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Melody Panosian & Raha Rezaei

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17.02.2018
19:00-20:00
@ Raum 2.32
HGB Rundgang 2018

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Für meine einstündige Raumbelegung habe ich zwischen Tausenden von Ideen hin und her überlegt.
Ich habe mehrere Selbstportraits von Raha Rezaei gehängt und innerhalb einer Stunde abgebaut.

Raha Rezaei wurde 1993 in Kassel geboren. Aktiv in der QueerTrans BPOC-Szene Leipzig und Berlin. Letztens in FUCK!T – eine choreographische Zerstörung der weißen Vorherrschaft von Mona Hempel zu sehen.
Raha Rezaei studiert zur Zeit Kunstpädagogik an der Universität Leipzig.

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Sound-Reenactment nach Evelyn Richter’s Foto “Selbtsinszenierung” (in ihrem Studio an der TU, Dresden, 1952)

posted soon

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O.T.

O.T.
Zaida Guerrero Casado & Melody Panosian
Installation, HGB Rundgang 11-14 February 2016
Coartyard east side, Hochschule für Grafik und Buchkunst
Cobblestone, white rope, wall

We provoked, and promoted a wound on what would normally be a solid and stable base. We altered the ground made out of cobblestones. We wrapped the cobblestones in ropes and placed them carefully back into their original holes. One of them was placed prominently on the sidewalk, marking the outside. Another cobblestone was also placed outside, right in front of the wall, and on the other side of the wall, the rest of the cobblestones shaped a long two branched scar.
The “wound state”, which reveals the sand underneath the cobblestones, allowed two different possible evolutions: the healing phase through which the lived experience or even the pain could be integrated. Or its reopening by pulling the stones out again, which implied a revision, a reawakening of the pain where aggression and suffering would meet. Thus, the cobblestones had the potencial to be a stitch but also a weapon.

In any case, the wound offered the chance to build something new as a result of an interaction. The decision relied on the visitors, who transformed and manipulated the work. These interventions were revealed through time.

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Statement

2011/15
Faltposter
59.4×84 cm (DIN A1)
Rollenpapier 90g, Handykamera; HTC Wildfire S

@ Hgb Rundgang, Leipzig 2015

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Abtnaundorf

English version here

Eine Videointervention von
Melody Panosian, Jakob Argauer, Danny Degner, Jakob Wierzba
27.01.2013, 10.00 Uhr – 12.30 Uhr / Live-Video-Übertragung einer Gedenkveranstaltung vom Mahnmal Abtnaundorf in das Neue Rathaus Leipzig.
Live-Projektion, Leinwand 180×360 / begleitende Publikation, DIN A4, 20 Seiten, Auflage 450.

Jährlich am 27.01. lädt die Stadt Leipzig anlässlich des Gedenktages für die Opfer des
Nationalsozialismus zu einer Gedenkveranstaltung ins Neue Rathaus und zum Mahnmal in
Abtnaundorf ein.

Mit bereitgestellten Shuttle-Bussen fahren die TeilnehmerInnen vom Neuen Rathaus Leipzig zur Gedenkveranstaltung nach Abtnaundorf. Dort findet die eigentliche Gedenkveranstaltung statt, die mit dem Rücktransfer ins Rathaus, einer Schweigeminute, kurzen Redebeiträgen und einem Catering ihren Abschluss findet.

Am 27.01.2013 haben wir die Veranstaltung als Bestandteil des protokollarischen Ablaufs der
Stadt Leipzig in Form einer Videointervention, einer Publikation und eines Redebeitrags begleitet.

Dafür wurde ab 10.00 Uhr eine Live-Video-Übertragung vom Mahnmal auf eine in der Unteren
Wandelhalle des Rathauses installierte Leinwand projiziert. Zeitgleich waren damit im Rathaus die Vorbereitungen der Veranstaltung am Mahnmal, die Ankunft der Gäste, die Gedenkveranstaltung unter Beteiligung von RednerInnen und des Gewandhauskinderchores und die Abreise der TeilnehmerInnen nebst Abbau der installierten Technik zu sehen.

