White shirt moment

2 

White shirt moments 

Since PAS | Performance Art Studies was founded in 2008 the final presentation of performances was always an important part at the end of the process of the PAStudies. 

Even the final presentation is just another point in the performative process; it is a summary of the researches and experiences made during the study time. It is simply 

wonderful to observe how a performance art piece get’s into shape during the working period. Often during the first tasks and exercises a theme is found and is constantly 

researched in the following ones. To me the final presentation is important, but the most joy I feel during the work where ideas are raw, actions are more intuitive and not 

‘ready yet’, when material choices are pure and improvisation is the main tool of an artistic articulation. In these processes a lot of valuable questions are raised up and 

often they are not made to be answered but more to keep the artistic research vivid. Those processes before the final presentation bears a potential that can influence the 

outcome for one performance and it can affect a whole artistic strategy. As soon the working process gets to the final presentation it is interesting to observe how - out of 

plenty ideas - the decisions are made for the final performance. Without the final performance we would be not able to prove if the decisions that we took were good or bad 

ones, because at the final presentation there is as well the audience and the official character of the presentation that lifts up the whole energy. 

The final and public presentation of a performance is for PAS a special moment and as well a social event. The creative act in front of an invited audience we always treat like 

we would invite guests to our house. It is a celebration day, a valuable moment when we ask the people that will come to our events, not to sit in front of the television and 

not to meet their friends for dinner, we ask them to come to the gallery and witness that what we have thought and worked out the past days. It is what PAS calls the ‘White 

Shirt Moment’, a special moment where we celebrate the moment of creation. 

To present after an intensive PAStudies a public performance is the aim of PAS. PAS provides a professional setting for the final event with posters, invitation cards, invited 

audience, curators and artists and as well photographers and videographers, who are documenting the performance. To give the studies a professional shape is an educational

3 

choice, because PAStudies aims for a professional working atmosphere where the line between a student for example and a professional artist is not visible anymore. So the 

professional setting for the final presentation is a logical next step in the PAS teachings. 

We are more than happy to have worked together with well-known performance art festivals like 7a11d, M:ST and Viva Art Action in Canada; Accion!MAD and Abierto de 

Accion in Spain; Interakcje and Global Communication in Poland; PALS in Sweden and many others more. The cooperation’s have been very fruitful for the festivals, for the 

PAS participants and for PAS. To present the work of young, sometimes even non artists at an international festival brings a lot of possibilities. On those festivals the participants 

of PAS are able to make contacts with other artists, curators and gain experiences in the exchange with the audience. This is one important part where PAS wants to push the 

integration of a younger generation of performance artists into the existing performance art networks. But also here, to me the main interest to collaborate with festivals and 

professional institutions is more an educational matter. I think it is very important to show in a festival situation how performance art is developed. It is very much educating 

the audience if they see a younger beside a yearlong experienced artist. It strengthen our philosophy if we see how many participants of PAS have got the chance to continue 

their work after the final presentation, because they got invited to other festivals or got in contact with like minded artists to cooperate in the future. PAS is not a workshop, 

but more a platform and a network for Performance Art with the aim to influence the scene with new and inspiring artists and point of views. 

Since 2008 PAS | Performance Art Studies has guided the processes of over 350 Performances. This publication is able to show only a few of them, but might give as well 

a view into the work we do. 

BBB Johannes Deimling | PAS director | 2012

Susanne Irene Fjørtoft [no] 

PAS #06 | “Performance art meets Scenekunst” 

Fredrikstad, Norway 2009 

4 

Time for one more go / 70 minutes 

I enter the white cube with seven pieces of charcoal in my mouth and a transparent plastic 

bag filled with milk in each hand. There is a hole in the bottom of each bag, so the milk 

drips out as I walk barefoot over the floor. I kneel down in front of the audience and make 

sure the bags do not touch the floor as I lean forward to put down the charcoal pieces. 

Then i take one of them back into my mouth and walk to the wall. I stretch as far up as 

I can get and start using my mouth and the charcoal to draw short vertical lines on the 

wall. 1 - 2 - 3 - 4 and the 5th goes across. 1 - 2 - 3 - 4 and the 5th goes across. 1 - 2 - 3 - 4 

and the 5th goes across. Like this I continue, line after line, until all the milk has dropped 

out of the bags or I have no more charcoal left. 

photo by Monika Sobczak

photos by Lisa Hjalmarson 

5

Andrus Lauringson [ee] 

PAS #07 | “Grass ‘n Asphalt” 

Berlin, Germany 2009 

6 

Tietle / 6 minutes 

I stamped my birth date on my shirt until I had a tie-like shape on my chest. Then I took 

off my shirt and pulled a tie half way out of my trousers. With the tie I rubbed another 

tie-ish shape on my bare chest. Then I yanked the tie all the way out.

photo by Marie-Luise Lange 

7

Robert Hausman [de] 

PAS #09 | “between the lines 2” 

Rehlovice, Czech Republic 2009 

8 

... / 45 minutes 

I am dressed in black pants and at my forehead is plastic hand brush fixed. I sit diagonally 

in front of the four bricks. Grind the floor with my hands, then take the Barbie doll and 

put it between my legs. Sense it. I begin to burn the hair of both dolls, first the woman 

and then the man. Smoke. Crusting. I touch the dolls, crack them and break them apart. 

