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SODA Research Presentations 2016

Over the two years of the SODA masters program, students are asked to respond to questions around art as production of knowledge through the specificity of their work and practice. How can art practice be considered knowledge, and, how can the acquisition of this knowledge be demonstrated and accounted for as scholastic discourse? What are the means by which learning procedures and insights of such knowledge production, can be made visible, aside from direct contact with the work itself. What are the questions, investigations, experiments, and critique, the practice led, thinking by doing and doing as thinking, not to mention the endless decision making mechanisms which go into performance making? This 3rd semester Research Presentation gathers the results of the SODA 2017 class. It gives an insight into the projected aims for the students final masters presentation in their fourth and last semester.

Over the two years of the SODA masters program, students are asked to respond to questions around art as production of knowledge through the specificity of their work and practice. How can art practice be considered knowledge, and, how can the acquisition of this knowledge be demonstrated and accounted for as scholastic discourse? What are the means by which learning procedures and insights of such knowledge production, can be made visible, aside from direct contact with the work itself. What are the questions, investigations, experiments, and critique, the practice led, thinking by doing and doing as thinking, not to mention the endless decision making mechanisms which go into performance making?

This 3rd semester Research Presentation gathers the results of the SODA 2017 class. It gives an insight into the projected aims for the students final masters presentation in their fourth and last semester.

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MA soda RESEARCH PRESENTATIONS 5 – 7 July <strong>2016</strong>


MA Solo/Dance/Authorship<br />

3rd semester <strong>Research</strong> Presentation <strong>2016</strong><br />

Art as the production of knowledge.<br />

What is meant by the term research presentation<br />

when it comes to arts practice?<br />

What does artistic research do and what can it<br />

produce?<br />

What form could it take?<br />

Who and what is it for?<br />

Over the two years of the <strong>SODA</strong> masters program,<br />

students are asked to respond to these questions<br />

through the specificity of their work and practice.<br />

How can art practice be considered knowledge,<br />

and, how can the acquisition of this knowledge<br />

be demonstrated and accounted for as scholastic<br />

discourse? What are the means by which learning<br />

procedures and insights of such knowledge production,<br />

can be made visible, aside from direct contact<br />

with the work itself. What are the questions, investigations,<br />

experiments, and critique, the practice<br />

led, thinking by doing and doing as thinking, not to<br />

mention the endless decision making mechanisms<br />

which go into performance making?<br />

In short how do the students learn what they learn?<br />

The 3rd semester research presentation requires<br />

students to take up this task by showing evidence<br />

of practice enquiry in the form of live or real time<br />

performance, orally contextualising this research,<br />

through a critical frame of perception, based on<br />

negotiated assessment criteria, agreed with staff<br />

in close consideration of the issues at stake. Briefly<br />

then to outline their method of documentation<br />

in the form of an artists workbook and, to give an<br />

insight into their projected aims for their final masters<br />

presentation in the following semester.<br />

It’s a tall order to bring all of these requirements<br />

under one hat, but this is the challenge faced with<br />

the claim of being busy revealing that which is not<br />

yet known in body based performance practice. To<br />

validate the specificity of these claims, students are<br />

encouraged to curate their presentation by employing<br />

those means best suited to their own practice.<br />

There is no SoDA formula, short of an endless curiosity<br />

in the potential of the moving body as art.<br />

Prof. Rhys Martin<br />

Program leader


301 research soda <strong>2016</strong><br />

Akseli Aittomäki<br />

Production desired value added


The economic, experiential and production<br />

meaning, experience, sensation<br />

phOTO: Tani Simberg. Territories, 2015<br />

I approach experience as a kind of extended or<br />

repeated, stretched sensory event. It is based<br />

on an ability to sense, on abilities that are<br />

learned and developed. Accepting that sensory<br />

events are something physical, the process of<br />

constructing the capacity for these events could<br />

be called physical training.<br />

Meaning I think has two dimensions: on one<br />

side it is experiential meaningfulness, while on<br />

the other, it is something abstracted, belonging<br />

to the regime of signs and signification. Signification<br />

is always somewhat broken, because<br />

it depends on experience that is never fully<br />

appropriated by the abstract.


