GHOSTLY MATTERS

my research concerns artistic activities that rely on absence as a base material. along the way of my explorations, the sites of emptiness have been places of curiosity. curiosity was most often also conditioned by meaningfulness, which affects the integrity of the art i want to deal with.
 
historically, i am still puzzled and fascinated by the period of transition around 1989, in connection with which the historical element began my search - what was contemporary dance then? where was it hiding, what crevices did it find? many questions remained unanswered, what was evident instead was an attempt to understand and transfer patterns from that time to the present. 
 
the fantasy that emerged found mappings in the contemporary. time began to break apart. then i had the opportunity to approach the construction of a score, which focuses primarily on the democratization of experience rather than visual expectations of how a dancer (a person who considers himself a dancer) is supposed to move. once challenged, the aesthetic found its question - how can i create dance in other formats. can dance be a song? a song that we hum to ourselves under our breath when we think of an event, person, place or time. and if so, can a dance become an analog record of a vinyl record? 
 
who will be my expert, i asked? who will be able and willing to participate in a project that plays with media? with the help of these questions, i delved into the rave culture of the deaf/hearing impaired by learning how perceived vibrations become the language of body expression. vibration was the same process that a needle that reads music on a vinyl record goes through. 
 
the next step was learning about an independent artist who designed an instrument that receives feedback between two elements: a speaker and a microphone. now the vibrations had a chance to flow. the frequencies depended on how the body was positioned and the movement occurring between the two elements. the relationship between the body and the space in which we hear and receive sound waves differently. the body becomes the composer and choreographer at the same time.
 
finally, we come to the core of the practice, which is staying in the studio and being surrounded by spirits. some of the ghosts were extremely familiar to me, others appeared and disappeared just as quickly, while others had no identity, but were meaningful through their very absence. i found places through feeling, meditation and self-healing methods in practice. feeling was helped by the tre (trauma release exercises) method, which puts the body into tremors, meditation was a way of combing through memories while self-healing came in the moment of consciously altering memories, which often brought a lot of humor to images that were filled with a palette of emotions. the latter, in turn, were recycled through movement and dance. 
 
lake studio residency documentation
https://lakestudiosberlin.com/residency/lake-artist-residency/tame-me-land/