20. – 23. November 2014
DOROTHEA VON HANTELMANN
In the company of three expert protagonists, the tenth anniversary edition of PACT Zollverein’s interactive symposium series IMPACT takes an illuminating and engaging look at the practice and theory of performance, exhibitions and presence. In three one-day episodes it navigates borders, thwarts circumstances and sheds light on the origins and nature of these forms of ›modern ritual‹.
Musician and composer Jonathan Bepler’s interdisciplinary and frequently collaborative work often involves the co-mingling of seemingly disparate elements, a love of chaos, and a desire for reconciliation.
Art historian Dorothea von Hantelmannn’s current research focuses on the social functions of museums and particularly on exploring what she describes as the ›exhibition ritual‹. Combining humour, curiosity and science and mobilizing themes of physical and personal metamorphosis, the work of choreographer and performer Kate McIntosh looks into opposites such as the collective and the individual, destruction and creation, the rational and the magical.
IMPACT – AN INTERACTIVE SYMPOSIUM IN 3 EPISODES IN 3 DAYS
Initiated in 2004, IMPACT brings together around 35 participants made up of advanced students, artists, academics or journalists
from the fields of dance, theatre, performance, visual arts, new media and music, for a three day practical and critical exchange with the approaches and working methods of three visiting guest artists or experts. On the evening before the exchange gets underway, the general public is invited to join us for a series of public strand events introducing the guests’ artistic positions.
IMPACT14 is supported by Kunststiftung NRW.
SYMPOSIUM EPISODE 1
Dorothea von Hantelmann
Art historian Dorothea von Hantelmann is one of the most versatile figures on the German art scene. Currently the holder of a Professorship for the history and significance of the documenta at The University of Kassel’s School of Art and Design, she has published on artists including Pierre Huyghe, Philippe Parreno and Jeff Koons and curated a series of projects and exhibitions at the crossroads of visual arts and theatre such as ›I promise it’s political‹ at the Museum Ludwig in Cologne and ›I like Theater & Theater likes me‹ for the Deutsches Schauspielhaus in Hamburg. Her present research focuses on contemporary art and the social functions of museums and exhibitions and what she refers to as the ›exhibition ritual‹. In one of her main theses, she describes the specific experiential format of the exhibition as one of the most important cultural formats of modernity. In her view exhibitions reflect the economic and social structures of modern societies which, conversely, also means that exhibitions must continually change and adapt to socio-economic developments (such as the transition from early market to today’s consumer societies).
SYMPOSIUM EPISODE 2
Composer, musician and installation artist Jonathan Bepler mingles seemingly disparate elements in his interdisciplinary works. His unmistakable style is hallmarked by a love of chaos, and a desire for reconciliation. Bepler has frequently worked for theater and dance productions and has collaborated with choreographers including John Jasperse and Sasha Waltz as well as notable musicians and orchestras such as the Ensemble Modern. Over the last twenty years he has created a body of work with artist Matthew Barney including the epic operatic film project ›The River of Fundament‹ which was shown during
this year’s Ruhrtriennale Festival.
Using voices and bodies and nearby objects, Jonathan Bepler will experiment in his workshop ›Sound Unsound‹ with relationships between sound and space, communication and insularity, not seeing and not hearing, behavior and music, composition and intention, music and fakeness, accident and dexterity, energy and forgetting, noise and noisy, and more.
SYMPOSIUM EPISODE 3
Kate McIntosh is an artist working across the boundaries of performance, theatre, video and installation. From New Zealand and originally trained in dance, she has performed internationally since 1995 appearing in the work of directors such as Wendy Houstoun, Meryl Tankard Australian Dance Theatre, Cie Michèle Anne de Mey, Random Scream, Simone Aughterlony and Tim Etchells. Since 2004 Kate has focused on directing her own work including the solos ›All Natural‹ (2004), ›Loose Promise‹ (2007), and ›All Ears‹ (2013) and the larger performances ›Hair From the Throat‹ (2006), ›Dark Matter‹ (2009) and ›Untried Untested‹ (2012). Her installation works include ›De-Placed‹ (2008 with Eva Meyer-Keller), and the participatory installation ›Worktable‹ (2011). Kate has directed several short videos which have played at festivals and exhibitions the world over and was a founding member of the Belgian performance collective and punk rock band Poni. She holds an MRes in Performance and Creative Research from Roehampton University (UK). Together with Diederik Peeters and Hans Bryssinck, she is a founding member of the artist-run production and research platform SPIN based in Brussels.
Drawing on her recent experience of making the interactive works ›All Ears‹ and ›Worktable‹ – and on her
own often ambivalent feeling towards participation – Kate McIntosh’s workshop explores an enquiry into
social experience, co-imagining and the friction of alone or together.