Performance for the opening of "Red Earth".
Plastiken und photos of Senegal from Bärbel Hartwig
A journey with drum and voice to the myths which have inspired some of the plastics.
The lower photo shows Ninsun, the wild cow, the mother
of Gilgamesch. The epic was the main source of inpiration for the performance.
Evas Arche, Berlin, 13.09.2012
Impro concert with Roland Grater during his project "Music Marathon"
Roland Grater and me have met during his project and have improvised without previous
discussions for 36,5 min. and an encore of 3,65 min. Further information:
Concept: Roland Grater Organisation: Julia Vitalis Musicians: Roland Grater (cello, Voice & other instruments),
Julia Vitalis (drum, voice & other instruments)
Basiskulturfabrik Neustrelitz, 23.12.2011
Impro-Session Teatr Academia Warsaw
A wild, partly earbattering session for 21/2 hours of excellent musicians, some of them for the
first time playing together. Two dancers burnt out themselves enthusiastically and two
members of the audience spontaneously decided to join in.
Organization: Andrzej Rejman Musicians: Andrzej Rejman (keyboard), Julia Vitalis (vocals) and 12 other musicians
Teatr Academia, Warsaw, 21.8.2011
Video: Fabian Schütze/ Tobias Schütze
My music is a boat
Video: Tobias Schütze, Fabian Schütze Idea and Script: Ute Kneisel, Julia Vitalis, Fabian Schuetze Performer: Julia Vitalis
Song produced by Alexander Nefzger & performed by Ute Kneisel (voc, lyrics),
Daniella Grimm (violin), Ines Perschy (git, drums), Manfred Fau (Bass), Alexander Nefzger
(Keys) & Hans Wagner (Cello)
Thanks to Andreas Bischof for a lot of help and Ute Kneisel for beautiful
pictures and sketches and Viola, Gust and Christina for costumes.
Butoh flashmob honoring Kazuo Ohno
A flashmob took part in the main station of Berlin on the 27th of October, the 104th
birthday of Kazuo Ohnos, one of the two founders of the Japanese Butoh dance. A similar
happening took place in many of the metropolises around the world at the same time. A
flashmob is a new form of action, that is mainly used for political goals. Organized via
mobile phones and the Internet, everyone is responsible for his and her own actions. There
was no choreography or agreements about the event, besides that we brought flowers with us,
because Kazuo Ohno was using them sometimes at his performances. The participants knew each
other only to some extent.
For me, that was a magic moment, in which all of that thousand silent social rules in the
public were suspended, in favor of silence, poetry and tender encounter. Ten minutes, a
piece of liberated time.
A philosophical-poetical dialog between a virtual tree and a virtual "Me" composes the
text-foundation for this performance. The approach of maneuvering past intellect leads to
a childish airy-fairy dialog, that often leaves open who's actually speaking. Both beings
talk about differences and similarities of their respective experience, and dispute topics
as economically justified hierarchies between men and plants, the experience of illness, the
change of seasons, the loss respectively the connection to their rhythms, socially required
hyperactivity and the possibility to fly.
On the 31th May this year, Marina Abramovic finished the following performance:
For three months she was sitting 7 ½ hours a day during the openings hours of the
MOMA in New York on a table. Visitor could spent time sitting in front of her. In a
Stern-Interview she quoted: "I have to deal with my body like a soldier, have to
train it, administer a special diet to it to endure the performance."
Enduring Perception # 1 and # 2 are my answer to the to the tradition of durational
performances which focus among other aspects on the exploitation of the human body.
The performer usually demonstrates his persistent will to discipline his body or
how to cross his limits, sometimes culminating in self-destructive actions. I want
to question this by making breaks when breaks are necessary and thwart the result
of exhaustion because there is no exhaustion - in the contrary. The aim of all
actions is to enhance the awareness of the body and create a setting of pleasure,
sensualism and relaxation.
During the first part on the 4th June, I touched my body for three hours.
The second part will happen through the opening times of the gallery on the 2nd July
where I do all kind of things which contribute to the well-being of the body and serve
its basic needs. On both days, the audience is invited to join in and note down their
feelings and thoughts of what they have experienced and observed.
turn berlin gallery, Berlin, 4.6. und 2.7.2010, see above
Curious Fish was premiere showing at San Francisco Butoh festival in 2001 and got
5 star rating at Edinburgh fringe festival in the summer.
"This dance piece was inspired by MINAMATA disease/mercury poisoning. At that period
in Japan faced to many kind of serious environmental crisis by the too much high economic
growth. We were in the heavy tragedy especially we saw lots , lots of strange fish in
the rivers and sea. So cats, dogs, chicken danced DEATH DANCE because they ate the fish
and human, also. My fragmental dance pieces "Curious Fish" were the requiem for the
spirits who couldn't become human and the life have been erased before come to this
world. However I don't want to lost the HOPE."