All social institutions depend on meanings attached<br />

to them; one could say they always have<br />

an element of the aesthetic and the ideological.<br />

Not everyone who is affected by the institution<br />

needs to perceive and experience its signs in a<br />

similar way – yet the institution could not function<br />

if it was devoid of meaning.<br />

For an institution to be powerful, it needs an<br />

ability to excite, to be a mechanism of production<br />

of experience. Institutions define and control<br />

experience, and enable judgements about<br />

the value of experiences.<br />

PHOTO: Tani Simberg. Territories, 2015<br />

contemplations on sensing bodies,<br />

institutionalisation of meaning


Institutions define themselves through defining<br />

things that are desirable and good. The exact<br />

use of the meanings is a matter of potential<br />

political struggle – an institution could mean<br />

many things. The most dominant institutions,<br />

however, will attempt to extend their code as far<br />

as possible.<br />

Economic exchange introduces measurement. As<br />

the conditions to produce and reproduce experiential<br />

meanings may depend on economic exchanges,<br />

they will need to be compared against<br />

exchange-values. Choices made about the use of<br />

bodies‘ ability to work are an essential element<br />

of any economy of exchangeable values.<br />

institutionalised desires<br />

value and the economic<br />

phOTO: Eeva Hannula & Ville Kumpulainen. Potentia, <strong>2016</strong>


While exchangeability is driven to infinity in<br />

neoliberal economy, it has already ceased to<br />

be the driving characteristic of money or the<br />

economy. It is not so much anymore about<br />

abstraction of value to maximum comparability,<br />

but more about productivity, capability to generate<br />

profit, about abstracted potential. Circulation<br />

is not maintenance of equilibrium, but a<br />

fight to find ever more breaking points, where<br />

unsettling the system offers more possibility for<br />

profit. Innovation means new opportunities for<br />

profit – which equals to it meaning the power of<br />

corporation over everything else. It is supreme<br />

power through an empty signifier (capitalist<br />

money). An extreme abstraction of the aesthetic<br />

and discourse.<br />

PhOTO: Marianne Lagus & Akseli Aittomäki. 7 ½ intensities, 2013<br />

and value production<br />

productivity and capitalist money


301 research soda <strong>2016</strong><br />

Lulu Obermayer<br />

Act II // Scene V


Giacomo Puccini<br />

Tosca<br />

Vissi D‘Arte<br />

I give my love and thanks to:<br />

Sandra Umathum, Aline Benecke, Florian Feigl, Ernestine Müller-Loeffelholz, Boyan Manchev, Nikola Pieper,<br />

SoDA Staff Team, my class, Kunsthaus Kule and most importantly to my family.


301 research soda <strong>2016</strong><br />

Yuebing Luo<br />

Modest Spectacle


the line grows from a point that has been set in motion<br />

by making and being with multiple entanglement of lines<br />

be it a web, a helix, a periphery- to-centre, a rhizome<br />

i intend to lay down the condition of possibilities, possibility of conditions<br />

where movements and dynamics of<br />

my body and many line-making Things<br />

can be registered in the studio space<br />

“the essential relation, in a world of life, is not between matter and form, or<br />

between substance and attributes, but between materials and forces”<br />

(Deleuze, G. and F. Guattari, 2004, A Thousand Plateaus, trans. B. Massumi. London: Continuum, p 377)


as a metabolizing, walking, touching, gesticulating creature<br />

there is a constant line-making process happening<br />

inside me, by me, around me<br />

my skin binds a surface i call myself<br />

i am moving about<br />

on surfaces<br />

leaving traces with no phenomenal presence<br />

inscribing groups of lines to signify my thoughts<br />

on what you are now reading<br />

a line is visual and virtual linearity that<br />

organizes perception of forms and motion<br />

extension, fluxes, strength of connections<br />

myriad stored in the tiniest<br />

ultimate complexity unfolds through<br />

the forming, deforming and transforming of lines:<br />

performance of lines<br />

the very modest but magnificent expression


301 research soda <strong>2016</strong><br />

enrico d. wey<br />

this feast once removed


this feast once removed, forewarned in and of out of fury fastidious on flesh fast. flash floods empty at once moved<br />

