Synopsis

A young woman in a sea of green – searching for something, maybe herself. She seems to be moved, to be torn. Tension is rising – until the fall: Giving birth to a new co-construction of the self with the earth

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Push and pull, resisting and being moved.
Travel through by energies, expectations, demands.
Getting lost, move around like a child that jump in the waves.
Not knowing where is up and where is down anymore.
Balance is not opposition, not moving but choosing how to follow the flow of energy.
Giving in but not giving up.
Finding oneself again on the axis between the sky and the earth

Description

Improvision based on the composition ‘Tränen der Musen’ (1993) by Jörg Widmann. In a dance studio, a woman explores sound and affective textures alternating subtly between melancholy and dramatic intensity.

Synopsis

A house, a family, 60 years. The room soaked in memories, emotions, experiences, routines, rituals. The house stays, the people leave, the things disappear, the traces fade. The memory loses its material anchor and now needs a new home

Statement

In a world increasingly shaped by instability, examining how the histories, emotions, and rituals embedded in our surroundings slowly dissipate as their physical anchors vanish feels urgent. HAUS explores this process on the occasion of the liquidation of dancer Camila von Hein’s grandmother’s house. What happens when memory — along with the experiences, rituals, and futures it carries — loses its material anchor? When the furniture, paintings, and walls that once held certain sensations gradually crumble. And with them, the certainty of permanence. Through the medium of movement art, sound and film, they attempt to capture the process of spectralization at work in this space emptied of its humans. The walls and objects still physically there gradually discharge the energies and vibrations they contain under the camera’s gaze, while the dancer’s body incorporates a memorial substance destined to become blurred and permeable.  

In HAUS, the audience is engaged kinesthetically through the slow, almost imperceptible emergence and dissolution of the performer’s body within the space. As the performer moves, appearing and disappearing among the furniture and rooms of a house being emptied, viewers are invited to feel the materiality of their own bodies and their physical relationship to the space. The vaporous, vibrating soundscape and the slowed or disrupted flow of movement heighten this bodily awareness, making the audience physically sensitive to the weight, density, and rhythms of their own bodies. In this way, spectators become active participants in a somatic dialogue, experiencing how the body can anchor, resonate, or dissolve into space, memory, and material decay.

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