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Teatro de Marionetas do Porto, Porto
studied dance and choreography in Paris and theatre studies in
Porto. She was a founding member of the Balleteatro Contemporaneo
do Porto and has since become its director. She is also the artistic
director of the Balletatro Auditorio in Porto.
Animation (The Puppet)
Cultural scientist and ethnologist with a European focus. In her
dissertation she dealt with the migration of Russian Jews within
the context of German immigration policies. Her other areas of
focus include ethnicity, cultural performance and regional research
(the German-Polish border area). Franziska Becker is an academic
assistant at the Institute for European Ethnology and Cultural
Science at the Universität Marburg.
Professor of cultural anthropology and European ethnology in Göttingen.
Regina Bendix studied folklore in Zurich, writing her dissertation
on the Swiss founding myth of Wilhelm Tell. In addition, she has
devoted considerable time to the history of the concept of authenticity
in cultural studies. Her current areas of research include communication
and narrative research, tourism and culture, as well as research
on customs and rituals.
Aeron Bergman and Alejandra Salinas, Lucky
Kitchen, Chicago, Barcelona
have a background in visual art and have been working since 1996
under the found-sound, video-game music, field recording, neo-folk
label Lucky Kitchen: "the most human electronic music label".
They start with a unique collection of noises (including recordings
of family members and friends or cities, bars and landscapes)
and put these together in a technically precise, electronic way.
Bizarre pieces of music and sounds are created - the term folktronic
is a good description of their sound.
Director, author and documentary film producer from Berlin. He
has been dean of the School of Film and Video at the California
Institute of the Arts since 1993. He has worked on more than 40
films, many of which have received prizes. Thematically, he works
with recent German history and with the implications of film as
a medium. Most recently, he created his masterpiece about the
transcontinental US B52 Bomber. (Selected films: Deutschlandbilder,
Reichsautobahn, Der VW-Komplex, 1983-1989; Das Kino und der Tod,
1988; Playback, 1991)
His installations question the role of collective memory, using
photography, film and video and audio technology. Buckingham often
starts with a seemingly everyday or forgotten artefact from the
past and then explores its connections to the present. He does
this by examining the representative power and effect of pictures
and stories. This genealogy becomes evident to the observer inside
the spatial / architectonic structure of the installations.
Stefanie Bürkle, Berlin
Artist and city researcher. She works in various media, including
painting, photography and postcards, and most recently investigated
the production of wallpaper. She examines the normal perception
of the city by finding new ways of reading projection spaces and
the spaces behind them (le décor et le retour du décor).
Her works include the Beirut-Berlin project (a comparison of the
two cities after division), the Eiscafé Venezia in Germany
and most recently a Palast der Republik Berlin wallpaper for the
A musician and composer, he plays the cello and plays free jazz,
pop and club music. He is the co-founder of Ich schwitze nie,
Blei war sein Lohn, no doctor, Lickmachine, and Gueststar and
has played with Butch Morris, Otomo Yoshide, Hanno Leichtmann,
Captain Akiyama, Nicolas Collins, Andrea Neumann, Christof Kurzmann,
John Zorn, Martin Brandmayr, Leonid Soybelman, Lars Rudolph. He
also organises small festivals. Current releases: white hole,
plays the music of the beige oscillator & dj attachee, kapital
band 1 2CD, kalkül & leidenschaft, wir
Love Songs Competition
João Paulo Seara Cardoso,
Teatro de Marionetas do Porto, Porto
Cardoso studied puppetry and theatre in France at the Institut
International de la Marionette. Since 1982, he has also worked
with Portuguese marionettes. His productions are a mixture of
multimedia technology, traditional puppet theatre and contemporary
dance theatre. In the last few years, his group Teatro de Marionetas
do Porto has been examining the gestures and movements of the
actors and figures of the city. Teatro de Marionetas do Porto
has received invitations to many festivals.