I burn the sex part of the dolls. Smoke and pungent odor. Sorted by limb I put everything 

in front of me. Unroll the fabric band. I’ll take a head, two arms, two legs and a body, and 

create a new creature, wrapped in tape. Hermaphroditic, sexless. I attach the hybrid 

with tape between navel and genital area of my body. Smoke is under the lamp. I am 

wrapping my body with tape, the right, then the left leg, the genital area. Unrolling the 

tape generates a whirring sound. Severe leg movements. I go to the table and take the 

brush from my forehead and start to scrub the table. I open the first can with sardines, 

arrange the fishes in rows. Take the first fish and scrub it with the hand brush. Rest, 

fishbone. I take the leftovers and hang it on the string which is taut in the space. I go back 

to the table and continue the actions with scrubbing the fish and hanging it on the string 

as long all cans are emptied. Odor. I stand at the greasy work surface. I fix the brush on 

my forehead. Free myself from the tape. Take the hybrid on my belly in the right hand, 

kneel down, put my head with the brush on the ground and crawl scrubbing the ground 

out of the space.

photos by Matthias Laabs 

9

Christine Haase [de] 

PAS #10 | “Kunst ohne Werk” 

Dresden, Germany 2009 

10 

Ossi / 30 minutes 

I walk into the room with a shopping net-bag, on which 40 bananas are attached. I turn 

around the net-bag and cap it on my head. One by one, I pick all the bananas and eat 

them from my head. I drop the banana peel and stand on it with one foot and try to balance 

on it. After falling down I pick the next banana and repeat picking, eating and balancing. 

The banana peels I hide in my knee-socks, after I have eaten all the bananas and 

go with the empty shopping net-bag out of the room. 


photos by BBB Johannes Deimling 

11

Danka Milewska [pl] 

PAS #11 | “Global Communication” 

Radom, Poland 2009 

12 

Now / 45 minutes 

I start to boil the water. I put left hand in a basin with frozen fishes and right in the empty 

basin. Bent I tremble and draw my head towards the oven shelf. As soon as I hear the 

water reached a boiling point I ask the audience: water! to the right basin! Piece by 

piece, 9 frozen fillet I fish out and arrange in a row in front of me. I make a hole (opening) 

in each piece with rubber cuticle pusher. I make an individual knot for each piece with 

a cord string. I impale all of them on a transparent rubber tube. I try the necklace on my 

cleavage. I cross my hands behind a head and empty them by insert the two ends of tube 

into my mouth and connecting them with tongue. I murmur Holy Mary prayer. With a file 

I curve 2 lemons’ nipples out and give to the audience. I press the lemons from above on 

unfrozen necklace. I am jumping on oven shelf and freeze.

photos by Mariusz Kucewicz 

13

Susanne Irene Fjørtoft [no] & Franzisca Siegrist Schmid [ch] 


Radom, Poland 2009 

14 

Canneloni / 190 minutes 

The performance starts in two different locations. Susanne Irene Fjørtoft (S.F.) starts 

on the sidewalk in front of the gallery and Franzisca Siegrist Schmid (F.S.) starts in the 

closed garden behind the venue. F.S. is carrying a fork and S.F. is carrying a knife. All 

movements are very slow during the whole action. Both actions start simultaneously. 

F.S. sits down and digs a hole in the ground with the fork, rhythmical movements. She 

stands up and holds the fork vertically in front of her face. Pressing the teeth of the fork 

towards her forehead she walks towards the center room of the gallery. S.F. kneels 

down slowly with her back towards the gallery. With the knife held horizontally she 

scrapes the pavement repeatedly in decisive movements towards herself. She stands 

up, put the handle of the knife to her right shoulder and support it with her chin. The 

blade and her eyes are pointing in the same direction. She also walks towards the center 

room. In the center room F.S and S.F. meet. With the first body contact they go down to 

the floor together and connect one of their feet to the other’s with a piece of clothing. 

Together they move on all four around in the space until they are close to one of the 

audience’s shoes. F.S press the fork into the shoe and S.F. makes cutting movements 

with the knife. This action is repeated several times on different shoes. In the end F.S. 

and S.F. separate. With their backs towards each other they again find their composition 

with the knife on the shoulder and fork on the forehead. Then they walk out of the space 

each in the direction they came from. 


photos by Mariusz Kucewicz 

15

Manuela Macco [it] 

PAS #13 | “New Era” 

Prague, Czech Republic 2009 

16 

About fragility / 30 minutes 

70 eggs and 47 doilies are gathered into an apron which is tied to my waist, the flaps 

I keep in my hands. For about 30 minutes I am walking through the space carefully supporting 

the apron so that the content does not break. Nobody can see what I hide in the apron. 