Während des Bustransfers haben wir eine Publikation verteilt, die sich als längerfristige
fotografische Beobachtung sowohl mit dem Ort des Mahnmals als auch mit seinem weiteren
Umfeld auseinandersetzt und das Vorgefundene jenseits von Ritualen des Gedenkens in seiner
alltäglichen Praxis sichtbar macht. Mit der Rückkehr ins Neue Rathaus hatten die TeilnehmerInnen die Möglichkeit vor die Live-Übertragung und damit vor das Bild des eben besuchten und bereits wieder geleerten Ortes zu treten. Vor diesem Bild des Gedenkortes mit allen Spuren der Veranstaltung und bei gerade einsetzendem Schneefall haben wir unsere Arbeit in Form eines Redebeitrags vorstellen können. Um 12.30 Uhr wurde die Live-Projektion abgeschaltet.

English version

A video intervention by
Melody Panosian, Jacob Argauer, Danny Degner, Jacob Wierzba
27 January 2013 at 10.00 – 12.30 A.M. / Live-video-broadcast from a commemorative event at the memorial Abtnaundorf in the Neues Rathaus Leipzig.
Live-projection, screen 180 × 360 / accompanying publication, DIN A4, 20 pages, 450 editions

Annually on the 27 January the city of Leipzig marks the occasion to the day of remembrance for the victims of national socialism in a commemorative event at the New Town Hall and the memorial in Abtnaundorf.

The participants are transferred from New Town Hall Leipzig to the commemorative event in Abtnaundorf thanks to the chartered buses. There, the actual commemoration ceremony is held, followed by the transfer back to Neues Rathaus, one minute’s silence, short speeches and a catering.

On 27 January 2013 we contributed to the City of Leipzig´s course of protocol with our event, in form of a video intervention, a publication and a speech.

Prior to that, at 10.00 A.M a live video-broadcast was transmitted from the memorial on a projection screen installed in the New Town Hall´s lobby. Hence, the preparations for the event at the memorial, the arrival of the guests, the commemorative event with contributions from the speakers and the Gewandhaus Children’s Choir as well as the departure of the participants along with the removal of the installed technology were to be seen synchronously in the New Town Hall.

During bus transfers, we distributed a publication, featuring a long-term photographic observation of both the memorial´s location as well as its setting and what the findings uncovers through everyday practice, in contrast to cyclic rituals of remembrance.
With the return to the New Town Hall in front of the live-broadcast and in front of the image visited just a moment ago, the participants had the opportunity to enter the previous place, now emptied. Before that image of the memorial site with all traces from the event and the recent onset of snowfall we presented our work in the form of a speech contribution.
At 12.30 A.M the live-projection was switched off.

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content f(x)=#025 (Live-Malen in Modul8 + Drucken und Montage)

Documentary photo: Jakob Wierzba
www.jakobwierzba.de

Live-Painting, Photo, Prints, Montage: Melody Panosian

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Other things

Paintings, objects, open studio, 2-19 July 2012 Galerie für Zeitgenössische Kunst, Leipzig

Photo (1-10): Jacob Wierzba
http://www.jakobwierzba.de/

Photo (12-16): Francesco Candi

Performer, paintings, drawings, objects, metal table, video: Melody Panosian

Location: Galerie für Zeitgenössische Kunst, Leipzig

English version here
Wenn die Bilder Dinge sind, ist der Akt des Malens Etwas Anderes. Während der
Ausstellung Other things verwendete ich die Galerie als Mal-Atelier. Vier Monate vor
der Ausstellung begann ich zu malen. Mich interessierte was ich zum Malen brauchte:
Keilrahmen, Klebeband, Pinsel, Pigmente und so weiter. In meinen ersten Bildern sind
diese Gegenstände Motive.
Other things als etwas anderes als die Beziehung zu einer neuen Technologie. Other
things als kulturelle Einflüsse. Aber auch Other things wenn Malerei exotisch wirkt.
Der Regelmäßige Galerie-situation für Malerei ist die betrachtenden Subjekt und
Kunstwerk als Objekt. Aber in erfahrung ist ein teil alle austellungen/ Galeriesituationen
Interaktiv.
Im Atelier in der Galerie werde ich nicht zur Malerin sondern bleibe Medienkünstler.
Freunde aus der Malerei fanden meine Nicht-Bilder unangemessen, für die
Medien-/Performance-Künstler war ich Malerin – genau weil ich den Akt des Malens
ausführte.
Medienkunst untersucht die Werkzeuge und das Medium – die Handlung, die Zeit, den
Raum und die Verwendung des Werks.
Der Besucher stellt Verbindungen zwischen den Objekten im Raum her und wird sich
dieses Prozesses bewusst, da die Objekte aus verschiedenen Positionen erfahrbar sind.
Im ausgestellten Atelier erhält alles im Raum die gleiche Bedeutung: je größer es ist,
desto mehr Abstand wäre nötig. Körperliche Beteiligung wird unvermeidbar. Der
Besucher taucht in den Mittelpunkt ein. Other things ist ein Raum in sich selbst und
nicht von Dingen umgeben. Other things sind die Spuren des Besuchers, seine Position
im Raum. Die Spuren des Arbeitstages.
Other things nähert sich einer performativen Situation. Die Bilder werden nicht autonom
sondern bleiben Kreationen des Prozesses.
Was ist Malerei? MEINE Frage war, was ich mit der Malerei als Medium zu tun könnte
und was macht ein offene atelier Situation mit dem Raum und umgekehrt, was hat den
ausgestellten Raum mit den Gemälden zu tun.