Animation (The Puppet)
studied with the great masters and was a star actor and singer
in the Chinese opera scene. He has been working primarily as a
director since he emigrated to the USA in 1988. He obtained worldwide
fame in 1999 with his production of the Chinese Kunju Opera Peony
Pavilion as part of the Lincoln Center Festival in 1999. He freed
the Peking Opera from its heavy ballast of commercial folklore
and propaganda and made the grammar, mannerisms and subtle irony
of this traditional art form visible once again. After eight months
of rehearsals for Peony Pavilion, the Chinese cultural authorities
refused to allow the actors to leave the country. Only the lavish
costumes and the set (constructed in a traditional style using
high-grade timber) made the journey to the USA. After another
rehearsal period lasting many months, the 16-hour opera became
a grand success, playing as a guest production at festivals in
Paris, Milan, Perth, Vienna and Berlin. In 2000 he was honored
by the French government and made a Chevalier in the Order of
Arts and Letters.
Acting / Singing
trained as a dancer at the University of Iowa. In New York she
danced with Mark DeGarmo and Dancers, Eva Dekan Dance and JoAnna
Mendl Shaw. She has been a member of Constanza Macras's ensemble
since 2001. She is a licensed Pilates teacher and is trained in
Filmmaker, author, producer und actor. As part of the student
movement in the late 60s, Farocki began to develop his own independent
film language at the German Film and Television Academy in Berlin.
His language moves between political agitation, documentation,
auteur film and cinematic essay. Farocki critically analyses existing
photographic and film images that he has collected from archives
around the world and combines them in a new way in his films.
His most recent video installation Ich glaubte, Gefangene zu sehen
could be seen at the Generali Foundation in Vienna and at the
Kunstwerke in Berlin. Since 1966, he also worked as a scriptwriter,
actor and producer on projects by other directors, including Christian
Petzold's Wolfsburg and Die innere Sicherheit. (Selected films:
Brecht die Macht der Manipulateure, 1969 with Helke Sander; Der
Ärger mit den Bildern, 1973; Etwas wird sichtbar, 1981; Wie
man sieht, 1986; Stilleben, 1997; Auge/Maschine, 2001; Erkennen
und Verfolgen, 2003).
Bettina Funcke has published numerous texts about contemporary
art and culture and works as an editor at the Dia Art Foundation
in New York. She has put together various film series at the museum
(Robert Smithson, Joan Jonas, Rosemarie Trockel) and co-published
books about the Robert Lehman Lectures on Contemporary Art #2
(2004), Robert Whitman (2003), Alfred Jensen (2003) and Thomas
Schütte (2002). She writes regularly for the art magazine
Artforum and her texts have appeared in catalogues and magazines.
Examples include Die Erfindung des Publikums als Feind (Zeitwenden,
1999) and The Masses Are Laughing Back (The Glass Eye, 2000) for
example). She is currently earning her doctorate in philosophy
and art theory at the College of Design in Karlsruhe.
Series of Lectures on the Visual Arts
studied media art in Aargau and has worked in various advertising
agencies. He is a video artist and filmmaker.
New York / Berlin
was born in Rochester, New York, trained as an actor and dancer.
He has worked with Lynn Shapiro, Maureen Fleming and John Zorn,
among others. When Constanza Macras came to New York in 2001,
she engaged Jared Gradinger for the performance Dolce Vita 2001
at the Downtown Arts Festival. Shortly after this, Jared moved
to Berlin and has danced for Dorky Park since then. In addition
to his work as a dancer, he has also produced several short films.
Ulrike Haage is border-crosser, pianist,
keyboard-artist, electronic musician, sound-searcher, composer,
sound-play-author, director, publisher - a versatile musician
who does not fit in any categorisation.
Ulrike Haage grew up in the area of Ruhr / Germany (Ruhrgebiet).
She studied in Hamburg music and music-therapy from 1985 to '89
and had a teaching position in the university with the perspective
of a successful career within this institution. She was founder,
pianist and composer of "Reichlich Weiblich" (translated:
plenty female), the first all-women big band in Germany.
Ulrike Haage has been collaborating with Katharina Franck since
1989. Together they formed the core members of the Rainbirds.
She never wanted to be a pop-star, but has found she can't help
it. Between tours and recording sessions for the Rainbirds, there
were other areas of artistic expression for Ulrike Haage; as the
theatrical music group Stein (stone), the writing of scores for
some of the leading directors at playhouses in several cities,
or the improvisation with the musician FM Einheit (unit) in the
group Vladimir Estragon, which later became Goto. Here, she extended
her already wide spectrum of musical sources to include electronic
sounds.As part of the trio Ammer/Haage/Einheit she composed three
award-winning, publicly performed audio operas. From 1999 she
began collaborating intensively with actress Meret Becker.