At some point I stoop to the floor slowly and, while I am crouching, I arrange eggs and 

doilies on the ground. Some eggs are put on doilies, some not. When I stop, I take off 

the apron and I huddle up in fetal position, having the eggs behind myself. I wait motionless 

for a few minutes. After the pause I begin to move slowly and with determination. 

I roll with my body on the eggs, some eggs are broken, other, despite the weight, remain 

surprisingly intact. 

When I finish rolling, I get up and I leave. 

The doilies are hand made by Béla’s grandmothers, great grandmothers. Béla is an old 

lady who lives in Prague, and lent me the doilies.

photos by BBB Johannes Deimling 

17

Juliane Damm [de] 


Rehlovice, Czech Republic 2010 

18 

Zu Zweit / 5 minutes 

I sit in a wheelchair, my arms tied to the armrests in front of a glassless window. 

A strong string ties me to the chair, and I don’t manage during the entire time to free 

myself from it. Dressed in sweats and the typical symbol of the dancer, the toe shoe 

I begin a classical dance, the music “Habanera” by Georges Bizet. I dance the whole 

song closely related to my chair.

photos by Matthias Laabs 

19

Felix Fernadez [es] 

PAS #16 | “Extension” 


More, More, More! / 15 minutes 

20 

When the public comes in the space, the performer is already in the room like an sculpture 

inside of an installation. He is completely painted of black color and dressed with 

a black shirt and trousers. He holds a pair of tyre in each one of his arms, and in the 

white wall is written “MORE, MORE, MORE!” with black duct tape. He keeps his hieratic 

posture for one minute and when the room is in silence he leaves the four tyres in the 

floor. He builds a little tower with them sticking together with the black duct tape, and 

takes 

a power saw to start to cut them. While he carries out this he opens a champagne bottle 

of “Moet Chandon” that is in the center of space over a silver tray. He drinks a glass of 

champagne and he continues cutting the tyres stopping once in a while and staring at 

the public. The duration of this is eight minutes approximately. Then he puts on the different 

pieces of tyres over him, sticking them to his body with the duct tape, like if they 

would be prosthesis. Afterward he puts himself over the silver tray and a electronic song 

starts to sound. He spins around himself doing stops with bodybuilder posses while the 

song, that´s done with screeching of brakes´ sounds and machines´ sounds, is playing. 

Finally the song finishes and he waits half a minute staring at the public, them he asks 

them shouting a lot: “do you want more?”. This question will be repeated two or three 

more times without to wait answer. The performance ends. 

More, more, more is a proposal between installation and performance. The author drives 

our look to a figure that represents symbolically this concrete moment of capitalism, 

which is defined by Edward Lutwak as “Turbocapitalism”. This figure or character, which 

formally is a white man completely black painted, it set us in a scene that fluctuates between 

the ridiculous and the heroic when he cuts various tyres with a power saw to puts 

on after as body prosthesis. During the action the sounds connects us directly with the 

concept of machine´s velocity, that looks like fighting with itself, in a absurd try of bionic 

transformation. The performer puts himself over the tray and realizes bodybuilder´s 

posses accompanied with a rhythm built by screechings of brakes´s and roaring plugs´s 

sounds; this is very related with the futurism´s aesthetic of Marinetti, whose aesthetic 

values were the power, the speed, the velocity, the energy, the movement, the dehumanization, 

and the war like the only hygienic labor in the world. More, more, more! is, after 

“Turbodriver” and “Only for money” the third piece that Félix Fernández presents us in 

relation with this subject matter, questioning the political-social-economical moment 

we are living.

photos by Matthias Pick 

21

Marcel Sparmann [de] 



22 

No thing / 20 minutes 

I start the performance by holding a frosted glass bowl filled with 9 liter of milk. I pass 

this bowl to an audience member and ask to let this bowl circulate among the other people 

in the audience. This is an ongoing action for the whole duration of the performance. 

I start to walk in circles around the ice block in the middle of the room. I take a chisel 

and begin to destroy the ice with rhythmical hits. I continue this action till the ice block 

is mostly broken. I take a rubber ball out of my pocket, show it to the audience, cover it 

with milky cream and let the ball bounce through the whole room. I leave the room. 

I started my process of development for this performance with nothing than a blank 

paper. And because of this usual starting point, I have identified a big interest for the 

whole philosophical topic of nothingness. What does nothing mean and what are consequences 

of this mind? I realized the philosophical concept of nothingness, as a visual 

concept, is impossible to show. There will be always a reference point, a trace of a former 

concreteness or just an anchor in the real, physical world. So, I began to search for 

pictures of different ideas of nothingness, coming from a physical background, narrative 

poetic background or from traditional sayings. This brought me to ideas and images of 

transition, physical replacement or initiation. My final keywords were white noise, holes, 

silence and no existing objects, and the biggest recognizable string were transitions (ice 

to water, from high level to low level or among the audience) and movements (working 

with the ice, dripping of the milk, among the audience members or the rubber ball).


23

Katharina Kastl [de] 

PAS #17 | “What is important? #2” 


24 

Kopfkino / 8 minutes 

I enter the room and sit down on the bench- the stamp and the inkpad to my right, the 

shearing machine and the honey glass to my left. I cut off my hair and collect it in my lap. 

