Research Week with HF ZUB Student:innen – BA UCD goes Research
CHOREOGRAPHY & CONCEPT Mirjam Jamuna Zweifel in close Collaboration with Léa Jullien (Tropical Vegas) SOUND Léa Jullien PERFORMANCE @zoe.dereynier @sofie_hh @sophie.meyer @n_i_n_a_pf @mikki_monnin @corinnekaelin01 @sandy__albrecht @yoninah_ @alinegia_0.0
COSTUME Mirjam Jamuna Zweifel Léa Jullien SHOWING Research at Tanzfestival Winterthur, Theater am Gleis Switzerland 2022 VIDEO Couchkult SCHNITT Thomas Kolter PHOTOS Maureen Zollinger
I Dance / Movement
1 Position yourself. Ask your friend to stand next to you, facing your right shoulder.
2 Place your right leg between your friend's feet. Shift your right leg so it is between your friend's feet. Put more weight on this leg, so it is ready to support your friend.
3 Grab your friend's right hand with your left and drape it over your shoulder. With your head under your friend’s right armpit, wrap your arm around the back of your friend's right knee.
4 Squat down and position your friend’s body on your shoulders. Try to equally distribute your friend’s body weight on each side.
5 Grab your friend’s right wrist with your right hand (firm grip). Your left hand is free to is free to additionally compensate weight on the upper leg
6. Transport your friend.
Carrying a body means carrying holes. On the base of sensing the world through the idea of holes and the wish to grab holes in order to find something special, we can acknowledge a wave of transformation, which is starting as an inner practical state and eventually starts to interact with other existing beings in the room. On the base of choreographic material used in a score, the dancers provoke states of transformation and multilayer them aiming to transform from one material into another. Jamuna Mirjam Zweifel is a swiss based dance/movement -artist. With the collective Zukunft.Project she is developing and testing formats of alternative futures and with The Field she is part of a dance collective that works close with the Tanzhaus Zurich, bringing dance in unknown contexts and thinking further, how dance can affect society within. www.dshamuna.com
What definitely characterizes the experience of sound as an artistic medium is the fact that, unlike the vast majority of artistic expressions, it has a beginning and an end. Everything that happens in between is clearly linked to each other and only becomes important through a certain temporality. Even if the time factor plays an important role here, what is important to me is detachment: "Inviting the listener to detach himself from the idea of time, just as when one looks at a landscape of being cradled in one's environment, forgetting time and having access and the possibility of entering a meditative state. Sound is the means to amplify a space, a body, an atmosphere, to reveal details, it shapes and distorts reality.
Léa Jullien is a French artist who lives and works between Paris and Zurich. She began her art education in Valence and then obtained a master's degree in Visual Arts at Ecal in 2019. Her practice is oriented around sound, installation, and video in order to reinterpret the urban space surrounding her and create sensorial and sensitive spaces. Always keeping a link with the urban and the construction, notably by capturing the sounds of the city, she produces experimental music under the name Tropical Vegas.
..Maybe it would be nicer for them and for us if we could just fall down,
give in to gravity
tumble or stumble or jump or slowly sink
into a hole in the ground
This hole can be any size
large or small
to put your head in so you don’t have to see for a while
to sink your ass in so you can stay steady for a while
a hiding place – hiding things or animals or people
a protective shelter – a sanctuary
a trench, a place to shoot from
a void to rest in
holes can be there spontaneously or planned long in advancedug by one person with a shovel
or by an entire construction team
there can be very specific holes like
a girls-only hole
a hole for people who want to do things
a hole for people who just want to lie down
a hole for listening
a hole for laughing
a hole for dancing
a hole for healing a hole for painting
a hole for fighting –
a crater for objects – or one object
a furrow for stories
a vacuum for nothing
a nook like a tomb
a chamber that lifts unheard voices – I think I once visited such a hole already, at Teatr.doc in Moscow, I sat in a cellar squeezed together with many other people engaging with a sober play sharing the daily reality of living under repression.
a hollow without people
an abyss with only smoke
a fissure for madness
a crack for failure
a pit for everything that is there already and we don’t need anything more
a cavern for how to get the billions from the one percent
a ditch for looking back
many chinks for the unnamed unknown
of course there can be cross-holes
You don’t have to be seduced to go into a hole
you just fall in there, or maybe you’re being gently pushed in there.
It’s clear that there is no place in those holes for the artist or the curator as individual stars, anyway no individual star artist or curator would like to hang out in a hole. There are no prices to win there, no prestige, no decorum. A hole in the ground is not a job opportunity or a career step, it’s a commitment.
There are parties, there is celebration.
A hole for what we lost.
A hole for the forgotten.
In the holes the new does not exist.
Holes are run collectively… When you enter the hole – no matter who you are – you are first an apprentice. You learn from every one present in the hole: builders, cleaners, communicators, thinkers, spectators, dancers, writers, translators, and so on – of course every one has more than one role. You observe and you help till you understand the politics of the space, then you can participate. For some holes you need a long apprenticeship, some holes you will understand in ten seconds.
A hole does not always have to be open it can be a 24/7 but maybe some holes only open once a year. When obsolete a hole can be covered or filled and it can also be re-opened. One can be a hole-hopper or a long-term resident.
The holes go more or less deep into the ground. There is the potential to get in contact with other holes through underground corridors, like moles. There is no gallery map however. Moles don’t see much; our skills of reception and listening will be strongly developed in the holes.
Since we are in the ground, we will be closer to the dead. We will be close to the past and to our collective memory. The holes in the ground are also holes in time.
If those holes now sound like a sort of subversive escapism, an underworld, disconnected from “reality”; we can maybe think back of the insurance employee I mentioned in the beginning, the one who described corporations as fake and art as the real world.
Sarah Vanhee, 2017 (Part of "The Art Institution as a Hole in the Ground")