance Dienst-Tag/To-Do's Day is part of the program Theatre of Sound curated by Philipp Cron (CH)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biography Belia Winnewisser (CH)

lives and works in Lucerne. She holds a Master's Degree in «Contemporary Arts Practice» of the Berne University of Arts. During her Bachelors in «Sound Art» at the Berne University of Arts she focussed on sound synthesis and minute motor acticity, the technical skills for audio installations as well as film and live-electronics. In the fall of 2016 Winnewisser studied in Bergen (NO) at the School for Art and Design with an emphasis on visual animation and prodicung electronic music. Today she performs in national as well as international art spaces. Next to her works and her musical solo projects she is active in the musical projects A=f/m (LU, BE) and Silver Firs (BE).

Vernissage der Performativen Installation von Sophie Jung (CH)

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Does dies diem docet mean anything?

Answer: yes. or no.

Eine performative Installation von Sophie Jung (CH).
Kuratiert von Vlada Maria Tcharyeva (CH) und Adrian Notz (CH).

Sophie Jung wendet sich mit einer fragmentarischen Textintervention dem Dada Monument Cabaret Voltaire zu, um es in dauernder Gelesenheit in ein nie still haltendes Jetzt zu bringen.

Es freut uns sehr mit Sophie Jung, die bereits vor zehn Jahren mit uns arbeitete, eine begnadete Performerin im Cabaret Voltaire zu zeigen, die geschickt das Objektige in Worte und das Wortige in Objekte verwebt.

Jung bespielt die Räumlichkeiten des Cabaret Voltaire mit Worten, Sätzen und Texten, die den Geburtsort von Dada zum Sprechen bringen. In der Bewegung der Gäste durch die Räume, ihrem Lesen und lauten Rezitieren «ersteht» Jungs Arbeit. Das Werk wird somit durch die Dynamik des Lesens beeinflusst. Dadurch also, dass Sophie Jung unterschiedlichstes Inventar auf unterschiedliche Weise (und doch so einfach es das Untergrundmaterial nur zulässt) mit Sprachfragmenten versieht, ist es der Körper der Besucher/innen, der durch Bücken, Drehen, rauf und runter Gehen einen spezifischen, jedoch nie konkludierenden Text arrangiert und im nie endenden, «sozialen» Gesamtkunstwerkes «mit-ersteht».

{be
spoke} UP...
in favour of
flavour of which was
off

by Jurgen Ots (BE) and Kjersti G. Andvig (NO)

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«Monkey Business» is a new time-based collaboration between visual artists Jurgen Ots and Kjersti G. Andvig. Part temporary occupation, part open studio, «Monkey Business» looks at the politics of collaboration in the public realm via unscripted occurrences, mad assemblages and unexpected encounters.

On the occasion of the presentation at Cabaret Voltaire, «Monkey Business» will stage a site-specific intervention.

This «Fun & Fury!» Performance Dienst-Tag/To-Do's Day is part of the program It Takes All The Fucking Time curated by Michelangelo Miccolis (IT)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biographies Monkey Business

Jurgen Ots (BE) studied at Sint-Lucas Brussels. Solo exhibitions include (selection): The Periaqueductal Gray Series, Galleria ZERO, Milan, 2014; Periaqueductal Gray, Elisa Platteau, Brussels, 2013; La Porte de l'Enfer Elisa Platteau & Cie Gallery, Brussels, Belgium, 2012. His work was also shown in the following group exhibitions (selection): What are we going to paint, Anette Gelink Gallery, Amsterdam, 2016; Hearing colors tasting shapes, Aike Dellarco, Shanghai, 2015; Dust, center for contemporary art Ujazdowski Castle, Warschau, 2015; An Exchange with Soll Lewitt, MASS MoCA Massachusetts, USA, 2011.

Kjersti G. Andvig (NO) grew up on the Lofoten islands where she studied for one year at Kabelvåg Art and Film school. She graduated from the National Academy of Art in Oslo in 2003. As an artist, her work often takes the form of long-term commitments to situations that demand complete personal dedication. She has had solo exhibitions at Rekord, Oslo, Triangle, Marseille, and Akershus Kunstsenter, Lillestrøm, and her work has been seen in group exhibitions including Lights On at the Astrup Fearnley Museum, Oslo, the Carnegie Art Award exhibitions in 2010 and the Lofoten International Art Festival, 2011.