- feast - to heretic false statements suffer. fall back without warning without warming up, to out a semblance of a<br />

recognition of recalled removal once stated sated in frenzy. founded on ground stood upon both, both by<br />

bystanding to still stand stock still glacial pace place upon folds by, by bilateral contract unspoken or broken upon<br />

this pike up on this this plinth this pith in precepts, details these plucked out with forceps, states shaken and<br />

shuddered, follies not left to fate but leftover and shuttered. this feast once moved, this feast, once moved, founded<br />

in faulted floors, steadfast in surface in service to stake claim. surfaces slide, on plates built, silent swells in song<br />

shattered, uprooting two to what was barely there, there now, there there now. how how finding faults in fictions.<br />

grind ground down and out to a hush, a hook to hang a hat on, to set scenes these frays frayed on edges there lack<br />

an entry. to what for what and what heretofore foregoes a land landing, for eye brought this overview, sediment in<br />

openings awled in slack jaws, yet odd in awe, nary an entry. an ode to salt seas this, this feast, seared and solemn,<br />

slips through fingers, this held tight, carry codes to coda, exhume underneath in parted past, and nod on pinched<br />

paltry sums. moves are laid waste to reservation, reheat to serve, purpose shunted on failures forged, to direct to<br />

offer direction, to set forth, disintegration in migration. fresh-squeeze a softening, form a memory that smells<br />

strong of what since passed, now sketched, a sketch stretched and seated: silted mouth that evades recognition on<br />

skin, sweat-sloughed layers to lay to say shhhh, overed into silence these mashed melodies held over half hard in<br />

hand to mouth to hard turns to dive down beared under sheeted silks. weak could be better, a fraught phalanx, two<br />

curled in anticipation too in resistance to admission to cross fainted lines: but in case, present, tenses to this<br />

missed. means not soft in slumber but steeled over in stasis, a body left, over in crossings. skins tighten around,<br />

scars, pulls back to something once resembled, recovers in effect full but wrung wrought in faulty reminders. once<br />

moved in furied flesh, this fast, reclaimed, in parts, imparts, perhaps, a constitution, a sort of, in unrest, restitution.


this feast once removed is the title of a body of research currently supported by the solo/dance/authorship master<br />

of arts program at hochschulübergreifendes zentrum tanz berlin. at this present moment, the research continues<br />

to revolve around the associative nature of my process for working. i proposed to approach my work with the<br />

metaphorical structure of a vortex. if one were to imagine the themes and images related to a specific project as the<br />

debris caught within forceful spiraling winds, and then placed the body in the calm eye of the storm, one would<br />

perhaps be able to see the connections between the aforementioned objects swirling around the body in the center.<br />

this is simply an imagistic tool implemented in hopes to catalyse and crystalise the thought processes surrounding<br />

the work at hand. in the development of this approach, i tapped primarily into the words of jose esteban munoz,<br />

wayne koestenbaum, and ezra pound. using this approach personally offers a method and a return to what could be<br />

viewed as an anchor for or entry into and out of the process for making, ( for eye brought this over with the intent<br />

to place my own body at center.) in the coming months i am attempting to seas this, this feast, seared deeply into<br />

my recollections. this shared meal serves as a placeholder for a particular event in parted past, and nod s to greater<br />

considerations for the construction of memory. i am suggesting that memory forms on failures forged, to variables<br />

in a negative correlative relationship to time. as temporal distance increases, the ability to form a memory that one<br />

can readily recognise as truth becomes increasing less possible and results in something that evades recognition - a<br />

resulting otherness. the act of recall is a series of failures, a looping cycle of impedance wherein each repetition is<br />

met with greater resistance. however, perhaps memory recall is not a binary dynamic: in adherence to a recipe for<br />

success or to a recipe for failure. it is mutable in nature, this cycle, or to be bold, this vortex. peering into the words<br />

of judith halberstam, maybe the acts of failing, forgetting, and looping, offer queer alternatives to truths. the<br />

practice of event recall offers new returns to the event in question… this remains to be seen. this query is also<br />

furthered by the literary memoirs of justin chin and ernest hemingway, respectively, ‘gutted’ and ‘a moveable feast’.


this feast once re moved , forewarned in and of out of fury fastidious on flesh fast. flash floods empty at once moved<br />

