- Glitch Softcore (gallery version) questions our relationship with vanishing natural spaces, particularly glaciers, and explores power structures between humans and these icy landscapes. In this exhibition, glaciers—the disappearing entities at the heart of the work—are given a central focus and are transformed into an artistic homage. The gallery version is created in collaboration with artist Ivan Minichiello, who is also involved in the stage production as a scenographer. Sound compositions by Paris-based sound artist Léa Jullien, created in collaboration with Lucerne-based pianist Raphael Loher, are incorporated into the gallery version. The work is further complemented by artistic footage created during the research process on and around a glacier with the artistic team, filmed by Graubünden-based filmmaker Aline Bavier and Zurich filmed Michelle Ettlin. Materials emerging from the research are brought together, expanded, and developed into a multisensory installation and exhibition.More information
- Analog ASMR 22century treatment project (Work in Progress) is part of a bigger research, an initiative from more then 20 artists from different disciplines gathering at Cité internationale des Arts in Paris. They all work in the fields of performance, dance music, film, sound, cooking, fine arts, choreography, literature - gathering knowledge and share rituals and performance practices, aswell as developing alternative methods to production based works in the field of art. As its foundation, working as a collective forms an aesthetic of shared authorship and collaborative practice. An initiative by Oussama Bouaziz, Jamuna Mirjam Zweifel, Poline Gosselin, Tato Ketishvili, Can Etterlin and more artists from Paris Cité international des Arts. 2026/2027 Paris Cité international des ArtsYear2026FilmingTato KetishviliProject linkVideoMore information
- Step 1: Find at least 1 other person or more people. Step 2: Define a starting point A and an ending point B and a timeframe (example 40min), the way back can be a moment of reflection/verbal exchange. Step 3: Read the following information before you share the score below: „Fake Parkour refers to a form of forward movement whose goal is to get from point A to point B as inefficiently as possible using only the abilities of one's own body. The parkour runner defines its own path through urban and natural space in a way that is different from that prescribed by architecture and culture.“ Important: Fake Parkour is a training that the practicioners design together based on a score. There is no leader. The aim is to find creative solutions within this score and to move the body in a group from A to B outside the usual ways of moving. To do this, let the environment inspire you and take time to digest the environment through your body, use it as an opportunity to get in contact with your environment through another way than you would normally do. The emphasis is on inefficiency, taking breaks can help to orientate, notice what others are doing, what is going on and use these moments of pauses to sharpen the senses while holding in for a moment. In Fake Parkour there is no right or wrong, this is an experiment, an exploration of what fake parkour could be, could mean and it lives from all of the practitioners creative ideas. The practice is also a collective action and everyone together is responsible for the common experience. There can be a lot of information that affects you in a city, maybe it is helpful not trying to focus on everything at the same time, but rather choose one thing after the other. Take responsibility for yourself, ask yourself what is possible? recognise dangerous situations. Step 4: Read the Score (maybe twice) out loud before you go.ConceptJamuna Mirjam Zweifel in collaboration with THE FIELDMore information
