Abtnaundorf
A performative Videointervention and publication.
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Illumination Sites
Interactive archive containing performance videos and images. To be presented in July 2013.
Pausa Neon Krise
2 channel Video installation presented in May 2013 in Galerie KUB Leipzig
Posted soon.
Video, camera: Melody Panosian
Performers: Melody Panosian, Tova Darling
Location: Marseille, France 2012
Other things
Paintings / Open studio, 2-19 July 2012 Galerie für Zeitgenössische Kunst, Leipzig
Photo (1-10): Jacob Wierzba
http://www.jakobwierzba.de/
Performer, paintings, drawings, objects, metal table, video: Melody Panosian
Location: Galerie für Zeitgenössische Kunst, Leipzig
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
Petit déjeuner (I, II, III, IV, V, VI, VII)
I
II
III
IV
V
VI
VII
Camera, performer: Laurent Proux
Video: Melody Panosian
Music:
Melody Panosian
The-Dream, 1977 (Miss You Still)
Jon Sheffield, Old Long Song (For Melody),
Location: Île-de-France, France
HEMA, a music video for Wello music
Video, performer, costume, camera: Melody Panosian
Camera: Karin Kajsa Gustafson
Location: Visby, Gotland and HEMA in Amsterdam, Holland
Orte
Arthur Rimbaud Monument, Marseille
Video, camera: Melody Panosian
Location: Arthur Rimbaud Monument, Marseille 2011
Augustusplatz, Leipzig
Video, camera: Melody Panosian
Performers: Streetmusicians
Location: Augustusplatz, Leipzig 2011
Tempelhof, Berlin
Video, camera: Melody Panosian
Performer: August Zachrisson
Location: Flughafen Tempelhof, Berlin 2011
Party Town, a music video for Cough Offering (excerpt)
Video: Melody Panosian
Music: Wanda Louise Baton, Cough Offering (excerpt)
Road Human
Video: Melody Panosian
Music: Mads Langer , You’re Not Alone
Location: In car between Leipzig and Amsterdam
Radioactive Final, a music video for Fugue in E Major from The Well Tempered Clavier
Video, performer: Melody Panosian
Music: Glenn Gold, Bach – Fugue in E Major from The Well Tempered Clavier
What kingdom. Of all damn human. Animals. Nothing important
” In the Spinnerei, Leipzig the bare bruised walls signal the end of the industrial era in Western Europe. This place formerly so loud, was left empty and silent. Here Melody Panosians performance What kingdom. Of all damn human. Animals. Nothing important takes place.
The artist, arranged a space with carefully selected objects that find a use during the performances but actually (above all when there is no performance but only the installation) invites the spectator to guess what they could mean.
When she is performing the artist changes clothes and in particular wears what could be an « African costume » (self-made from a colored printed cloth) and a « futuristic costume » (blue and skin-tight) which contrast with each other and are brought to life by the artist’s body.
These costumes bring back a lot of feelings. The « African » pattern evokes another continent and perhaps another time (is it the past?) It appears to be loose-fitting, natural and noble. The colors stand out against the grey/white concrete walls of the Spinnerei. In Wassily Kandinsky’s theory of colors, red or yellow are associated with movement, and white with immobility . As for the « futuristic » costume, it is more reminiscent of 20th century science-fiction movies where humans would have left the earth…
The result (what we can see during the performance) could be summed up as follow: a woman, alone in a free empty place, convokes distant worlds to coexist on stage for a few minutes. Her strength is memory, dream, imagination. With the help of costumes and of the whole performance choreography, she creates with refreshing energy her own visual world. “
- Antoinette Belin, 30 May 2012
tape in camera standing on tripod, direction wallpaper, floor and red eggs in a fish bowl.