After that I take the stamp, put it into the inkpad and mark my head with a lot of black 

stamp prints. Then I put honey on my head, take the hair from my lap and stick it on to 

my head again. At the end I lick the honey from my fingers and leave the room.


25

Ida Grimsgaard [no] 

PAS #18 | “somebody - everybody - nobody” 


26 

Try nothing / 11 hours 15 minutes 

The action begins with no audience. At midnight I enter a small room and close the door. 

In the room there are roles of paper and pencils. I sit down on the floor and start writing 

down what I am thinking. This action goes on continuously through the night. When the 

audience come the next morning they are welcome to open the door, enter the room and 

experience were I am at this point. They can observe the process. When I feel the moment 

is right, I stand up and walk out of the room. 

Background I tried to find a way to erase people from my thoughts. Persons which means 

so much to me, that I cannot handle it. I give these persons too much power. How can 

I give something very important less value? The more I tried to handle this situation, 

the more time and attention I gave it. Could I manage to empty my head? I didn’t want 

to think, 

I wanted to do. If I wrote down everything I was thinking, would I then come to a point, 

were there were no more thoughts?


27

Jon R. Skulberg [no] 



28 

H e i m a t / 7 minutes 

I am standing still within a grid of 200 folded white napkins. Over me a white house is 

hanging. Within the white house a tank of 20 liter dark green water is hanging. After 

a while I open the tank, and the green water runs out. I step under it, and the green 

water covers me, before it continues on the floor, and into the napkins. “Stabat mater 

dolorosa”, by Vivaldi is played. The water is still coming out of the tank. When the music 

is over I turn slowly around my own axis until the water is emptied. Then I stop. The 

performance is over. 

I started out working from the German term «Heimat». Heimat is not only the home you 

come from, it is the landscape, the smells, your family, the region. Your Heimat can be 

a place you can travel back to, or revisit by recollecting. In this piece I wanted to investigate 

my own connection to my Heimat, and make a still life performance dedicated to 

a person, who where strongly connected to me and my Heimat, but that I now only can 

meet through my memories.


29

Hanna Riedmar [se] 



30 

You won’t take this thing out these words before I say ‘em / 4.45 minutes 

I entered the room naked and walked slowly towards the audience...3 meter in front of 

them I stopped and looked them in the eyes for some seconds. In one of my hands I hold 

an i-pod player and in the other one, confetti. I wore big headphones and the cable from 

this reached down to the floor. After standing still for a while I pressed the play button 

and an Eminem song (”not afraid”) started to play loud in my ears. My task was to sing 

the lyric together with the artist - to be with the lyric. I wanted to deliver the song to 

the audience who couldn´t hear the music at all. I didn´t knew the song very well and 

I couldn´t hear my own voice...so the result became really odd and strange. After singing 

I threw confetti over my head and went out though a door behind the audience. 

Background: We can never reach each other’s “everything”. I can never experience others 

experience of me. You can never experience the experience of others. We can only 

experience the image we make of each other, the roles we create and give each other. 

I asked myself – how can I give the audience most of me? To give away as much as possible 

of me was to give away the control - the control of the own image of myself. To give 

them something they didn´t expect from me and something that I never had expected 

from myself. I wanted to create an image of “everything of me and nothing” in the same 

time, an awkward situation for me and my audience.


31

Luis Probala [pl] 

PAS #19 | “Intensified Dialogues” 

Piotrkow Trybunalski, Poland 2011 

32 

Electrocution / 20 minutes 

I come just a few steps out of the crowd and raise my arms up; my black shirt is taken off 

by a man standing behind me. Both of my arms are wrapped around tightly with metal 

wire. I walk to the place where in front of me a bended aluminum plate is laying on the 

floor and on the side there’s a bowl filled with green stems. I kneel on the floor, take the 

aluminum plate on my lap and then bend down to the floor so that the plate is between 

my lap and my abdomen. I begin to press strongly the wired arms to the floor making 

circular moves, scratching the concrete floor and leaving traces. Afterwards my arms 

are stiff and without feeling. I go back to my starting position and unbind my arms, first 

helping myself with the teeth’s. I let my arms ‘breathe’ holding them over the plate, 

turning them slowly. The blood circulation is getting better; they start to shake like rest 

of the tense and exhausted body. I let them slowly down to the aluminum plate and pull 

them smoothly back so that the shaking fingers nails hit the metal. The sound is amplified 

by a microphone placed under the plate. I lay down the plate in front of me, take the 

bowl and squeeze my arms into it. Under the layer of stems, there are leaves of stinging 

nettle and flowers of the dandelion. I ‘wash’ my arms, take the bowl on the side, hardly 

stand up and leave the space.