Since this time her work has increasingly concentrated on developing
a unique style that fuses poetry and music into a single language.
She composed the music for the album "Reise Toter" (journey
of dead men) in cooperation with the poet Durs Grünbein;
with the detective novel author Thea Dorn she developed the artwork
"Bombsong" and she set the "Last Words" of
William S.Burroughs as well as the written testimonies of the
sculptor Louise Bourgeois into music.
Last year, Ulrike Haage has been invited to spent 14 days in
Kabul by the just reopened Goethe-Institute/Kabul, where she directed
a workshop ending with a great concert, together with native musicians.
In November 2003 she received the German Jazz-price "Albert-Mangelsdorff-Preis"
at the Jazz-Festival in Berlin for her "outstanding and continuous
achievements in Jazz-music" and her "lifework-achievement".
Johannes M. Hedinger,
Johannes M. Hedinger and Marcus Gossolt founded the label Com&Com
(Commercial Communication) in 1997. They produce films, plays,
art, music and books that take the border between high art and
low culture as their theme. Like parasites, they occupy the existing
communication channels of advertising and the mass media, creating
a cunning, playful staging of the original and the fake. In 2003
they designed an urban legend and monument called mocmoc for the
small town of Romanshorn on Lake Constance. The unveiling of the
monument (a mythological creature in the style of Pokemon / Jeff
Koons, made of hard plastic) led to ongoing public protests and
a veritable political crisis. Com&Com were invited to the
Venice Biennial in 2001 with their film C-Files: Tell Saga - a
perfectly produced trailer for a feature film that takes up a
whole evening. Their catalogues imitate fan books and their video
clip Side by Side (2002) landed in the Top 10 of the Swiss charts.
Com&Com are currently working on a road movie in the desert
around Las Vegas.
alias Willow, Rio de Janeiro
Willow's career in dance began in 1999 with a guest post in COMRUA,
a small dance company in Niterói. Fascinated by the movements
and fast beats of street dance, Willow applied for an audition
and became a member of the GRN (Grupo de Rua de Niterói).
Since then he has been a crucial dancer for the company, which
is interested in exploring the relationships between street and
Journalist and author who writes for Pflasterstrand, ID, Frankfurter
Rundschau, Transatlantik and the taz. In 1989/90, he worked as
a cattle-keeper in the Thomas Müntzer Saarmund co-operative
and then became editor of the Narva company newspaper Lichtquelle
and the East German works committee initiative InformationOstwind.
He has also worked for Neues Deutschland, Junge Welt and Freitag.
He is also the ghost editor for about a dozen foreign authors.
His books Neurosibirsk, Agronauten and WPP (Wölfe-Partisanen-Prostituierte)
will be published soon under his own name.
New York / Berlin
is a cult author from the USA and has been living in Berlin since
the end of the 90s. His books Negrophobia (1992), That's Blaxploitation!
(1995) and Voodoo Stew (2003) deal with the role of African-Americans
in US pop culture, as well as the racist iconographies that accompany
Kaegi studied art in Zurich und applied theatre studies in Gießen.
He formed the label Hygiene Heute together with Bernd Ernst, to
get theatrical ready-mades on stage. In Kaegi's audio tour Kirchner
and the paperchase Skrot. The Krakow Files, the cities of Frankfurt,
Gießen, Munich and Krakow became a "desirable stage
set". Under the banner of "Rimini Protokoll" (with
Helgard Haug and Daniel Wetzel), Kaegi works on such themes as
Central European ways of dying and the administration of justice.
The group caused a political furore when they staged a Berlin
parliamentary debate (using amateur actors) in the old, empty
parliament building in Bonn as part of the Theatre of the World
festival in 2002. Rimini Protokoll has been invited to Berlin
to take part in the Theatertreffen 2004 with their piece Deadline
Meaford / Berlin
Laura Kikauka is a self-proclaimed techno-nymph & professional
hobbyist who often finds the extraordinary in the ordinary. She
creates detailed collect-o-holic environments from junk and discarded
products, cross-fertilising unorthodox techniques with personal
experiences to create work that reveals the humorous absurdities
and ironies of our everyday lives. She divides her time between
being 'Miss Management' while marketing her products and 'Miss
Understood' while explaining them. She has exhibited and performed
internationally and divides her time between studios at the Funny
Farm in Meaford, Ontario and in Berlin.