- The glacier observes us, the water stores our touch, the wind carries our stories onward—humans leave traces. We are not alone in our perception; we are embedded in a web of phenomenological interrelations. It is not only we who perceive our surroundings—the surroundings also perceive us. These observations form the premise of the artistic research. The project Glitch Softcore is a multi-year endeavor situated at the intersection of research, performance, mediation, and community-based formats. At its center is the creation of a new full-length stage work of the same title featuring four performers. The work is an artistic exploration of the glacier as a living entity and of the digital worlds of the game The Sims. Glitch Softcore will be developed in collaboration with Tanzhaus Zürich as part of a long-term partnership in the years 2026/2027 within the Accomplices model. Premiere: April 22, 2027 Tanzhaus Zürich More Dates: April 23-25, 2027 Tanzhaus Zürich April 29, 2027 Neubad Luzern Mai 2027 Tanzfest Winterthur October 22, 2027 Vernissage Gallery Version Galerie S11, Solothurn October 23- November 21, 2027 Gallery Version Galerie S11, Solothurn Community Events: October 11, 2026 Sensorial Hike - Glacier in Collaboration with Tanzhaus Zürich April 4, 2027 Public Fountain Water Tasting Walk in Collaboration with Tanzhaus ZürichYear2026/2027Duration01:00:00Concept & ChoreographyJamuna Mirjam ZweifelPerformanceAriana Qizmolli, Rafael Smadja, Maureen ZollingerDramaturgyCharlotte MathiesenSoundLéa Jullien & Raphael LoherLight Design & TechPatrik RimannCostumeLarissa RiesenScenographyIvan MinichielloProductionEva Cabañas & Madleina CaveltiDocumentationMichelle Ettlin & Aline BavierCo-ProductionTanzhaus ZürichSupportFachstelle Kultur und Swisslos Kanton Zürich, Swisslos-Fonds des Kantons Solothurn, «Mit der Unterstützung des Kulturfonds der Société Suisse des Auteurs, Migros-KulturprozentProject linkTeaser Glitch SoftcoreProject linkResearch Morteratsch & Persgletscher _Pre Scouting VHS by Aline BavierPress / dossierMore information
- Glitch Softcore Sensorial Walk is a community format designed in collaboration with Tanzhaus Zurich. More infos coming soon. Save the Date Public Walk: October 11, 2026
- The artistic research of Please Hold While We Adapt, explores how new narratives can emerge through choreographic engagement with vanishing natural landscapes. At its centre is the Chamois, a mountain goat – as an agent. And with it the natural habitat that surrounds its ecosystem. An ecosystem hardly to live on as a human being - but is part of crossing pathways. The work investigates how personal myths and memories are woven into movement, and what bodily qualities emerge when embodied and social behaviours of mountain goats or chamois are imitated and studied, such as translated in to movement scores and get abstracted? As a detour from Jamuna’s ongoing artistic research into our relationship with glaciers, Jamuna invites in Please Hold While We Adapt Oussama Bouaziz into a playful encounter with their own performance personas and with the “inner” chamois, the mountain goat within. Through improvisation, movement and mutual curiosity, the two performers enter an uncertain terrain where instinct, reaction and imagination begin to shape the encounter. Through this research, social conditioning is to be questioned by means of choreographic scores that disrupt and destabilize “socially human” behavior. Methods of deceleration, subversion, and imitation may be used to understand, unlearn, and reconfigure modes of action. The work also aims to challenge and renegotiate existing power structures between humans, animals and natural forces.Year2026Duration00:30:00Concept / choreographyJamuna Mirjam Zweifel & Oussama BouazizPerformanceJamuna Mirjam Zweifel & Oussama BouazizProductionRESERVOIR ProductionsPartnerCité internationale des Arts, Paris
- With Scapes - Somatic Catwalk Jamuna Mirjam Zweifel and collaborator Larissa Riesen explore the relational fabric between body and textile as equal counterparts. Where does the body end, and where does the textile begin? How are these hierarchies negotiated? In what ways can textiles transform movement and how can movement, in turn, transform textiles? As a duo, the artists investigate the relationship between the (moving) body and textile, experimenting with their boundaries, interactions, and respective agency. Through the project, Jamuna & Larissa develop interdisciplinary practices in which textiles are not merely decorative accessories but active participants in the performative process. Textiles by LARISSA RIESEN. https://lafoxerine.chContent statusResearchYear2026-2027Concept Jamuna Mirjam Zweifel & Larissa RiesenPerformanceJamuna Mirjam Zweifel & Larissa RiesenTextilesLarissa RiesenDocumentationNastixnaSupportFirst Research Dynamo, ZurichProject linkhttps://vimeo.com/1215732176?fl=pl&fe=shMore information