33

Allison Fall [us] 



34 

Chocolate clouds with a chance of milk puddles / 20 minutes 

Allison gracefully enters the group performance space wearing red high heels and 

a simple dress while holding a container of milk in her hands and a white parasol hanging 

on her arm. Standing at the back and center of the space she holds the group energy 

in her presence. Allison proceeds to take off her high heel shoes and opens the 

container of milk, pouring it into the shoes. Placing the shoes beside her bare feet she 

pours the rest of the milk directly on them. Standing in a puddle of milk, she takes the 

parasol into her hands and slowly points it directly at the audience. The intensity of her 

gaze and aggression of the action remains for quite sometime. Allison then slowly lifts 

the parasol above her head, and opens it to a pouring explosion of cocoa from the inside. 

She then puts her feet back into the red shoes filled with milk, closes the parasol over 

her head, and proceeds to walk out of the space.


35

Jacek Dabrowski [pl] 



36 

Iwona / 20 minutes 

Powders, onions and flower are placed on the floor before I started the action. 

I was wearing everyday clothes, but I had bare feet. I entered the space and I stopped in 

the middle. I started to sprinkle the red powder around my feet forming the rectangle. 

Then I bent my body and I touched the ground, so now my feet and palms were touching 

the ground and my body had shape of arc. Next I sprinkle the light gray powder around 

my hands forming the second rectangle. Then i start to eat and chew the onions. When 

the tears appear on my face I stood up. I take the flower and I give it to the young girl 

from the audience.


37

Nancy Gewölb Mayanz [cl] 

PAS #20 | “In Context” 


Artistbook / 10 minutes 

38 

I felt so well inside my cocoon!! I really didn`t wanted to go out, I just yesterday night saw 

the video of my performance........and I saw that even to me there were things that were 

so incongruent but also so right! I usually do performances politically involved, and also 

I work with memory, and this wonderful workshop made me think and work about my 

feelings (full of memory and social compromise), you see?? 

Of course I should stay much more time inside the fabric, I needed it, but it also made 

me think about the meaning of the objects I used. 

The red wooden object for the embroidery, “my stomach shadow” (by the way, embroider,” 

border” in Spanish, means also “to perform a thing according to art “ ) was covered 

with a tin mesh, I sew on same very popular German sweets, I put on each of them small 

pieces of gauze with a stain of red tied with red thread, I stamped my name on each one 

of it and then I embroidered them in the tin mesh. 

I dress myself only with a sky blue petticoat (underwear), and I tied a small red baby girl 

dress in the back beams of it, I am barefooted, and I comb my hair in a very tight bun 

then I put “my stomach shadow” on my stomach and wrap it tight around my waist, I take 

a sharp knife and cross my arms. 

I just cannot do it alone so Gaby combs me and Johannes with Marcel help me throughout 

my performance, they wrap me very tight in a very thin 15 by 1,5 meters rose cotton 

fabric till I am a cocoon and they secure it with safety pins. 

I lay in the floor in a diagonal position breathing profoundly, after a while I begin to uncross 

my arms a little till I can put the knife pointed up and try to cut the fabric slowly, 

slowly, until I am tired, then I try it again and suddenly I make a hole in it (only in front 

of my waist) so the point of the knife and my hands appears; in peace at first and then 

almost desperate I cut and tug and hew right and left trying to make it work as the pages 

of a book, I hurt my finger, (this was not prepared ) and a few drops of blood stain the 

cloth; when the hole is big enough I open it just to show “my stomach shadow”, I go on 

breathing and cutting slowly or desperate, till I pull it over my head and I can get out and 

up leaving my “cocoon” in the floor, I unwrap the “stomach shadow” and put it over it, 

I make a slow round till I can breathe normally, then I leave the place leaving my cocoon 

and stomach shadow behind. 

The audience becomes a central figure in the very mechanisms that grant meaning to 

the work. It is ultimately the recipient who closes my artist-viewer equation and I can 

see that the diverse procedures and materials employed in the performance reveal 

a deep formal and content-based search. The challenging approach I use, in turn, is immersed 

in identifiable tragic aspects of our recent history. My artistic pursuit is based 

on reviewing and questioning, but the response always falls upon those viewers who are 

able to see.

photos by Monika Sobczak 

39

Michelle Isava [tt/ve] 



40 

Why did you go so far? / 10 minutes 

I conceived of my performance with three basic elements; a cage, feathers and a childish 

dress. The process of finding these items also directed the action. The cage became 

more symbolic and so I decided to use a metal fold up bed as a substitute. The dictated 

that the bed would have to be hung instead of on the ground if it was a cage. The bed only 

covers one side, so I had it suspended in front of a window sill. On that window sill I stood 

behind the bed waiting to start the performance. Like caged birds at night, the front bars 

of my cage-bed were covered with a sheet. The audience met me hidden in this way. 

I started slowly to struggle behind the sheet making sounds hitting the bars to brake 

free. Eventually the sheet fell down. At this point I stood still and repeated the word 

‘emergency’ like a lullaby. When I stopped I found a simple way to gain freedom 

from my cage and I merely crawled out. On the ground were many feathers on which 

I started to move but could never get away from as they moved with me, made me slip 

and even got into my mouth. I struggled in this way for several minutes until I slowed 

down and stopped. Slowly I crawled under the feathers to hide again.