The Honorary President
Mxolisi George Khumalo,
Born in Soweto in 1971 Mxolisi George Khumalo came to dance via
football, running, boxing and the street-dancing cult of his township.
After a stint as a waiter he quickly understood how important
dance was for him and began taking classes with the Kopano Community
Project. Later he was collaborating with the South-African choreographer
PJ Sabbagha and giving classes himself to children. He arrived
at PARTS in 1997 where he worked with, Thomas Hauert, Jonathan
Burrows, Matthias De Koning and others. During his study period
he also created a duet with fellow student Moeketsi Koena Blomplek.
For his graduation he choreographed a solo, Ulozi in June 2000
followed by Flush in December of that year. Throughout the year
of 2000 he participated in the Brussels version of the Bal Moderne
where his dance Codesa, set to Kwaito, (South African hip-hop)
was an unprecedented success. He is currently working on a new
Kuball combines his interests in architecture, urban structures
and psychology with the options provided by the visual arts. His
light installations are temporary intrusions into the existing
organism of the city. In his work, existing and functional light
resources are used and combined with research on the history of
the site and interviews with residents and other local people
to form sculptural projects. Examples of this include his project
for an office high-rise in Dusseldorf, the Synagogue in Stommeln
(near Cologne) and the Gauleiter bunker in Lüneburg. His
project for Berlin deals with the area of the Kulturforum at Potsdamer
Platz. Kuball has received many prizes and grants, including the
Alfred Krupp grant for contemporary photography from the Bohlen
und Halbach foundation (Essen) in 1991, the prize for the promotion
of visuals arts from the state of North Rhine-Westphalia, a working
grant from the arts funds and a grant from Villa Massimo. He was
a guest professor at the University for Graphics and Book Art
in Leipzig in 1999/2000.
studied film science and journalism in Berlin and has been working
as an artist and filmmaker since 1987. Kröger was a co-founder
and member of the Botschaft e.V. and dogfilm groups of authors
and producers. Together with Philip Scheffner, she founded the
platform pong, which brings together a publishing house and a
production company. Her first crime thriller Cut (Argument Verlag
Berlin 2003) is set in the Bollywood milieu.
Dorky Park, Buenos Aires / Berlin
Macras develops her pieces as a catapult of associations between
social realities, MTV clips, Ikea advertising and local Berlin
street dance and slang. Her company Dorky Park is a community
of dance activists who have a talent for variety performance,
slapstick and striptease. Macras completed a dance apprenticeship
and a degree in fashion design in her hometown of Buenos Aires
and studied during this time in the Merce Cunningham Studios and
with Amanda Miller. Most recently, Dorky Park performed their
piece Back to the Present on the various floors of an empty department
store in Berlin and worked with Lebanese child rappers from Neukölln
(Berlin) on the piece Scratch Neukölln, a production by the
Hebbel am Ufer theatre. This piece has been invited to a number
of large festivals in Summer 2004.
Professor of history of art and art theory at Goldsmith College
at the University of London; he is also working on research projects
at the Jan Van Eyck Academy in Maastricht and is the Rudolf-Arnheim-Professor
at the Humboldt Universität in Berlin. Sarat Maharaj is a
renowned curator and cultural theorist and worked as a co-curator
at the Dokumenta XI in Kassel in 2002 and as the curator of Optical.Retinal.Visual.Conceptual
at the Museum Boijmanns van Beuningen in Rotterdam, among other
things. He is a member of the advisory board of the journal Third
Text and Visual Culture Writing and writes and gives talks about
contemporary art and art production.