i come in talking about the space, ” i have some sort of objects in a room with 3 walls i cannot get it all together, i am pretending like no one will notice the evident ” then i make the audience repeat my name King together, until it sounds loud enough they keep on repeating my name my right hand is formed and heavy and i walk cross steps and my head circles around my torso, ” louder…louder! ok enough ” i get the plastic guitar put it between my legs as tail i go to the floor look at their standing feet. like a dog, right hand hurts on dog. i put on the speech (invitation text) which rejects them as audience ” i take every opportunity to take revenge upon you ” then i get into holy mary plastic vail swimsuit costume and out of house wife costume. in holy mary plastic vail swimsuit now i need someone from the audience ” i need a favor, concerns milk, it is fun “. I put on King video on my mac, it is a music video for Jazz Jam. pours milk on me while i am upside down. acrobatics with legs and feet. putting coal on my feet and hands like sport. wall is dirty now. then i put eggs with back to audience in my swimsuit red eggs in stomach pink water coming down between my legs looks like i am menstruating or peeing. becomes pink lake with the milk on floor. i go to the front again, remove the stop sign in front of the camera on my way…
lay down leg spread backwards…demonic and very flexible. crush the red eggs, while a song for me is being played a song about gifts. the eggs come out of my swimsuit close to vagina and neck crushed red eggs come out of my swimsuit close to vagina and chest too. i massage the crushed eggs into my skin. now when the song Les étoiles et les cochons is playing i undress…yes naked under i am wet. change into queen exotic dress while the dress is lying horizontal on the floor; legs spread and my flesh. fabric feels very nice against my skin, i spread my limbs on floor. i come up and dance in triangle shape; dance is only crossed steps that also make me twirl. after the song Les étoiles et les cochons is finished comes 30 min of filming that i clean up the space with a crown. ” i need a favour, concerns filming, it is fun ” some one from audience films every last 30 min of each performance. i want each time to be different. cleaning up takes time. with crown. different interactions happen every performance: on one occasion 2 other performers from another show came in and i asked them to join.
and i take them in. i want to be alone now. you may leave when you feel like. tape finishes.
Kindly supported by Swedish Arts Grants Committee
Preparatory videos; What kingdom. Of all damn human. Animals. Nothing important
A collection of 11 of the 25 preporatory videos I made for the installation/performance ˙What kingdom. Of all damn human. Animals. Nothing important˙ are for sale on a 4 GB USB stick.
USB stick with 11 videos for sale. I can send it by post. Simply send me an email melodypanosian@gmail.com. Enclose the desired postal adress and write “USB stick” in the subject field.
The stick includes the floorplan of the performances and 11 preporatory videos with music by David Hamer Atlas, PomponFrais, Sean Cannock, Jon Sheffield, DZR:P and 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 in all performances .
Some of the other videos
Die Böse Farbe
Jackson 59
Gala, a music video for MelloG
Onionz from David, a music video for Fake Sleeper
Cleaning good- a music video for Dear Yma and a gift from Jon to Melody
Daybreak Edit
Exotic Bird, a music video for Let’s Go Sailing
Onionz from David, a music video for Fake Sleeper
Video, performer: Melody Panosian
Music: Powdered Hearts, Fake Sleeper
Location: Cemetery at Spinnerei, Leipzig
Jackson 59
Video, performer: Melody Panosian
Light installation:
Music: Boards Of Canada – Midas Touch (Hell Interface remix)
Location: Spinnerei, Leipzig
Gala, a music video for MelloG
Video, performer: Melody Panosian
Music: David Hamer Atlas ft Melody Panosian, MelloG
Location: Spinnerei, Leipzig
Exotic Bird, a music video for Let’s Go Sailing
Video, performer: Melody Panosian
Music: DZR:P, Let’s Go Sailing
Location: Spinnerei, Leipzig
Daybreak Edit
Performer, video: Melody Panosian
Performer: Anna Mönnich
Music: Pomponfrais, Pom sing hammer and Marilyn Monroe, River of no return
Location: Kulkwitzer See, Leipzig
Cleaning good, a music video for Dear Yma and A Gift from Jon To Melody
Performer, video: Melody Panosian
Music: Jon Sheffield
Location: Spinnerei, Leipzig
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
Die Böse Farbe
‘Do not mix black with yellow!’ is one rule for painters. Black and yellow are colors with totally opposite features and when combined, appears a color of ‘bad’ quality, a special kind of green.
