Following on from Warte Mal! and training, the third and final part in the Travesty for Advanced Performers exhibition series bears the title Walking Through Walls. It takes its name from an installation by Anna Witt, the current award winner of the art prize Future of Europe, which brings together two very different refugee stories.
In parts one and two, discussions on themes such as normality, diversity, integration and exclusion were presented (Warte Mal!) and acted out (training). In part three, individual behaviour is introduced and collective experiences are generated, with the aim of breaking through conceptual borders and opening up new spaces for thought. The focus is on performative elements, and once again the building is transformed into several stages where performances can take place.
In their series of performances entitled Norm is Fiction, NAF (Nana Hülsewig and Fender Schrade) disrupt everyday events in public spaces. In the film Powder Placenta, Katrina Daschner presents fairytale-like scenes in idyllic surroundings, where identity and belonging undergo fluent changes. In the installation The Distance between W and V and the workshop Objects in Diaspora, Yael Davids addresses themes of security and displacement, and stages moments of transformation. With her time-based arts class from Halle/Burg Giebichenstein, Michaela Schweiger builds a modular stage on the theme of normality in Sehnsucht unter Normalnull. Frank Kapfer recycles PET bottles into fairy-tale like sculptures reminiscent of the luxuriant ornamentation of Murano chandeliers, making associations between symbols of power and masculinity in a humorous way. The director Heike Hennig shows a new version of Optophobia and holds a workshop on the theme of metamorphosis. In her dance performance Écran Somnambule, Latifa Laâbissi reconstructs the film footage of Mary Wigman’s witch dance image by image, in order to question how individual behaviour changes social assumptions and arrangements.