Francis K. Onwochei,
began his career in 1985 as an actor at the National Arts Theatre
in Lagos. Since 1990 he has been working in the newly created
film scene in Lagos and has produced the feature films Raging
Storm. Final Onslaught (1998), Tansi (1999) and Saving Alero (2000),
among others. He has also directed numerous TV series, film reports
and adverts. In 1991 he completed his degree in cartography and
surveying at the Federal School of Surveying in Nigeria. Francis
Onwochei is currently general secretary of Independent Television
Producers Association of Nigeria (ITPAN) and general director
of Frankochei Productions Limited, a film and television company
A bunch of hand puppets from Berlin are advancing inexorably -
their plan is to topple the humans from their undeserved throne
once and for all. Their crazy electro beats and fresh MCS are
employed as weapons in this struggle. The Puppetmastaz form the
interface between the Muppet Show and Peter Jackson's film "Meet
Animation (The Puppet)
started studying the techniques of Kunju Opera at the Shanghai
Opera School at the age of ten. The Chinese Ministry of Culture
later certified Yi as the best Kunju actor in the country. Since
the international success of Peony Pavilion, she has worked with
Cheng Shi-Zheng and given singing lessons in the USA and around
the world. She is now lecturing at Barnard College.
Acting / Singing
Paul Rooney, London
works with text, sound and video,producing performances, small
scale operas and variety hights. He is interested in the social
and personal aspects of popular entertainment, such as music,
comedy, storytelling and choral singing.and collaborates with
employers, school children and TV studio audiences in his work.
In the later half of 2004, the Gasworks Galery in London will
host "Pass the Time of Day" in collaboration with Angel
Row Gallery, Nottingham - a group exhibition curated by Paul Rooney.
The exhibition will included sound works, videos, installations
and films. This exhibition has been developed by Rooney and will
use music to explore transformation and alienation in everday
life. He was the Tate Liverpool MOMART Fellow for 2002-2003 and
has exhibited recently in Melbourne, Stockholm, Toronto, Siena,
New York, Washington, St. Petersburg and Utrecht.
She She Pop was founded
in 1993 at the Institut für Angewandte Theaterwissenschaft
in Gießen. Its members are Johanna Freiburg, Fanni Halmburger,
Lisa Lucassen, Mieke Matzke, Katharina Oberlik, Ilia Papatheodorou,
Berit Stumpf and Sebastian Bark. As a performance collective,
we are committed to an ensemble work which emphazises the sharing
of history and performative qualities and encourages equal involvement
in the work process. Also, because of that, the traditional hierarchy
of author, narrator and protagonist is suspended in our performances.
The performer as an authorized agent on stage becomes liable.
This liability has become one of the prevailing statements and
noted features of our work.
In the past years we have worked on a series of performances
that are designed by rules. They are in fact games and not plays
anymore. Whether it be an auction for the audience ("TRUST!",
1998), where the performers and their artistic qualities are for
sale, a live game show ("Live!", 1999), where we compete
for the favour of the audience or a race against time ("RULES",
2001), the members of She She Pop enter as candidates or players.
In every show, our individual fate unfolds on stage under the
eyes of the witnessing spectators and with their participation.
As the performance is actuated and shaped by the immediate logic
of the competition or the game, we are well trained in combining
attributes, prejudices, successes and misfortunes into an instant
stage biography and offering it to the audience for identification.
Staging ourselves has become our game, our urge, our mission,
our risk. Each production presents a theatre space where the audience
watching is made visible. And because it is visible, everything
the performer does compulsively turns into a performance. It is
a very uncomfortable situation as both sides are on display. The
conditions and relations are often the topic of a verbal discourse
between performers and audience. It has to be endured with self-irony,
openmindedness and a streak of exhibitionism.
Niels "Storm" Robitzky,
born in northern German in 1969, is a self-taught dancer who studied
the hip-hop techniques of B-Boying, Locking and Popping in depth
in the 1980s. With countless contacts with hip-hop dancers of
the first generation and on travels through Europe and North America
he has brought his experiences into this style of dancing. Since
1993 Storm has been living in Berlin where he founded the company
"The Storm & Jazzy Project" in 1996, which presented
its choreography in theatres and festivals in Europe until the
late 90s. In 2000 Storm choreographed the opening gala for the
Expo in Hanover and his first solo in 2001: "Solo for two",
which has been on tour in Europe since then. The European dance
project "Urban Dance Styles" in Amsterdam followed in
2002. Since 2000 Storm has received invitations from the Goethe
Institute, as in 2001 with the choreography "Tá Limpo!"
and 2002 with "Solo for two", "Tá Limpo!"
and the duo "Men at work" in Sao Paulo. His new creation
was premiered in 2003: "Slippin' & Slidin'" in Aix-en-Provence
Bukarest / Amsterdam
Calin Dan and Iosif Király founded SubREAL in 1990 in Bucharest.