Video, performer, camera: Melody Panosian
Painter, performer, camera: Christian Weidner
Location: Spinnerei, Leipzig
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
Shorts from the Abyss
In the Abyss there is no relation to anything so there is no
distance. In relation you actually exist.
Video, performer, camera, music: Melody Panosian
Location: Teatergalleriet, Uppsala 2010
Video, camera, music: Melody Panosian
Location: Video material is from the performance The Birds They Sing For You by Tomislav Feller Sophiensaele, Berlin 10.07.2010
After a trip to Ethiopia I knew I was not going to be dreaming for a while I did not strive for any sort of meaning or truth. I was on my way to the Abyss. During that time I made this video.
Video, performer, camera: Melody Panosian
Music: Enya, Caribbean blue
Location: Uppsala 2010
F.N.O.R (Fax Nylon Opium Radikalisten)
http://mutanten.org/blog/fnor/
Our collaboration initially started as a misunderstanding, which is often the case when communicating on Internet. By using the nickname “Netochka Nezvanova” I got an email from a fellow space-traveller, Kiritan Flux, who claimed to have met me.
memory 1: The audience is presented with two adjacent screens representing two separate, but interwoven worlds that attempt to communicate – between each other and the performer on stage. The installation wants to share the experience of the refiguring multiple travelling affinities in the real and the virtual world.
It’s a glimpse into the journey of hypertextual flesh through timespace, exposed to a constant stream of information and emotion from the future and the past – poetry that will prevail.
Performed on October 26, 2010 at På Besök, Malmö, SE
Did we meet? was my first reply and from that moment on we exchanged poetry during the whole summer of 2010. Our emails where Intertext poems about our separate love lives, which also initially started off being virtual contacts.
Did we meat?
In October 2010 we started making performances together with the poems (e-mails) as a starting point. The title of the performances are ‘Did we meat?’ We want to share the experience of the refiguring multiple traveling affinities in the real and the virtual world. ‘Did we meat?’ is a glimpse into the journey of hyper-textual flesh through time-space, exposed to a constant stream of information and emotion from the future and the past – poetry that will prevail.
‘Did we meat?’ is a hypermedial performance in constant progress. It’s not a final piece, not a static product, but a permanently changing and evolving happening, inspired by the initial exchanged poetry and the ongoing mutual inspiration derived from present communication between the two of us and the various virtual, digital selfs we embody in the online world. Every performance is a singular experience, it happens once and is not repeated. Every performance is a different piece in itself, but at the same time embracing the priors, weaving the past into the present and future. Hyper-textual flesh has no history, no time, no space, no constants but steady change and progressive evolvement.
” …doing rather than being Your work looks interesting. Its a bit vague and cryptic for me. I like the story of fighting in the nightmare I had a similar dream but cannot remember in details “
memory 2:
Performed on November 6, 2010 at Die Frühperle, Berlin, DE
Performer, video-installation, music: Melody Panosian
Live visuals: Kiritan Flux
Location: Die Frühperle, Berlin
Tomorrow came, we are already downloaded. The meat is really physically changing since the Internet. What is happening is an abstraction or complexification, hybridisation of social bodies and qualities, themes, physicalities, dynamics, which, for us, are poetically inherent to those bodies in a real or imagined society. We are in a state of transition and what have become of our bodies? We am attracted to materialising the metaphysical. The new flesh. The idea being that the resulting movement can in turn nourish more sensation and imagination for the art work and for the audience. The structure of our brain changes just by using Internet every day. Checking email is becoming an automatic action. We’re used to non-linearity, copy-paste writing – which is more “natural” than linear full text writing. We’re on the verge, something’s coming, something’s coming, something’s coming.