41

Ida Grimsgaard [no] & Mikkel Rasmussen Hofplass [no] 

PASproject | “A BIGGER SCALE OF TOUCH” 

Murcia, Spain 2011 

42 

A bigger scale of touch 2 / 300 minutes 

Since everything were unknown for us around the showing in Spain, we choose to take 

with us something we knew and felt was a part of us – our own space – a tent. A space 

we could work with and influence in Norway. We were interested in the meeting between 

the tent and the environment in Murcia. We wanted to investigate how two different 

spaces affect and transform each other. 

By transforming individual objects over a long duration of time, the space in itself came 

into a transformation which created a constant pulse, like breathing. 

Description of action: 

- Putting up tent 

- Settle down 

- Breathing air into plastic-bags 

- Attacking tent with a stick 

- Unravel sweaters 

- Creating skeins of the threads 

- Tie threads to plastic-bags 

- Cover tent with the plastic-bags 

- Filling tent with plastic-bags 

- Close ourselves into the tent 

photo by Paco Vivo

photo by Monika Sobczak 

photo by Emi Wilcox 

43 

photo by Emi Wilcox 


Ida Grimsgaard [no] 



44 

A bigger scale of touch 5 / 150 minutes 

We cannot touch time. Time is invisible. It is not possible to see time, but we can see the 

consequences of time. Time leave tracks. Time erases. Time creates changes. Time is 

development. Time gives the opportunity to movement, without time everything would 

be frozen. 

I wanted to work with wind as a physical version of time. Like time, the wind is also invisible. 

Either time or wind stands still, it is a constant movement. And we cannot see 

the wind, we can see everything it touch and how that gets affected. There is both an 

obstacle and a freedom in wind. You get pushed and held up. 

I have a wireless microphone attached to a long wooden stick and walking outside recording 

sounds of the wind. The audience stands in the window with headphones listening 

to the sound. They can use monocles to observe the microphone and the invisible wind.


45

David Frankovich [ca] 

PAS #24 | “Themomentwhenanappleistooheavyandhastofalldowntotheground” 

Calgary, Canada 2012 

46 

Careless whisper / 7 minutes 

I enter pushing a mop and bucket, which is filled with soapy water. I am wearing white. 

I wring out the mop and place it upside down in the bucket, with the mop head sticking 

up. Holding the mop and wringer lever, I dance slowly and sing “Careless whisper” by 

wham! During the second verse I fall over, spilling the soapy water all over the floor. 

I continue to dance and sing on the floor. When the song is over I stand up and right the 

mop bucket and wringer. I take off my shirt, put it in the wringer and pull the lever while 

looking at the audience. I give my shirt to the first person I make eye contact with to hold 

for me. I repeat this with my pants, then my socks. I repeat this with my underwear, but 

instead of giving them to someone I put them back on. I retrieve my socks and put them 

back on, then my pants, then my shirt. I exit. 


photo by Monika Sobczak 

47 

photo by Matthias Pick

Jake Klein-Waller [ca] 



48 

Two in one / 5 minutes 

“Scratch my breasts soft with your lips 

hold my hips down to place your kiss 

take my hand to your favorite spot 

and break my legs. 

Cried one tear, since the age of six 

place my hand into my pants, and I still exist 

place my hand into my pants, and we still exist.” 

My performance was about the inhabitants of masculinity and femininity within a single 

person. My action started with very soft singing that progressed throughout the entire 

piece. While singing I stood and stripped off my clothes down to my white underwear, in 

which I preceded to pull a single white feather out of. I softly stroked my legs with the 

feather, standing in front of a black wooden baseball bat, a white bottle of lotion, and 

a pile of black feathers to my right. I kneeled in front of the bat and pulled more feathers 

out of my underwear by the handful and placing them in a pile in front of me. I took 

the baseball bat into my lap and slathered lotion on to it, the placed it down to stick the 

white feathers to it. I then stood up while holding the bat and then repeatedly hit the bat 

against the pile of black feathers in a explosion moderate aggression and the two colors 

of feathers. 



49 

photos by Matthias Pick

Emily Promise Allison [ca] 



50 

Spitzenrefinanzierungsfazilität / 10 minutes 

In preparation for this performance I sewed a 25 foot black taffeta dress. 

I crawled slowly through it to the end where my arms and head emerged. 

There was a large glass jar in front of me that I reached for. 

Still laying on the ground, I began to pull my dress all the way up so my toes were showing. 

Then I took the jar and sat up with it. 

Inside the jar were white crumpled pieces of paper that I carefully removed one by one. 

Eventually it was revealed that there was a bird inside the jar (alive). 

Once I removed all of the paper from the jar, the bird was left, and I stood up with the jar 

to my chest and walked out of the space. 


photo by Matthias Pick 

51 

photos by Monika Sobczak

Björn Neukom [ch] 



52 

Melon - Pineapple / 10 minutes 

The starting point of the performance is an installation: a grid of 42 zip-bags filled with 

lime green liquid on the gallery floor. The action starts, when I enter the installation. 