- feast - to heretic false statements suffer. fall back without warning without warming up, to out a semblance of a<br />

recognition of recalled removal once stated sated in frenzy . founded on ground stood upon both, both by<br />

bystanding to still stand stock still glacial pace place upon folds by, by bilateral contract unspoken or broken upon<br />

this pike up on this this plinth this pith in precepts, details these plucked out with forceps, states shaken and<br />

shuddered , follies not left to fate but leftover and shuttered. this feast once moved, this feast, once moved, founded<br />

in faulted floors, steadfast in surface in service to stake claim. surfaces slide, on plates built, silent swells in song<br />

shattered, uprooting two to what was barely there, there now, there there now. how how finding faults in fictions.<br />

grind ground down and out to a hush, a hook to hang a hat on, to set scenes these frays frayed on edges there lack<br />

an entry. to what for what and what heretofore foregoes a land landing, for eye brought this overview, sediment in<br />

openings awled in slack jaws, yet odd in awe, nary an entry. an ode to salt seas this, this feast, seared and solemn,<br />

slips through fingers , this held tight, carry codes to coda, exhume underneath in parted past, and nod on pinched<br />

paltry sums. moves are laid waste to reservation, reheat to serve, purpose shunted on failures forged, to direct to<br />

offer direction, to set forth, disintegration in migration . fresh-squeeze a softening, form a memory that smells<br />

strong of what since passed, now sketched, a sketch stretched and seated: silted mouth that evades recognition on<br />

skin, sweat-sloughed layers to lay to say shhhh, overed into silence these mashed melodies held over half hard in<br />

hand to mouth to hard turns to dive down beared under sheeted silks. eak could be better, a fraught phalanx, two<br />

curled in anticipation too in resistance to admission to cross fainted lines: but in case, present, tenses to this<br />

missed. means not soft in slumber but steeled over in stasis, a body left, over in crossings. skins tighten around,<br />

scars, pulls back to something once resembled, recovers in effect full but wrung wrought in faulty reminders. once<br />

moved in furied flesh, this fast, reclaim ed, in parts, imparts, perhaps, a constitution, a sort of , in unrest , restitution.


this feast once re moved , forewarned in and of out of fury fastidious on flesh fast . flash floods empty at once moved<br />

- feast - to heretic false statements suffer. fall back without warning without warming up, to out a semblance of a<br />

recognition of recalled removal once stated sated in frenzy. founded on ground stood upon both, both by<br />

bystanding to still stand stock still glacial pace place upon folds by, by bilateral contract unspoken or broken upon<br />

this pike up on this this plinth this pith in precepts, details these plucked out with forceps, states shaken and<br />

shuddered, follies not left to fate but leftover and shuttered . this feast once moved, this feast , once moved, founded<br />

in faulted floors, steadfast in surface in service to stake claim. surfaces slide, on plates built, silent swells in song<br />

shattered , uprooting two to what was barely there, there now, there there now. how how finding faults in fictions.<br />

grind ground down and out to a hush, a hook to hang a hat on, to set scenes these frays frayed on edges there lack<br />

an entry. to what for what and what heretofore foregoes a land landing, for eye brought this overview, sediment in<br />

openings awled in slack jaws , yet odd in awe , nary an entry . an ode to salt seas this, this feast , seared and solemn,<br />

slips through fingers , this held tight , carry codes to coda, exhume underneath in parted past, and nod on pinched<br />

paltry sums. moves are laid waste to reservation, reheat to serve , purpose shunted on failures forged, to direct to<br />

offer direction, to set forth, disintegration in migration . fresh-squeeze a softening, form a memory that smells<br />

strong of what since passed, now sketched, a sketch stretched and seated: silted mouth that evades recognition on<br />

skin, sweat-sloughed layers to lay to say shhhh, overed into silence these mashed melodies held over half hard in<br />

hand to mouth to hard turns to dive down beared under sheeted silks . weak could be better, a fraught phalanx, two<br />

curled in anticipation too in resistance to admission to cross fainted lines: but in case, present , tenses to this<br />

missed . means not soft in slumber but steeled over in stasis, a body left, over in crossings. skins tighten around,<br />

scars, pulls back to something once resembled , recovers in effect full but wrung wrought in faulty reminders. once<br />

moved in furied flesh, this fast, reclaimed, in parts, imparts, perhaps, a constitution, a sort of, in un rest , restitution .