Melody Panosian, 19 September 2012

English version
When the paintings are things, the act of painting becomes something else. During the exhibition Other things, I used the gallery as a painting studio. I began to paint 4 months prior to the exhibition. My interest gravitated towards what I needed to be able paint; Frames, adhesive tape, brushes, pigments and so on. In my first paintings, precisely these items are the motifs.
Other things as something else than the relationship to a new technology. Other things as cultural influences. But also, Other things when something appears as exotic. Within painting, the regular gallery situation is the observing subject and the art work as object. But through encounter, all exhibitions/gallery situations are partly interactive.
I did not turn into a painter in the gallery, but stay a media artist. My painter friends found my Non-paintings inappropriate, for the media artists / performance artists I was a painter – exactly because I was practising painting as action.
Media art examines the tools and the media – the action, time, space and the utilisation of the work of art.
The visitor makes connections between the objects in the room by toing and froing and through that process the visitor becomes aware to that the objects can be experienced from different positions. In a open studio, everything receives the same importance; the bigger it is, the more distance is required. Physical participation becomes inevitable. The visitor dives into the focal point. Other things is a room by itself and not surrounded by things. Other things are traces of the visitors, as well as the visitors position in the room. The traces of the work day.
Other things comes close to a performative situation. The paintings are not autonomous, but remain creations of a process.
What is painting? MY question was, what I could do with painting as media and what does the open studio situation do with the exhibited room and vice versa what does the exhibited room have to do with the paintings.

Melody Panosian, 19 September 2012

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Photosession, The Ballet Artbomb

http://www.artbomb.nl/page​/5448


Direction, costume, performer: Melody Panosian

Camera: Florentina Holzinger

Location: The Amsterdam Music Theatre, Amsterdam 2011


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What kingdom. Of all damn human. Animals. Nothing important

What kingdom. Of all damn human. Animals. Nothing important
Installation, performances and videos
Spinnerei, Leipzig 2011

4 GB USB stick with 11 videos
The stick includes the floorplan of the performances and 11 preporatory videos with music by David Hamer Atlas, PomponFrais, Sean Cannock, DZR:P amongst other stars.
This collection of videos was played continously on my mac computer during the installation. Under the computer hung the many USB sticks as products, including price information. The music video King was shown during all performances .



I need someone from the audience. I put on King video on my mac. The person from audience pours milk on me while I am upside down. I put coal on my feet and hands like in sport. Acrobatics with legs and feet. Wall is dirty now.
I put eggs in my swimsuit, red eggs in stomach, with my back to audience- Pink water coming down between my legs becomes pink lake with the milk on the floor.




I need a favour, it concerns filming. Someone from the audience films every last 30 min of each performance. Each time is different and cleaning up takes time. Different interactions happen during each performance. On one occasion two other performers from another show came in and I asked them to join.

 Kindly supported by Swedish Arts Grants Committee

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Gala, a music video for MelloG

Video, performer: Melody Panosian

Music: David Hamer Atlas ft Melody Panosian, MelloG

Location: Spinnerei, Leipzig

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King, a music video for Jazz Jam

The song Jazz Jam is made on Internet via an online jamming site. I don’t know what can top this.