- RESERVOIR Productions is an association dedicated to producing multidisciplinary performances at the intersection of dance, performance, and sound. We aim to develop residencies, artistic research projects, and art, dance, and theatre productions while experimenting with different formats. Our approach focuses on building communities within artistic processes and sharing practices around sound, performance, scenography, and dance. We seek to create landscapes for stages and museum spaces, explore unconventional formats, and bring them to unexpected places. We are particularly interested in developing sustainable artistic practices that can be shared with other communities, creating opportunities for people to express and exchange their interests through formats that foster openness, curiosity, and peaceful encounters, both within the production team and with audiences and communities beyond it. Our values are rooted in respectful and sustainable* communication, as well as playful encounters between sound, dance, performance, and scenography, and between different cultures and perspectives. The association also aims to involve young professional dancers and artists, creating bridges between educational programmes and the beginning of their professional careers as independent and meaningful artists. In addition, we seek to strengthen artistic connections between Switzerland and France, particularly between Zurich and Paris. *For us, sustainability means building and maintaining long-term collaborations. Whenever possible, we aim to reuse materials and resources. The association is non-commercial and does not pursue any profit-making objectives. President: Patricia Renggli Vize-President: Marcel Hänseler Cassier: Jamuna Mirjam Zweifel Auditor: Andrea Berger Founding members of the association: Léa Jullien, Ivan Minichiello, Ariana Qizmolli, Maureen ZollingerMore information
- Blue Moon - Plastic Fantastic is an archive entry for choreography, performance and research material.More information
- A voice-over narrates Genesis and Exodus, the first two books of the Bible. A lot has already happened: the Flood and the flight from the Promised Land. We jump straight into Season 3: Leviticus. A code of conduct is needed. Whether in the desert 2,500 years ago or today at Rote Fabrik in Zurich, the question remains the same. Drawing on the 27 chapters of Leviticus in the Bible in Basic English, we condense its central instructions and laws into pop lyrics. We bring these archaic texts directly into the present, revisiting deeply ingrained principles of human rights (“you shall not kill”) alongside ideas of justice that, unfortunately, remain as relevant as ever (“an eye for an eye”). With Levitikus, Freie Oper Zürich presents a new project that explores instructions, values, rules, and laws, placing at the heart of the opera a mechanism that can be observed across many areas of our society. Rules may appear objective and universally applicable, yet they are constantly subject to negotiation and reshaping. Freie Oper Zürich deliberately works through a collective process involving instrumentalists, singers, and other artistic collaborators. With its promise of an “opera” that is bold and free, the company takes an unconventional position within Switzerland’s contemporary music theatre landscape. Following l’homme qui rit (2013) and Orpheus (2018), Levitikus is the company’s third project. Performances at Fabriktheater Rote Fabrik, Zurich, Tojo Theater Bern