In the open air, a group of people find themselves fenced inside a square.
Trespassing the barrier is forbidden but no one is aware of the consequences.
Thus begins a three-part scenario of control and the various reactions from the
individuals within the group. Can a person who is capable of autonomy allow their
self the luxury of being self-indulgent and conforming?
'nothing in between' is a performance about subversive experimenting and straightness
in an increasingly confining social spiral.
Text/ Voice: Julia Vitalis Technic/ Sounddesign: Gary Dee Camera: Moritz Springer Editing: Maija Rönkkö
100 Grad, Sophiensäle Gästewohnung, Berlin, 21.2.09
A short attempt to explore, express and celebrate hidden ecstatic energies. The main
aim was to surmount any obstacles in favour of the pure lust of living by reaching
the highest-possible authenticity on the stage setting. I wanted to create a lunatic
insight for the audience how we all could live without limitations of negativity and
fears of being expelled or rejected.
of different backgrounds met each other and the audience twice for a blind date without
knowing each other nor having exercised together before. An anarchistic experiment, at which
the roles partly changed completely at the end. The spectators did not stop and the artists
watched them, while the dust smothered everybody in.
Idea: Dovrat ana Meron Organisation: Julia Vitalis Artists: Fabien Chas, Dovrat ana Meron, Sonja Heller,
Nicola Harder, Julia Vitalis, Lady Gaby, Particia Woltmann, Maria Norefors and the audience.
A maniac shopping woman breaks
down in her run for the last bargain. Irreparable damage seems to be implicated because
she is unable to relate to any of the objects falling out of her many bags. Bras, razors,
lipsticks mutate into aliens in her hands seemingly have lost their function and start
turning against her. A performance about the absurdity of the overabundance of products,
the creative management with this fact and the discovery of dignity and stability in
the general madness.
With friendly support of Kulturnetzwerk Neukölln, Franziska Hoheisel and the Cafe Silver
Future Photography: Angela Ankner
The title cannot be translated
into English. It is a word-play of a German saying which expresses that an area is shaped
by violence and severe social problems. Thus, the title tries to express the opposite.
The project was an experiment about the daily "normal" conditions and about the
(in)sufferableness of weakness. It started with a participative part when I questioned
the participants about vulnerability. I assembled the original contributions together
for an installation. For the period of the performance, I occupied the pulic space and
declared it a symbolic utopian zone of vulnerability and weakness. The utopian aspect
is the idea of a society whose members have become sensitive for their own and their
members weakness and who care for everybody feeling good in equal measure at home as
Translation of the participants` contributions shown here:
When I feel good, everyone gives me space. When I feel bad, they see right through me.
...But when I step outside, the trees become the trees (die baumen) and all is changed.
It is difficult to have a war between my thoughts and voice, but everyday has a new
possibility to make peace between them, so that i can be with you.
I would like to have a porous skin which both protects and strengthens me. Such as
'gortex', but open on both sides.
Red. Green. Red. Green. Red. I am always standing at the traffic lights-too weak and
too slow to cross the street.
I wish that, like the dandelion that grows despite the cobblestones,
hardened feelings, which so many carry, may become tender.
All want love, but nobody says - afraid of the consequences? Let us assume soÂ…and just do it anyway letting hard things go.
With friendly support of Genezareth and the Christophorus Church of Berlin and the project
Photography: Birgit Haase Camera & Editing: Freja Bäckman
For half an hour I develop
an authentic cycle of aggression. In the process, I rip old clothes and hurl them
around until I reach a state of relaxation and calmness. The title is penned by a
poem of Anne Sexton which describes the nightly activities of a demonic almost
mythological woman. According to this, the construction of femineity, socially
desired behaviour and madness are questioned.
Camera: Birgit Haase Editing: Andrea Neese
Night and Fog, Artists Network Neukölln, Berlin, 3.11.07
Photo: Annette Köhn
The BIG and the small art
A Lecture Performance
There are only two kind of arts: The BIG and the small art.
Some art lovers get destabalized while visiting an exhibition etc. and needs a strong
guideline how to judge this or that artwork. Julia Vitalis is aquainted with this
problem but she perceives these doubts not only as innecessary but merely as harmful
because they question constitutional social principles. In her presentation she will
introduce a system of categories which has been developped exclusively for this problem
for that everybody can orientate and stick to it. It may be learnt irrespective of
academic background and artistic knowledge in only 20 minutes by the audience. In
the consequence, this simple method with its different criteria for separation and
distinction can be applied by everyone on duty of the BIG ART.