Nils Amadeus Lange (DE) & Samuel Savenberg (CH) mit Daniel Rajcsanyi

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Chronos tritt auf. Die Uhren sind stehen geblieben, wie nach einer Explosion. Auf den Strassen Müll aus vergangener Zeit. Versteinerte Happy meals. Asphaltierte Kotze geschichtet auf Vergissmeinnicht.Horizontal verlaufende Kulturschichten sind freigelegt, doch die Menschen können sie nicht mehr lesen.


Musik: Samuel Savenberg ( S S S S )
Choreografie: Nils Amadeus Lange
Performer: Daniel Rajcsanyi

Dieser «Fun & Fury!» Performance Dienst-Tag ist Teil der Theatre of Sound Reihe, die von by Philipp Cron (CH) kuratiert wird.

Eintritt: CHF 10.- (Cabaret Voltaire Mitglieder: gratis!)

Biographie Nils Amadeus Lange (DE)

works as a performer and choreographer in Zurich. After completing his drama studies at Hochschule der Künste Bern, he began withdrawing from theater, shifting his focus to abstract forms of expression, dance and performance history during his master's program „Scenic Arts Practice“ (also at Hochschule der Künste Bern). He uses his body as a weapon, with which he pierces through the audience's heads, in order to subsequently dissect memories of conventions, role models and gender stereotypes from their brains.

Biography Samuel Savenberg (CH)

works in the fields of contemporary electronic music and media arts. He produces music under his S S S S monicker and from time to time writes about Club Culture for Swiss magazine zweikommasieben.

by Phillip Reeves (UK)

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«Sausages» uses exaggeration of both body parts and costume, aiming to examine grandiose delusions of antiquated hierarchies within the labour force.

The audience is invited to witness a tense culinary spectacle, of multicoloured, floppy, phallic, intestinal edifices. Presented to the viewer is the ongoing and faltering performance of a chef who manually operates a sausage-stuffing machine, creating residual entrails of the performance across the stage. Sausages are festooned overhead and from the walls like strange, horrific bunting and widely distributed across the stage.

The character 'Big Chef', clumsily operates the machine with overly exaggerated appendages, wearing a comically tall hat to signify antiquated workplace hierarchies and the supposed mastering of his task and dominance of machine. 'Little Chef', relentlessly works to supply the machine with new material, buckets after buckets of meat, fueling the factory as the spoils of war are ceremoniously dumped on the floor.
There is an element of theatre in the used props such as the costume of a blue inflatable dress that relates absent body forms, hinting at voids and departure, as well as the deliberate distortion of the hands, creating a sense of slapstick calamity. Operating the machine is intensified in its physical undertaking, made awkward with an interplay between a sense of miss-control and dexterity, at times referencing the 'human-space-machine' era of Bauhausian years.

This «Fun & Fury!» Performance Dienst-Tag / To-Do's Day is part of the program Are we bodies? curated by Vlada Maria Tcharyeva (CH)

Entrance fee: CHF 10.- (Cabaret Voltaire Members: free!)

Biography Phillip Reeves (UK)

is a recent graduate of the Goldsmiths MFA programme (2015 - 2018) and has been nominated for the ARTIQ Graduate Art Prize. Also in 2018, Reeves won the Wytham Hall Painting Prize and The Jealous Art Prize, which will see his work incorporated into the Victorian and Albert Museum’s permanent collection in 2019. Prior to Goldsmiths, in 2015 Reeves completed a non-accredited student led art education course at The School of The Damned in London. Further back, in 2014 Reeves gained a scholarship from The Canton of Geneva to undertake a residency at The Embassy of Foreign Artists, Geneva. In 2012, Reeves was awarded The Elizabeth V. Sullivan Scholarship by The Arts Students League of New York to be artist in residence at the Vytlacil Campus. Reeves has participated in many group shows in globally, and solo exhibitions include ‘Sausage Pile Up’ (2017) Vess Gallery, Copenhagen, Paper Walls (2014) Le Salon Vert, Geneva and ‘Abandoned Land: Sharp Continent’ (2014) Vitrine Gallery, London. As of November 2018 Reeves starts an 8-month studio programme at Husk Project Space in London which will culminate in a solo exhibition in June 2019.