- This shortpiece tells the story of a creature that falls into a hole and slowly makes its way out by its way out by putting on several layers of clothing while it is in constant motion and increasingly in constant motion and becoming increasingly dense. *Sailing Salt is a poetic image of how to navigate through the sweat that appears on the skin, how to connect the space and the skin with its porosity through the layer of sweat and using it to gain wind Digging Holes & Sailing Salt deals with the desire to give a voice to unnamed forms of existence from beneath the earth and interweaves parts of Sarah Vanhee's essay "The Fantastic Institutions" into the material. Perhaps this solo dance is a protest, a poem or an excursion into a world that is often invisible and therefore less perceived. In this sense, the dance and the movement become transformers of voices or thoughts and, in the best case, provoke an altered state. The movement material lives from how it is performed. Simple, repetitive sequences are performed into the space with care and awareness. Repetitive elements mixed with interruptions form an important framework of the choreography. Strobing (double time dime-stop) In Digging Holes & Sailing Salt, Jamuna works with the technique of "strobing", a quality of movement that she got to know through the dance culture of popping and was was fascinated by this effect, which creates an illusory strobing effect. She uses this form of movement to lead herself into a state of constant interruption. Dew worms, for example, live in the ground and react sensitively to changes in light. If they suddenly perceive light or shadow, they can quickly bury themselves, which corresponds to a kind of switching on and off of their behavior.Year2026Duration00:14:44Concept / choreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelOutside EyeMaureen Zollinger, Hannah Juliane SteenbeckSoundLéa JullienLightJamuna Mirjam ZweifleCostumeJamuna Mirjam ZweifelDocumentationHannah Juliane SteenbeckVideo LinkFull Video PerformanceVideo LinkTrailer SupportTanzfest Winterthur, Kunsträume OXYDMore information
- Holes is a danced parade, arising from the recognition of the body as a porous processing system. Starting from the perception of the world formed by the notion of holes and the desire to dig holes in order to find something special, we can perceive a wave of transformation that begins as an internal practical state and eventually begins to interact with other existing beings in space. Based on choreographic material used in a score, the dancers provoke states of transformation and layer them up to shift from one material to another, sometimes in coexistence with the soundscape, sometimes independently. Holes is a co-production with Theater am Gleis, Winterthur Switzerland Tour Dates: June 28, 2024 Premiere Theater am Gleis Winthertur Premiere June 29, 2024 Performance Theater am Gleis Winterthur November 2, 2024 Holes at Kantonale Jahresausstellung Kunstmuseum Solothurn - Museum Version SUPPORTED BY Kanton Solothurn Swisslos-Fonds, Stadt Winterthur, Fachstelle Kultur Kanton Zürich, Schweizerische Interpretenstiftung SIS, Landis & Gyr Stiftung, Samuel und Susanne Martens The Performance was filmed by Couchkult on june 29 2024 at Theater am Gleis, WinterthurYear2024Duration00:43:34Concept / choreographyJamuna Mirjam ZweifelPerformanceAriana Qizmolli, Astro Scheidegger; Maureen Zollinger, Sandy Albrecht, Sophie MeyerDramaturgyCharlotte MathiessenSoundPascal PompeLight DesignDUMMY CREDIT - Lighting Designer NameProduction ManagementJamuna Mirjam ZweifelDocumentationCouchkultSupportSolothurn Swisslos-Fonds, Stadt Winterthur, Fachstelle Kultur Kanton Zürich, Schweizerische Interpretenstiftung SIS, Landis & Gyr Stiftung, Dr. Samuel & Susanne Martens, Däster-Schild StiftungProject linkVideo Full PerformanceProject linkTrailer InterviewInterview Akut MagMore information
- Holes is a danced parade, arising from the recognition of the body as a porous processing system. Starting from the perception of the world formed by the notion of holes and the desire to dig holes in order to find something special, we can perceive a wave of transformation that begins as an internal practical state and eventually begins to interact with other existing beings in space. Based on choreographic material used in a score, the dancers provoke states of transformation and layer them up to shift from one material to another, sometimes in coexistence with the soundscape, sometimes independently. Holes is a co-production with Theater am Gleis, Winterthur Switzerland Tour Dates: June 28, 2024 Premiere Theater am Gleis Winthertur Premiere June 29, 2024 Performance Theater am Gleis