The word “creation” will no longer be restricted to works of art but will signify a self-conscious activity, self convincing, reproducing for its own terms. It has its own reality (body, desire, time, space), being its own creation. In cyberspace the imageries, have been translated as abandonment of the flesh, while venturing into cyberspace. The desire for an evolutionary transformation of the human has shifted focus from the preparation for the journey into ‘outer space’ from a dying planet to the virtual ‘inner space’ of the computer. Thus the flesh is changing into plurality and if the law is to execute itself it will have to inscribe itself on the body, also like a touch.
The above text is an example of typical intertext; three texts woven into each other by copy-pasting. An example of the very working method in which ‘Did we meet?’ started off.
- The Holy Fools, Richard Barbrook
- Cyberspace/cyberbodies/cyberpunk: cultures of technological embodiment, Mike Featherstone, Roger Burrows
- I, Cyborg: Reinventing the Human, Proud to Be Flesh: A Mute Magazine Anthology of Culture and Politics After the Net
Moving makes me sad. 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 is also the only contemporary dance company in Ethiopia.
In Ethiopia, there are 80 tribes and cultures. 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 costume, 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 down 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. Much because of the holes that spontaneously emerge in the asphalt. If you dont look up, you walk straight down. Most people are farmers. There is a traffic that no one is really used to. People walk in the middle of the road.
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, Shiferaw Tariku, said that I struggled in the beginning, that every time I would stop feeling pleasure when i dance, I must stop and start again. These private classe where relatively formal while these danses actually function as social dances. Feet are synchronized and the dance requires relation, interaction and thus improvisation. The music, which is the same as dance, communicates when it is the “transition movements” and when it is the “dance movements”.
To help me find meaning to dance this social dance alone, Shiferaw said ” Imagine that I am not here. You would dance for yourself. ” I realized the limitation of learning the dances with private teachers, because it was like I was only existing for myself. As some dance moves require a partner, he danced with me I realized early on that I needed more time to learn these dances because my sceleton and my joints needed time to adapt to the new movements. Shiferaws goal was to teach these four dances beacuse their distinguished rythms.
After the very first week with Shiferaw I had decided to come back and continue learn more about these dances.
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 children in the age of 4 to 20. There are a total of 40 children that dance for him. They practice at the Ethiopian National Theatre where there is no dance floor, so 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 thought them an old solo dance phrase, called Isis. We made a group composition of the solo. I thought them dance composition and in the end we did an improvisation from the same movement material.
Like most people in Ethiopia, Temesgen is very religious, and before the daily dance class begins they all join hands in a circle and pray together. To my great surprise, Temesgen never taught any other foreigner in traditional Ethiopian dances. Rarely have we seen a dancer like Temesgen. Everyone talks about that he has great “power”. To see Temesgen dance was like seeing embodied music. Pure emotion, pure rhythm. He sings constantly while dancing. Temesgen repeatedly asked me, “You feeling it?”. According to him, I was able dance whenever I felt the music.
I recognized movements from the experience I have from break dance and dance hall. I could also trace movements from popular R & B music videos similar to the experience I had from my private lessons with Shiferaw, a liberating dance for myself.
You should create your own dance style, and you should always follow the music, follow the rhythm within.
I discovered, that music and dance are not so separated in Ethiopia as in the West; where dance is dance and music is music.
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 and they make dance with people with AIDS and disabled people. They have had training in classical ballet, contemporary dance and African dance. Their dance studio has a functional dance floor but the audio equipment is very unpredictable. There is electricity on occasions but you never know when. There is no electricity when its is raining.