Music, video, camera: Melody Panosian

Music: Sean Cannock, Melody Panosian, Penis Mcgee – Jazz Jam

Location: Spinnerei, Leipzig

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Kerubfesten: Performance participation as the Hostess

Kerubfesten by Kolbeinn Karlsson

Performed on November 27, 2010 at Offkonsten!/Teatergalleriet, Uppsala, SE

Trailer

Video editing: Melody Panosian

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Ethiopian dances; Wello, Guragigna, Tigrigna and Wolaita

In April 2010 I was in Addis Ababa, Ethiopia for a one month Ethiopian traditional dances workshop at Adugna Dance Theatre Company. Adugna was also the only contemporary dance company in Ethiopia.
In Ethiopia, there are 84 Ethiopian dances and I practiced 4 of them; Wello, Guragigna, Tigrigna and Wolaita. The dances come from different tribes in different regions in Ethiopia. These tribes differ in traditions, religion etc.
Wello – a dance from Wello tribe in the northern Ethiopia.
Guragigna – southern Ethiopia.
Tigrigna – north / middle Ethiopia. Tigrigna is the most popular dance and music form in Ethiopia, since the governement is Tigrignan now.
Wolaita – southern Ethiopia.
There is a saying that in the north you dance more with your head and the further south you go the more south in the body; moving from the head, shoulders, chest, back, hips, knees to feet.
The dances are summarised under the name Wuzuwaze and more shoulder emphasized dances go under the name Eskesta. In all Ethiopian dances there is a integration of rhythm/movements and improvisation is enabled because every body does the dance differently. The dances are performed in groups or in pairs and as rituals, they serve a narration.
I was taught these 4 Ethiopian traditional dances by 2 teachers. I also attended morning classes in contemporary dance with the Adugna Dance Theatre Company and gave a workshop in choreography / group improvisation for Adugna Dance Theatre Company. In addition, I taught contemporary dance to the children that study Ethiopian traditional dances at the Ethiopian National Theatre.

Addis Ababa is a green city that looks like a roller coaster. Holes spontaneously emerge in the asphalt.
When I first arrived in Addis it was full Easter celebrations. Many women had solemn white
linen dresses and scarves and the streets where swarming with goats and chickens. As soon as the Easter weekend and the 55-day fasting was over there was no honking and bleating in the night and the only sound left was the dogs howling.

Private classes in Etiopian traditional dances

My first teacher in Ethiopian traditional dances was Shiferaw Tariku. These private classes where relatively formal, when in fact these are social dances. The music, signals “transition movements” and “dance movements”.
As some dance moves require a partner, Shiferaw danced with me. My sceleton and my joints needed alot of practice to adapt to the shoulder movements. Shiferaws goal was to teach these four dances beacuse of their distinguished rythms.

My second teacher in Ethiopian traditional dances was Temesgen.
Temesgen is famous in Etioipien for be a very good traditional dancer. He teaches the traditional
Ethiopian dances to 4 year old children to 20 year old teenagers. There are a total of 40 children that dance with Temesgen. They practice at the Ethiopian National Theatre where they dance on the stone floor.

The first time I visited Temesgens students in Ethiopian National Theatre they asked me to give some classes in contemporary / modern dance two times a week. I tought them an old solo dance phrase, titled Isis. We made a group composition of the solo. I tought them dance composition and in the end we did an improvisation out of Isis movement material.
Temesgen is very religious, starting the class, they all join hands in a circle and pray together. Temesgen had never tought a foreigner traditional Ethiopian dances, prior to me . To see Temesgen dance was like seeing embodied music. He sings constantly while dancing. Temesgen always asked me, “You feeling it?”. According to him, feeling the music, rythm was core.
I recognized movements from the experience I have from break dance.

You should create your own dance style, and you should always follow the music, follow the rhythm within.




Camera: Addisu Demissie Kifle.
Traditional dancer Temesgen and contemporary dancer Nuria Mohammed. Together with contemporary dancer, Shiferaw Tariku, my teachers in 4 traditional Ethiopian dances.

Adugna Dance and Theatre Company
Adugna is the only dance company that makes contemporary dance in Ethiopia. To a large extent, I got insight into the conditions under which they run a dance company in Ethiopia. The Adugna members work in diverse ways; as dancers with international choreographers. Also, Adugna creates dance with people with AIDS as well as disabled people. They have had training in classical ballet, contemporary dance and African dance. Their dance studio had a functional dance floor but the audio equipment was very unpredictable. There was electricity on occasions but you never knew when. There was no electricity when it was raining.
My schedule consisted of morning training in contemporary dance / improvisation with Adugna dance company and in the afternoon I had my own traditional private Ethiopian traditional dances training. Adugna asked me to give a workshop in choreography.