Winterthur November 2, 2024 Holes at Kantonale Jahresausstellung Kunstmuseum Solothurn - Museum Version SUPPORTED BY Kanton Solothurn Swisslos-Fonds, Stadt Winterthur, Fachstelle Kultur Kanton Zürich, Schweizerische Interpretenstiftung SIS, Landis & Gyr Stiftung, Samuel und Susanne Martens The Performance was filmed by Couchkult on june 29 2024 at Theater am Gleis, WinterthurYear2024Duration01:08:34Concept / choreographyJamuna Mirjam ZweifelPerformanceAriana Qizmolli, Astro Scheidegger; Maureen Zollinger, Sandy Albrecht, Sophie MeyerDramaturgyCharlotte MathiessenSoundLéa JullienLight DesignPascal PompeCostumeLarissa RiesenProduction ManagementJamuna Mirjam ZweifelDocumentationCouchkult, Eve Mukkti Schütz, Audwin LachaudSupportSolothurn Swisslos-Fonds, Stadt Winterthur, Fachstelle Kultur Kanton Zürich, Schweizerische Interpretenstiftung SIS, Landis & Gyr Stiftung, Dr. Samuel & Susanne Martens, Däster-Schild StiftungProject linkProject WebsitePress / dossierInterview AkutmagSpecial ThanksSPECIAL THANKS TO Joshua Amida, Aline Joana Rüede, Nina Pfüller, Astrid Kuenzler, Franka Feder, Aline Gia Perino, Sebastian and Anja Vogel, Pierrick Antoine, Tara Filter, Lucas Menegatti, Tobias Jordi, Joshua Zweifel, WiederverwerkleFull VideoMore information
- In the forest, interaction with protagonists requires a rooted stance that utilizes limbs and senses in a pulsating, spherical perception. „Voices from the Ground“ becomes an experimental dance that interweaves body, clay and soundscape to create a possible sci-fi scenario with ever-changing surfaces. With Date to Dance - Art meets Dance, Kunst(Zeug)Haus Rapperswil-Jona is creating a mini-festival dedicated to dance for the second time, presenting three different artistic works by choreographers Lina Gómez (Colombia/Germany), Ginevra Panzetti and Enrico Ticconi (Italy/Germany) and Jamuna Zweifel (Switzerland) in the Kunst(Zeug)Haus exhibition space. Co-curated by Lea Moro , Céline Gaillard & Simone Kobler Date to Dance sees itself as a connection between dance and the current exhibition „Humaine Nature“ by Benoît Billotte and creates contact, encounters and movement. Voices from the Ground is supported by Migros Kulturprozent. Fotos: Andres Bucci AstaburuagaYear2024Duration00:20:48Concept / choreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelDramaturgyAriana Qizmolli, Milan Panet-GigonSoundLéa JullienCostumeJamuna Mirjam ZweifelSupportMigros KulturprozentShowingDate to Dance - Art meets Dance, Kunst(Zeug)Haus Rapperswil-JonaMore information
- We met here is a dance production in which five dancers end up in unknown territory, an empty space in which they first have to find their way around and get to know each other. The underlying theme is perspectives. What view do we have of a certain situation? How does this differ from another point of view?ChoreographyRafael SmadjaPerformanceTheodor Diedenhofen, Cédric Gagneur, Elina Kim Eduardowna, Astro Scheidegger, Jamuna Mirjam Zweifel, Rafael Smadja LightCristobal RossierMusicCharles AmblardCostumeMélie GauthierScenographyHarumi Mumenthaler, Moa BomoloConstructionYoann FauvelProductionBreakthrough FestivalCooperation PartnerTanzhaus ZürichResidency PartnersDampfzentrale Bern, Nebia BielSupportStadt Zürich Kultur, Kanton Zürich Fachstelle Kultur, SIS Schweizerische Interpretenstiftung, Kanton Zürich Kulturförderung Swisslos, Elisabeth Weber Stiftung, Dr. Adolf Streuli-StiftungFilm & PhotosHelen ReeLink Trailerhttps://vimeo.com/1166056754?fl=pl&fe=shMore information
- Uniting Post-Metal, Doom and Psychedelic Rock, wazzara is the culmination of a themed solo project from the former lead singer of Folk Metal band, Caladmor. Taking inspiration from the natural poetry of water in motion, enrapt listeners have found themselves moved by the otherworldly, ethereal and magical offerings of Swiss-based composer/songwriter Barbara Brawand since 2015.Year2023Duration00:06:09ChoreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelMusicWazzaraVideo production, editing & grading by Barbara BrawandBarbara BrawandCostumeBarbara BrawandDoPGeorge Necola, Mäsi Stettler, Barbara BrawandDrone Operator Mäsi StettlerProject linkDUMMY LINK - project websiteMore information