My schedule consisted of morning training in contemporary dance / improvisation with Adugna and in the afternoon I had my own traditional private Ethiopian traditional dances training. Early on we realized that we where in exchange so they 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 Addissu walked around the Markato Market, where half a million peoples houses had recently been totally removed. During that walk we through a mango between us, to make it softer. We discovered how different our realities are by how the others would look at us; what they would not say directly to me as a forengee and what they would think of him, being with me. When we later presented that in the studio it was the mango that was our connection the whole time while speaking in our mother tongues, it eventually broke on the floor as flesh and juice.
In One Hour Walk my partner Addisu asked me “What is The Color of Addis Ababa?”. I
replied, “White, blue, red, yellow ….”. He said that he does not see skin color. Yes, even a color-blind can see the nuances.
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 unlike other nations, such as Jews or Armenians, 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. Africa can not develop in the direction of what is called the standard in the West.
UtopiaS
Adugna asked me to give another workshop and I had been thinking of a group improvisation on the theme Utopias. I wanted to continue with the questions that come up under the One Hour Walk.
Everyone’s different utopias are possible when one is acts without agent, but creates. Utopias and improvisation can be compared to a game and how do people listen in a dream?
In a state of being singular plural, you wonder if the game has begun. It seems to be no real and not imaginary, atleast not, at a certain distance. This facilitates co-existence because of not being reduced to a dancing art object, but rather a conscious participant. Utopia is a framework for utopia in the plural, a place where people are free to join together voluntarily to pursue and try to realize their own vision of co-existincing manner of life in the ideal society, but where no one can impose their utopian vision. The utopian society is the many utopias society.
Leni Riefenstahl giving the sponsored message – practicing propaganda.
My main inspiration to go to Ethiopia was Leni Riefenstahl. Was she an apolitical artist or a conniving fellow traveller, if not dedicated believer, of the Nazi Regime? No one with potentially large viewing public can overlook the potential impact of their work on society, its culture, and its politics. Leni Riefenstahl, constantly teaches me that providence will triumph over ego. What do you have to do to live – you have to be there and make it happen.
Judith Butler has very clearly shown, once we become aware of the fact that we are (re)producing the dominant order through our daily activity, we become able to change our behaviour, and thereby the dominant order itself.
The flanuer observes and understand and changes in interaction. The flanuer is interested in intermediary arrangements that we are calling networks. By experiencing Ethiopian culture I would see more clearly where I came from but then the struggle became how to relate, becoming the others other.
Leni Riefenstahl; glorifies beauty – tones down the destructive. Seeks to postpone her death. Defer death through differentiating herself. Singularizes herself. Riefenstahl is concerned about her very being and not being: mortality.
I want to observe the work/leasure distinction. Observe the drudgery of man kind and how we treat the body as an operator of machines. I would rather be both human and machine. Machines, being emergent, do not have origins to which they must be faithful. There is not a happy person who is not in her body.
The body which is neither global or local – a traveler in transition.
My virtual (avatar) body(s) gives me access transform by travel. I started the project from an emailadress and ended up dancing Ethiopian traditional dances in Addis Ababa. After World War II Leni Riefenstahl traveled to Africa as Leni Riefenstahl – the photographer and filmmaker. She was a personality without character that fabricated an other story of herself.
Maya Deren gave dance for camera its name and gave lectures and wrote immensely on art and film. She organised the experimental film world. Maya Deren wanted to go into the society of the Haitians with making a film about the Vodoun in Haiti. She was always invited by the Haitians, to dance with them and participate in their rituals but most often she would stay as director behind the film camera.
During my stay in Addis Ababa I wanted my flesh to be totally absorbed by their dances. 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 people in the Adugna. 
‘Moving makes me sad’ serves as the background for the installation/performance What Kingdom. Of all damn human. Animals. Nothing important.