Earlier, Dan studied aesthetics and art history and worked as
an art critic and curator. Király completed an apprenticeship
as a photographer. With works such as the Arta Archiv and Interviewing
the Cities, the duo establishes social and urban archives that
are subsequently adapted for performance. SubREAL were guests
at many pioneering group exhibitions, including the Istanbul Biennial
(1992), the Venice Biennial (1993, 1999), Manifesta 1 (1996) and
the Berlin Biennial (1998). Individual exhibitions of their work
were also shown at Künstlerhaus Bethanien (1995), in the
Neuen Berliner Kunstverein (1996) and at the Akademie Schloß
studied painting at the Kunstakademie Karlsruhe (Kirkeby/Antes/Th.
Kaminsky) and was a master-class student with Stefan Huber. From
1992-98 he worked with abcd (art by comprehensive development),
was head of the company HdK (a property/construction and finance
company) and completed his training as a chef. Since 1998 he has
been the co-founder of various galleries and since 2002 has been
working at the interface between art and cooking through his work
on the Zagreus-Projekt and at concept catering.
Stuffed Puppet Theatre, Toowoomba / Amersfoort
Tranter founded the Stuffed Puppet Theatre in Australia in 1976.
The company has since become legendary through his work as an
actor, vocal artist and puppeteer. In his pieces, he creates an
oscillating image of evil using the concentration of a Noh or
Bunraku game and the burlesque of the Punch and Judy show. In
his production Schicklgruber - Alias Adolf Hitler, Hitler, Goebbels,
Goering and Eva Braun take to the stage and attempt a balancing
act between kitsch concepts of the enemy and the inability to
portray horror. The Stuffed Puppet Theatre has been invited to
numerous festivals and received various prizes, including the
prize for Best Performance at the World Festival of Puppet Art
in Prague in 2001 and the Grand Prix in Zagreb 2002.
Animation ( Die Puppe)
Author of numerous fiction and academic books that focus on the
themes of magic, folklore and femininity, for which Warner has
received many prizes. Her publications include Managing Monsters:
Six Myths of our Time (1994), a critical analysis of the function
of myths in contemporary society, From Animal to Blond: Fairytales
and their Narrators (1994) and No Go the Bogeyman: Scaring, Lulling,
and Making Mock (1998). Fantastic Metamorphoses, Other Worlds
was published in 2002. She is currently working on a study about
spirits and their embodiment: Figuring the Soul.
Freelance filmmaker, journalist, author of numerous books and
a member of the selection committee for the International Forum
of New Cinema at the Berlin Film Festival. She studied literature
in Hamburg. Since 1988, Dorothee Wenner has been living in Berlin
and writes for the taz and Die Zeit, among other things. Her last
films were Die Polen vom Potsdamer Platz (1998), Ladies Special
- Der Frauenzug von Bombay (1999) and Happy end in Switzerland
(2001). In Wenner's video installation Unser Ausland, foreigners
living in Berlin take a critical look at Germany. Experts from
various countries engage in fieldwork using their ethnographic
intuition and comment on German customs and peculiarities. Thus,
a Bulgarian explains the German enthusiasm for club life and an
Indian interior designer comments on the concept of Gemütlichkeit.
Unser Ausland has been touring Germany for the last year
was born in 1951 in Switzerland, studied from 1972 to 1980 in
Israel and worked as a director at the Habima National Theatre
there. Since 1982 he has worked as a director in Germany and Switzerland.
Jossi Wieler is one of the cleverest and most radical directors
currently working. His stirring productions have received numerous
prizes and are created in a close dialogue between the actors,
the set design and dramaturgy. Wieler's considered reading of
every linguistic and psychological nuance of a text results in
constant discovery of new theatrical forms and astonishing theatrical
realisations. Some of his best-known productions include Elfriede
Jelinek's Wolken.Heim. (Schauspielhaus Hamburg, 1994) and er nicht
als er (Salzburger Festspiele, 1998), Moses und Aaron (Staatsoper
Stuttgart, 2003), Ariadne auf Naxos (Salzburger Festspiele, 2001)
and Alkestis (Münchner Kammerspiele, 2002).
Acting / Singing