- For „Digging Holes & Sailing“ I am continuing a more personal research around the phenomena of holes in it‘s larger sense on how we access reality through our holes and what is may needed to fall in to a hole or to get out of it. This shortpiece tells the story of a creature that falls into a hole and slowly makes its way out by its way out by putting on several layers of clothing while it is in constant motion and increasingly in constant motion and becoming increasingly dense. *Sailing Salt is a poetic image of how to navigate through the sweat that appears on the skin, how to connect the space and the skin with its porosity through the layer of sweat and using it to gain wind Digging Holes & Sailing Salt deals with the desire to give a voice to unnamed forms of existence from beneath the earth and interweaves parts of Sarah Vanhee's essay "The Fantastic Institutions" into the material. Perhaps this solo dance is a protest, a poem or an excursion into a world that is often invisible and therefore less perceived. In this sense, the dance and the movement become transformers of voices or thoughts and, in the best case, provoke an altered state. The movement material lives from how it is performed. Simple, repetitive sequences are performed into the space with care and awareness. Repetitive elements mixed with interruptions form an important framework of the choreography. Strobing (double time dime-stop) In Digging Holes & Sailing Salt, Jamuna works with the technique of "strobing", a quality of movement that she got to know through the dance culture of popping and was was fascinated by this effect, which creates an illusory strobing effect. She uses this form of movement to lead herself into a state of constant interruption. Dew worms, for example, live in the ground and react sensitively to changes in light. If they suddenly perceive light or shadow, they can quickly bury themselves, which corresponds to a kind of switching on and off of their behavior.Year2024Duration00:14:47Concept / choreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelOutside EyeMaureen ZollingerSoundLéa JullienLight Tanz in OltenCostumeJamuna Mirjam ZweifelProduction ManagementJamuna Mirjam ZweifelDocumentationEve MukktiProject linkFull Video PerformanceProject linkTrailer Video PerformanceShowingSHORT CUTS Festival Tanz in OltenMore information
- Claudia Gonzales Godoy & Jamuna Mirjam Zweifel started together finding curiosity in their very own ecosystem living in during the residency (RE)SHAPE, in Estaquilla, Chile and Willadingen, Switzerland - two small places surrounded by forests and water bodies. By starting to write together a script to map their ecosystem, they more and more also acknowledge being together in the virtual residency accompanied by a third body; ChatGPT. Through this process many threads have been woven out of this written core element and landed in a dynamic translating system that tries manifolding ways to start a dialogue with the ecosystems - human and non-human beings are living in, accompanied by talks and exchanges with ChatGPT, while capturing elements of the ecosystems and researching their way of speaking in each ecosystem. It is less about naming things, but more about experiencing them and translating them in various media such as scores, photos, video records and audio records and after all, exchanged in the form of a triangle letter of friendship between Chile, Switzerland and the environment of Chatgpt. The core script consist specifically out of questions, such as: What is the ground made of? What story tells the ground? What technology do you use to know the earth? What do you and your practices sound like for the ecosystem and its species? What is significant to the landscape? Are there living organisms in the ground? What do they have to say? How would you translate what they say? What is your route through the territory? Through a shared practice of writing audio walks, we find a way of getting in contact with the environment, sharing ways of approaching the topics and implementing questions from the core script. Parallely, both artists specifically started to engage and share their relationship with the natural resource - clay. Clay becomes an anchorpoint, something to hold on, something