Écriture idiotique
A performance endeavour
2013-ongoing

Écriture idiotique is an endeavour interweaving artistic exploration, philosophical anthropology and semiotic research (gesture recognition) to investigate possibilities of a somatic écrituremthrough a series of performances.
The work presumes that to gesticulate can be seen as a form of writing, in locating a train of thought around ones body, in beeing a locomotor memo for a consideration, and a transfer of it. Following this thought means that the (our) paradigmatic knowledge­- or cognition corpus can also be a hilarious, dizzy, dissipating and silly body! One which slouches its shoulders, waves about or laughs obliviously.
The écriture idiotique doen`t even know how to write.
She puts down that she wants to wave about, that she will imitate others, that she will speak with assumed voices and that she will be silly. She wants to become a disorderly, contagious and unmethodical notation. Something which might not be described as a mode, or manner, but as some polyphonic heterogenous attempts. All what she wants, is to inscribe herself into the body as a corpo­real system of debating and argumentation, of publishing and memory.
À corps perdu
Performance environment 
​(for up to 5 visitors), 2015

Dancer, moderator, table, chairs, theater floodlight, colored foils, video projector, audio system, video prompter.
Duration: 5 min., in a total time of max. 1,5 hr.
Dancer: Lulu Obermayer
Performance view: Villa Rosenthal, Jena,
June 11, 2015, foto: Tina Preißker.
With generous support of Lese-Zeichen, Thüringer Büro für Literatur und Kunst, and Theaterhaus Jena.
In four sequences the real­time performance portrays the passionate­eccentric gesticulation of the Slovenian philosopher Slavoj Zizek. The prelude to the sequences are to be projected, wild-colorful animation clips and factual presentations. On a video prompter opposite of the dancer, visitors can catch a glimpse of Zizek's original movements every now and then.
À corps perdu can be translated as a state of self­forgotten closeness or immediacy, of which the productivity and inspiration for philosophical thought had been emphasized by Jaques Derrida since the 70's. Distanced, controlled, confident, superior – those where (and are), however, the occidental idea of the paradigmatic body of knowledge. Actually it was imagined much more as a head, not a body. The “other” was an inevitable attachment, which unfortunately had a life of its own.
Taichikaraoke
Performative exercise
Colab. with Michael Fesca
Projection with subtitles

Performance view: thisisnotashop Bremen,
April 2014

Foto: Andrea Lühmann
In this movement and speech experiment, the two performers relate the audience in the imitation of sweeping and exceeding gestures  of a world-famous philosopher who shares a joke about German hermeneutics and flushing toilets.
The Projection of the sequence, which is  six times slower and subtitled with the script of the joke, serves as a playback for the imitation of speech and gestures. 
The writing of the subtitling refers graphically on the onomatopoeic distortion of the slowed speech. In embodying the Karaoke together, potentials of collective virtuosity and knowledge creation will be activated.
The retarding slowdown tries an ironic meditation on how body images of scientific knowledge getting materialized. There are details and body norms experiencable, that are not perceptible in the normal speed. 
Mon Poison Clown
Performance, total length 24 minutes, video projection 7 minutes.
Acting: Klara Kußmann, performance views: Andrea Lühmann.

Commisioned contribution for the symposion: Der Künstler - ein Pausenclown?, by Doris Weinberger, Bremen, 2013
​The performance aims to re-enact a toilet joke which is the trademark of Slavoj Žižek`s public philosophy lectures. The play blends into a text-film, merging YouTubers debates on Žižek`s joking abilities with the Joker`s unsettling musical theme from the Batman serial.
By „poisoning“ the cute image of a class clown in order to gain self-empowerment, he implicates disturbancies.