301 research soda <strong>2016</strong><br />

Lisa Müller-Trede<br />

z = x toward y ÷ drive


(y)<br />

(z)<br />

(x)<br />

z = x toward y ÷ drive<br />

Three dimensions in impact intact.


301 research soda <strong>2016</strong><br />

LIAD HUSSEIN KANTOROWICZ<br />

’terrorism’ is for everybody


i‘m a terrorist and I love you // i‘m a whore and I love you<br />

i‘m a faggot and I love you // i‘m a dirty jew, I love you<br />

I‘m a kanake and I love you // i‘ll betray you, but I love you<br />

do you think i‘m gonna stab you with that? // maybe I will, how about that?<br />

do you think i‘m gonna stab you with that? // maybe I will, how about that?<br />

PHoto © Walid el Houri


ain‘t life always a paradox // we‘re born a proud people but we live in the gutter<br />

we‘d rather die on our feet than live on our knees // but that saying was something that always made me wonder<br />

me myself I ain‘t proud much // I got used to living on my knees<br />

you wanna make me crawl, you best protect your dick // cuz I swear i‘ll bite it off when I get near<br />

intifadat el sakikin // intifadat el sakikin<br />

you wanna make me crawl, you best protect your dick // cuz I swear i‘ll bite it off when I get near<br />

illustration: Naji el Ali, “The End“


i‘m not accepting the things I can‘t change // i‘m changing the things I can‘t accept<br />

I know you said that ms. davis but I tell myself // your struggle and failure will be your death<br />

my body isn‘t what it used to be // I‘m chained inside this body that fails me<br />

this sack of injuries, of bad memories // of political failures I carry<br />

I want to fly again, like a butterfly // don‘t wanna FUCK THE OCCUPATION till I die<br />

standing next to me like a long shadow // of a nightmare that just won‘t let me go<br />

hang on hang on to the ground // on which you stand on<br />

hold on hold on to the ground // when it burns beneath you<br />

our failure is not an end // it‘s an ongoing struggle<br />

revolution is hanging on // hang on hang on to the ground<br />

on which you stand on<br />

PHoto © Walid el Houri


„a person can only be born in one place. however, he may die several times elsewhere:<br />

in the exiles and prisons and in a homeland transformed by occupation and oppression into a nightmare.“<br />

Mahmoud Darwish<br />

in collaboration with: Moshe Kutner, Keren Korman, Walid el Houri, Sasha Marianna Salzmann, Siegmar Zacharias, Maren Strack.<br />

Thank you: my soda professors, hzt technical staff and fellow sodis.


5 July<br />

Tuesday<br />

6 July<br />

Wednesday<br />

7 July<br />

Thursday<br />

19.00 – 20.00 Studio 9 Akseli Aittomäki Production desired value added<br />

20.00 – 21.00 Studio 8 Lulu Obermayer Act II // Scene V<br />

19.00 – 20.00 Studio 8 Yuebing Luo Modest Spectacle<br />

20.00 – 21.00 Studio 9 Enrico D. Wey this feast once removed<br />

19.00 – 20.00 Studio 9/Hof Lisa Müller-Trede z = x toward y ÷ drive<br />

20.00 – 21.00 Studio 8 LIAD HUSSEIN KANTOROWICZ ‘terrorism’ is for everybody<br />

The MA <strong>SODA</strong> research presentations are being shown in Studio 8, 9 and Hof at<br />

HZT- Hochschulübergreifendes Zentrum Tanz Berlin<br />

Uferstraße 23 - 13357 Berlin<br />

U8: Pankstraße | U9: Nauener Platz | S-Bahn Gesundbrunnen<br />

(Uferstudios Wedding) – www.hzt-berlin.de<br />

Artistic Director: Prof. Nik Haffner<br />

Administration: Sabine Trautwein<br />

Technical Director: Maximilian Stelzl<br />

HZT – Inter-University Centre for Dance Berlin is the joint responsibility of the Berlin University of the Arts (UdK)<br />

and the Hochschule für Schauspielkunst “Ernst Busch“ (HfS) in cooperation with TanzRaumBerlin, a network<br />

of the professional dance scene.


MA soda RESEARCH PRESENTATIONS 5 – 7 July <strong>2016</strong>

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