to build on. And new questions arise from it, how to get in conversation with it through the body? How can it be transformed into natural pigments that can be used for drawing or as bodies of sound resonances? Clay specifically can be found in so many places, not only in natural territories but also in the biggest cities. In a digital logbook, where materials of these interactions get into a fantasy world of dialogues - the topic of the way of communication gets in a continuous flow of testing and trying out in a world that is constantly adapting, while we change the narratives with each engagement. Shaping a multi-sensorial assemblage around the core script of this work, a learning field and territory of exchange, this growing map is reflecting on new attempts, how to start alternative relationships with our closest surroundings, but also with ourselves. With this map we encourage the practice of new habits in a world that is still covered by capitalist thinking systems. Curiosity and the interest to formulate questions to understand this habitat in other ways could then become the twist of a new world we are acknowledging that we are entangled in.Year2023Concept Jamuna Mirjam Zweifel & Claudia Gonzalez GodoySupport (RE)SHAPE is an international collaboration between the partners Work it Out (CH/DE), Fundación Mar Adentro (CL), Wixutta Knowledge Center (MOZ), The Art Corner of Tehran (IRN) and cheLA (ARG). (RE)SHAPE is supported by a «To-gather» International Collaboration grant from Pro Helvetia - the Swiss Arts Council, the Südkulturfond, Fundación Mar Adentro and Tanzhaus Zürich.Audio WalkEarthly Flux Audiowalk FileMore information
- Overlayering the layers of When things get disturbed When feelings get confused I overlayer my surface with another one I dive into A cave A hollow A chamber Are you doing the same? Where do we meet? I underlayer myself Hitting against the invisible surfaces Strobing against the air Strobing against the cold feeling of this Shuddering the dust of a selfregulated things It is subtle Deep down Where can I meet you?Year2023Duration00:14:53Concept / choreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelOutside EyeJason TruccoSoundMatt SullivanShowing Cozmos 280 East 10th Street New York, December 7 2023More information
- The encapsulation by digital devices, which shifts the focus of the masses and creates an incredible paradox, so often skips the extent of our imagination. But it is the reality of our generation. The constant immersion in virtual worlds is like travelling to people, places, things, possibilities, impossibilities, knowledge and non-knowledge. Infinite dimensions and a new space-time relation arise.“ What happens to the physical body while we are caught and left in virtual holes? How can we reconnect with the nature and the environment, by creating a hole of sensitivity and experiencing awareness?Year2021Duration00:13:45Concept / choreographyJamuna Mirjam ZweifelPerformanceJamuna Mirjam ZweifelDramaturgy & Outside EyesRomain Guion, Franka Rosalie Feder, Rafael SmadjaSoundSound by Diogo Ribeiro de AlmeidaCostumeJamuna Mirjam ZweifelDocumentationTryout PlatformProject linkFull PerformanceTrailer LinkTrailerScenographyJamuna Mirjam Zweifel & Ivan MinichielloShowTryout Platform Gessnerallee ZurichMore information
- A performative exploration of an outdated, elitist Switzerland through the framework of a tennis match. Inspired by the physical arm movements of the dance style “Waacking,” the two dancers draw a parallel between these gestures and the movement of hitting a tennis ball. Tennis is traditionally associated with more affluent, elite circles. The game itself is rooted in perfect order, backed by prestigious sponsors, and often represents wealth and prosperity. Waacking on the other hand originated in the LGBTQ+ clubs of 1970s Los Angeles, emerging from Black and Latino queer communities as a form of self-expression, resistance, and liberation. Choreography, Performance: Ariana Qizmolli, Mirjam Jamuna Zweifel Support, Mentoring: Eleonora ZweifelMore information
- Photographer/Retoucher: Janette Gloor Hair & Makeup: Laura Moser Model Jamuna Mirjam Zweifel Collaboration with Studio Végété / Aline RuedeMore information