In One hour walk we walk in couples for one hour through the city to create a piece of choreography. The process and research time becomes identical with the rehearsal time. We walk around a shared public space, then we bring that experience back to the studio and show a choreography. Me and my working partner Adissu walked around the Markato Market, where half a million peoples houses had recently been totally removed. During that walk we tossed a mango back and forth between us, to make it softer. We talked about that for others, I was a forengee.


Returnee is an Ethiopian term. A Returnee is a person born in Ethiopia, growing up in the U.S.
or the like and then return to Ethiopia. A Returnee. They start businesses in Addis because they have a belief to improve Ethiopia’s economy. I wondered why Ethiopians abroad do not support the dance company to build a new dance studio. The reason is that Africans do not usually gather large collections, since most Africans in the first place not can get out from Africa. Standard in Africa is in a village receives a polio vaccination.




During my stay in Addis Ababa I also participated in a traditional coffee ceremony, preparing the ceremony myself and I also paid visit to an orthodox wedding ceremony of one brother from one of the dancers in Adugna.

Kindly supported by Swedish Arts Grants Committee

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Weaving the Webs

Video-installation / Performances 16-28 October 2009 Kunsthaus Bethanien, Berlin



Weaving the Webs is a video/installation that includes 8 performances. Each performance had its own title; Dry, Suitcase, Factory, Ones, Zeros, Unlooped, Looped and Woven. The 8 performances where metaphoric, action based and about 2-7 min of length. The installation was transformed after each performance; The web changed shape and quality, the net was interwoven and the boxes where moved around. During the 3 week exhibition period mine and my colligue, Sara Harro’s ideas where also interwoven and we wanted to keep that process similar to the hypertextual chaos that is characteristic to the internets condition. We dealt with health and community in the drudgery and mediocrity of neo-liberal culture. We where inspired by cyborg women, innocence in all its forms, computers as artists, people as machines and nature as technology.

Direction, choreography, performers, costume, installation,
camera, video: Sara Harro and Melody Panosian

Music, loop machine: Melody Panosian

Location: Kunsthaus Bethanien, Berlin 2009

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The Lonesome Cowboy for Florentina Holzinger

The Lonesome Cowboy for Florentina Holzinger is a solo performance where I pushed the performer Florentina Holzinger to a point where she was very sensitive to sounds created by herself in the space. I worked out a method in which Florentinas listening skills would be exercised. The movements derived from constant questions asked in the body, much like choreographer Deborah Hay works. In the dance studio we exercised moving the body with low pelvic guttural sounds and high throat sounds. We made sound research as a working method. We studied musique concrete and we recorded layers of everyday sounds. Sitting in a park, we interviewed the composer, Tian Rotterveel, about sound perception and phenomenology. We did all this, to practice listening and open up the possibility for accumulating new interests and choices in sound- and movement-making. Quadrophonic speakers where panned in the performance to bring the performer to yet another level of sound enviroment. This eventualy broke down her own sound and movement vocabulary to the point of being lost and full of adrenaline. A state of trance or hysteria. I wanted to engage the body in its own construction of identity, once the space is not imposing its ways on us, to engage the person in active choises. Creating hidden performativities in fluidity, not in rigidity and hierarchy but in decentralization.

Direction, choreography, costume, light design, sound engineering: Melody Panosian

Performer: Florentina Holzinger

Location: SNDO 1 Festival, Amsterdam 2008

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Photo session, The Lonesome Cowboy for Florentina Holzinger

The poster for the performance The Lonesome Cowboy is meant to give a certain expectation to the audience before seeing the performance. Later, the expectation is not to be fulfilled. The costume is a reference to the heroine in Kill Bill, but my main aim was to place a non descript person in a rural landscape.

Direction, costume, camera: Melody Panosian

Performer: Florentina Holzinger

Location: Nieuwe Meer, Amsterdam 2008

Flyer for The Lonesome Cowboy for Florentina Holzinger


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Itchy and Scratchy

I was invited to this dance and media culture lab DAMA – Performing Space, time and media and I had the opportunity to collaborate with Finish and Islandic visual artist and dancers. I gave a workshop in circuit bending.

Itchy and Scratchy is a split screen concert where one side of the screen shows a performer moving her hand. The other side of the screen shows a performer playing a circuit bent radio. We where working with basic listening tools for improvising music/dance and I wanted to demonstrate music/dance tactility in an almost pedagogic sense.

Direction: Melody Panosian

Performers: Ragnheiður Sigurðard Bjarnarson and Mari Ylipihan

Location: University of Lapland, Rovaniemi 2007

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