After I watched each audience member into their eyes I take a neon pink duck tape out of 

my trousers. Then a repetitive action starts. I choose randomly a bag and tape it around 

my head. After 13 bags are taped to my head, I stand in the middle of the installation – 

a sculpture is created. After giving the audience some time to observe this still image, 

I pierce the bags with a needle. The lime green liquid runs down my mint green silk 

t-shirt. I finish this image, squeezing the bags with both hands. Because of the pressure 

in the bags, I become for a short amount of time to a human fountain. The performance 

ends with me walking out as I entered and the intense smell of the liquid, sticking now 

to the floor. 


photo by Matthias Pick 

53 


Clemens Böhnstedt [de] 

PASyouth | “Shift” 


54 

Grenzt / 150 minutes 

I have prepared for this performance a machine gun from ice. This gun was melting in 

the course of time of the performance. The melted water created a border between and 

the audience. A hairdryer which I placed in front of me created another border with the 

cable. The hairdryer was placed, so that the audience could take it and interact with me, 

to help to melt the ice-gun in my hand. During the performance I was standing still, not 

reacting on the audience. On my naked body was the sentence “here comes the sun” 

imprinted and on my chest a piece of raw ham, covered with plastic foil. 

My performance was talking about children misused as soldiers.


55

Eric Christopher Straube [de] 



56 

[du bist] das letzte_ / 120 minutes 

two chairs_ one suitcase_ nineteen buckets_ two-hundred liters of water_ twenty-one 

narcissuses_ two liters of milk_ one kilo sugar_ two kilos of flour_ three eggs_ a quarter 

kilo of butter_ two hundred thirteen grams sunflower margarine_ one hundred ninety 

grams chalk_ twenty-five milliliter fuel_ three kettles_ a small white table_ a thick waterproof 

black marker_ a glass with knives, scissors and a cutter_ t-shirts_ three acts. 

Beginning_ phase one_ chalk roof diary mama-papa child table boiling water_ 

Change_ phase two_ flour sugar milk butter margarine eggs parents dough form memory_ 

Change_ phase three_ water bucket current carcass wistful recollection fire resignation 

insight_ 

End. 

The two chairs never touched_


57

Nina Wijnmaalen [nl] 

PAS #26 | “Object trouvé” 

Rotterdam, the Netherlands 2012 

58 

(without anything) I am possible / 15 minutes 

I lie upside down in the space against the wall. Slowly my legs move down and i come to sit. I clap 

with my hands on my cheeks. I clap harder and harder. I stop. I open my mouth towards a little 

metal object. I place my open mouth to it and stay for a while. 

I leave this position and take a self made wooden demonstration-board. With a white pen I write: 

I am possible. I hold it in my hand and say: “without anything”. 

I put it up my ass and in my stockings and walk upside-down through the space like a strange 

duck. I bump against the wall. I walk further and suddenly the wooden floor makes a quirky sound 

under my feet. I play with this sound. I also find a long white tube on the floor (this belongs to the 

radiator). I go down and blow the tube like a horn. 3 times. 

I walk towards one of the two drawers (they are part of the space) and open it slowly. In the drawer 

I press a little button (of my recorder) and sounds appear: children, adults, screaming and excitement. 

I lay my hand in the drawer. I stand up, stop the sound and push back the drawer. 

I look at my legs and slowly grab my stockings. The material stretches while I slowly tear it apart. 

I look at the audience while I do this. Now I sit down with my legs stretched. I push the butter 

through my toes and rub it on my legs. My legs and feet start to shine and smell. I stand up, it is 

slippery. With my two hands I pour flour into a box. I start running with the box and the flour jumps 

out. My hairs become loose and i jump into the air with the flour all over me and sticking to my 

legs. I hit the little empty box against the wall and put it under my feet. 

I grab the demonstration-object from the wall and tear it apart. Now i have two wooden boards. 

I walk to small wooden objects and together with the board and I create two high heels. I tie them 

under my feet. I stand up very slowly. I look at the audience and start to walk very carefully towards 

the door. I have to walk slowly in order not to fall. I reach the door and leave the space.


59

Conor Baird [uk] 



60 

In real life I think I’m physically weak so does that make me want to be 

pointlessly strong in performance art? / 60 minutes 

I stand carrying clothes irons. I am strong. I stay still in the same position until the 

weight becomes unbearable. I collapse to the floor and become chaotic in action with the 

irons. I stop when I become weak.


61

Kirsten Heshusius [nl] 



62 

There’s no limit / 15 minutes 

The performance is a collage of actions. 

I cycle circles in the space on my orange bike for about two minutes while looking at the 

audience. I stop in the middle of the space, put a coconut on the ground and park the bike 

in a corner near a fire hose. 

On the floor I lay out a black string of elastic that was already attached to the heater. 

I measure the string and cut it at the place of the coconut. The left over I cut as fast as 

possible in little pieces. I put the pieces in my pocket and put the scissors near the bike 

i cover the coconut generously in baby powder. 

I sit down in a corner of the space. I put my hand in a round Moroccan bread and wash 

myself with the bread. I end with washing my head. When I remove the bread my hair is 

flicked up. I put the bread near the bike and the scissors. 