- Scalable Skeletal Escalator is an experimental live art work conceived by Isabel Lewis in the form of a holobiont, a multi-organismic assemblage, like the human body itself, shuddering and shaking into being. This mode of exhibition-making draws inspiration from evolutionary biologist Dr. Lynn Margulis’ emphasis on cooperative and symbiotic relationships between species as the driving force of evolution. The themes of the work are continuous with its form reflecting on potential human futures. Continuing in the vein of Isabel Lewis’ practice of questioning the disembodied thought systems of the West which deny the body of “livingness” in the deadlock of idealism/materialism, this work invites collaborators and visitors on a participatory epistemological quest to re(dis)cover the body by rehabilitating our human sensorium in order that we might enhance living rather than alienate ourselves from life. Scalable Skeletal Escalator is made possible through the collaborative efforts of Dirk Bell / Mo Stern, Lara Dâmaso, The Field (Mirjam Jamuna Zweifel, Pierre Piton, Lucia Gugerli and Declan Whitaker, in cooperation with Tanzhaus Zürich), LABOUR (Colin Hacklander and Farahnaz Hatam), Matthew Lutz-Kinoy, Rafał Pierzyński, Mathias Ringgenberg, Sissel Tolaas, Juliette Uzor, Marcelo Alcaide and Yolanda Zobel. It is a live art work that moves through four levels of Löwenbräukunst, where Kunsthalle Zürich is located. The work is created with the support of Tanzhaus Zürich; thanks also to Callie's Berlin and Schauspielhaus Zürich.More information
- "Zero as a basis. Zero as repetition. Zero as a placeholder and as an amplifier. Is zero neutral? O Emissions. Wishful thinking. Sweat. Creativity. Find your Zero State. Zero as a shape is a circle, consisting of an endless line. Zero is a numeric number - close to the Cypher. Start from zero first and then you're ready to go." A 360-degree exhibition space was used as an installation and performance space for 2 weeks in the old bus depot in Winterthur. Using the principles of recycling, sampling, looping and remixing, we designed alternative realities that existed around the essence of "ZERO" through a long-term performance museum and various events such as workshops, open discussions and Moreida's pop-up market. With: Florian Briw, Franka Rosalie Feder, Tara Filter, Diogo Ribeiro Goncalves Texeira de Almeida, Simon Hepner, Tatjana Mahlke, Ivan Giulio Minichiello, Milena Sundari Nowak, Hannah Juliane Steenbeck, Kofi Wahlen, Sui Thin Ip, Maureen Zollinger, Mirjam Jamuna Zweifel Released in the frame of Kunst im Depot, Residency- Winterthur Fotos + Film by 44Visual supported by Migros Kulturprozent, Stiftung Annemarie Schindler & Moreira Vintage Store Sound by: Diogo Ribeiro Goncalves Texeira de Almeida Costumes: Tara Filter, Assistenz Mirjam Jamuna ZweifelMore information
- Jamuna was part of the Zurich based collective The Field from 2019-2024 and co-created several performances, playful formats and worked on research topics. Within The Field Jamuna collaborated with Simone Aughterlony, Isabel Lewis, Meg Stuart amongst other artists. The Field is a Zürich-based, non-hierarchical dance and performance collective that creates space for artistic research, collaboration and experimentation across dance, performance and society.More information
- Waterworks is a collaboration between Meg Stuart and the young Zurich collective The Field, created and performed on the Saffainsel in Lake Zurich upon the invitation of Theaterspektakel 2022. Stuart is joined by her longstanding collaborators Maria F. Scaroni, Isabela Fernandes Santana and Kristof Van Boven, along with costume designer Jean-Paul Lespagnard and musician Mieko Suzuki. Together with The Field, they explore the man-made island’s shallow waters, investigating the shoreline as a threshold between nature and civilisation. With the water as their stage, the performers evoke dreamlike fictions – liberating, connective, terrifying and full of possibilities.Documentary by Choreographers at workhttps://vimeo.com/739936309?fl=pl&fe=shFull Performancehttps://vimeo.com/766449004?fl=pl&fe=shMore information
- ZOOKUNFT.PROJECT was an interdisciplinary collective active between 2020-2025.More information