Kindly supported by Swedish Arts Grants Committee
E-mission: Romance the Eurominable Snowman/Spystation NC1074
I got a mission from Nicola Morton to my email:
Mission: Find Eurominable Snowman
Nemesis: Bounty Hunters
Talents: Telepathy, Romance, Dance
Reports: Snowman trail, Hunting Dance, Love letters
And so I made this blog http://notraces.wordpress.com/
Nicola printed and exhibited the blog with the title ‘Dirty Sheets’ in
Loop Space – Digital Media Art Space in Newcastle, Australia:
http://spymissions.wordpress.com/2010/02/18/e-mission-1-complete-spy-mel-snowman
More about Nikola Mortons project Spystation NC1074:
http://renewnewcastle.org/projects/about/project/spystation-nc1074/
Proberaum
Performance by and with VaSaJaDanceCollective: Hanna Strandberg (Va), Alma Söderberg (Sa), Melody Panosian (Ja)
28 November 2009 Kule Theater, Berlin
Performers: Hanna Strandberg, Alma Söderberg, Melody Panosian
Music: Alma Söderberg
Video, camera: Melody Panosian
Location: Tanzfabrik, Berlin and Kule Theater, Berlin
Preparation Video for Proberaum performance by and with Melody Panosian and Hanna Strandberg
Performers: Hanna Strandberg, Melody Panosian
Music: Beyoncé, Halo
Video, camera: Melody Panosian
Location: Treptower Park, Berlin
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
Emotive, a music video for Sound and Emotion
Video, performer, camera: Melody Panosian
Music: Alma Söderberg, Sound and Emotion
Location: Berlin, 2009
Fish (In Real Time)
This video is made for the blog Bateau Ivre Horses.
Video: Melody Panosian
Performers: Florentina Holzinger, Melody Panosian
Location: Berlin
The Lonesome Cowboy for Melody Panosian
The Lonesome Cowboy for Melody Panosian is a video/installation in which I perform the surreal of self display. I wanted to ”step aside” and create a situational irony; what seems to be and what is. The working method was much like the Lonesome Cowboy for Florentina Holzinger, influenced by Deborah Hays method where the movements derived from constant questions asked in the body. I wanted to research the matter of heritage – a form beyond the collected experience and performative. We might be entities with inherited memory, a heritage leaking through time, seemingly out of present context. These versatile shapes do not grab habits, confirmations and concepts but they confirm an unprocessed expression. The challenge of all the artificial lights to the violence of the sun rays.
Direction, choreograpy, performer, costume, video, camera: Melody Panosian
Music: Alma Söderberg, A High
Installation: Maria Norefors
Location: Ausland and BAT Studiotheater, Berlin 2009
ScreenSnapz_Circuit_Bent_Radio
Performer, Circuit Bent Radio: Melody Panosian
Camera, video: Unknown
Location: Witte de Withstraat, Amsterdam
CLUB GAL
CLUB GAL is a stop motion animated music video in which I wanted to crossbreed my modernist dance training and club dance. The animations are made with fabric and clay. A purple striped figure, both in the form of a person and an insect, dances in a lively forest of fabric. There, it entangles itself and finds a way out. My aim was to create harmony from something old school into steadfast nostalgia.
Direction, choreography, performer, animation, video, camera: Melody Panosian
Background Painting: Rasmus Streith
Music: Booka Shade, Night Falls
Location: Visby, 2007
Kindly supported by Gotland Film Commission
MA TURN
This, my first video (dance for camera) is inspired by Butoh dance and Maya Derens writings on film. The films she made are a discovery and invention of the camera.
I wanted to make a short film in which the real time would be stretched to a more meditative journey and the camera to record the time in between the takes. During dance studies I attended Butoh dance workshops in which we exercised Ma. The title, MA TURN, comes from this Japanese expression, Ma, which means “the space between”. (Wiki: the thing that takes place in the imagination of the human who experiences these elements). I wanted to lead away the spectator with the pitfall of illusion and reality.
Video, direction, camera: Melody Panosian
Performers: Elisabeth Blomqvist, Olle Söderström, Maria Janson
Location: Visby, 2006
Kindly supported by Gotland Film Commission