I connect the elastic with the coconut, stretch it and shoot the coconut to the heater. The 

third time I shoot the coconut, the heater leaves a cut in the coconut. I untie the coconut 

and put it with the mark towards the space on the ground. 

At the same spot I change my boots for high heels. I stand on the heater in front of the 

window and throw the pieces of cutted elastic into the air. 

photo by Matthias Pick


63

Charlotte Kaiser [de] 

PAS #27 | “After Image” 

Belin, Gemany 2012 

64 

Sometimes I dream, I wanna be forever young / 12 minutes 

The basement is lighted by a flashlight and a candle. I’m sitting on a pipe and wear 

a white dress in which I hide granulated sugar. As the audience enters the basement, 

I playfully move my bare feet in a white bowl. This bowl is filled with white paint. After 

everybody arrived in the basement, I sprinkle the sugar on the floor. As next I take out 10 

windup toys and put them one by one on in the sugar on the floor. After all figures have 

ceased to move, I go to the candle and place a large glass jar it on. The moment the jar 

touches the ground, a helper in the audience switch off the flashlight, so that only the 

candle lit the space. I keep on sitting in front of her until she fades out, because of a lack 

of oxygen.


65

Anna Wilhelms [de] 



66 

хто де / 10 minutes 

The audience enters the room. My hair is plaited with red ribbons and is fixed on the ceiling. 

With a scissors I cut the ribbons, except for a last long one. The floor is covered with 

gritty piles of stones. With these stones i create a mountain landscape. With cinnamon 

I write “wer wohin” (who whereto) on the floor inside of the landscape. The cutted ribbons, 

which I rip off from the ceiling, I dip into a glass of honey. I put them down on the 

stones. I leave the room and the last ribbons rips off.


67

Vena Naskrecka [pl] 



68 

C 3 

H 6 

O 3 

/ 195 minutes 

End of the hall way, around white walls. I am sitting there, half naked, on the wooden 

floor and facing the wall. Two intravenous drips are hanging on dirty-white webbings. 

End of the intravenous system disappear under my hair just to appear on my neck. There 

is a white fluid inside of the medical tubing that is slowly dropping to my neck and follows 

the back. Drop after drop creates two constantly flow down lines. Red panties absorb the 

fluid and let it weakly appear on the floor. I smell the milk. On the space between me and 

the wall there are wooden sticks that, from time to time, I am breaking together with 

breaking the silence present in the hall way.


69

“White shirt moment”. The documented performances in this publication were realized at the following PAStudies, PASprojects and PASyouth projects, from 2009 to 2012. 

PAS #06 | “Performance art meets Scenekunst” 

in cooperation with the NTA - Norwegian Theatre Academy, Fredrikstad, Norway 2009 

PAS #07 | “Grass ‘n Asphalt” 

in cooperation with the Estonian Art Academy and Schloss Bröllin, Bröllin-Berlin, Germany 2009 


in cooperation with TU-Dresden - Institute for Art and Music Science, Rehlovice, Czech Republic 2009 

PAS #10 | “Kunst ohne Werk” 

In cooperation with Motorenhalle and the summer academy, Dresden, Germany 2009 


In cooperation with GLOBAL COMMUNICATION Festival, curated by Bartek Lukasiewicz and CSW Elektrownia, Radom, Poland 2009 

PAS #13 | “New Era” 

in cooperation with the international contemporary art festival TINA B., Prague, Czech Republic 2009 


in cooperation with TU-Dresden - Institute for Art and Music Science, Rehlovice, Czech Republic 2010 

70 


in cooperation with Grimmuseum, Berlin, Germany 2010 

PAS #17 | “What is important? #2” 

in cooperation with Performerstammtisch, Schloss Bröllin and Flutgraben e.V., Bröllin-Berlin, Germany 2010 


in cooperation with the NTA - Norwegian Theatre Academy, Fredrikstad, Norway 2010 


In cooperation with the international performance art festival INTERAKCJE, curated by Arti Grabowski, Piotrkow Trybunalski, Poland 2011 


in cooperation with Grimmuseum, Berlin, Germany 2011 


in cooperation with the NTA - Norwegian Theatre Academy, the performance art festival Abierto de Accion, Murcia, Spain; Fredrikstad, Norway 2011 


In cooperation with the M:ST 5.5 performative art festival and the Alberta College of Art and Design, Calgary, Canada 2012 




in cooperation with PAE – Performance Art Festival, Rotterdam, the Netherlands 2012 


in cooperation with Grimmuseum, Belin, Gemany 2012

71 

“White shirt moment” 

Produced by PAS | Performance Art Studies 2012 

Layout: PAS graphic designer - Przemek Oleksyn 

Photos: PAS photographers - Monika Sobczak & Matthias Pick 

and BBB Johannes Deimling, Lisa Hjalmarson, Mariusz Kucewicz, 

Matthias Laabs, Marie-Luise Lange, Emi Wilcox. 

© by PAS | Performance Art Studies 2012.

White shirt moment

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?