Rock Pleasures

künstlerische forschung  /

artistic research

Rock Pleasures ist eine Serie von künstlerischen Gesprächen mit Steinen in allen ihren Formen und Ausprägungen. Steine erzählen von den sich allmählich entfaltenden, ineinander verwobenen Rhythmen und Bewegungen der Erde. Sie sind greifbare Zeugen dessen, was war und was sein wird. Rock Pleasures erforscht, was diese Materie zu erzählen hat, und folgt dabei einer Praxis des sinnlichen Wissens – eines lebendigen und in Beziehung stehenden Wissens.Wir wollen die euro-patriarchalisch-rassistischen Wissenssysteme verlernen und hinter uns lassen. Unser künstlerischer Dialog mit dem Nicht-Menschlichen findet Freude an Fabeln und Anekdoten, Poesie und Gerüchten. Die Gespräche kreisen um verschiedene Themen wie Rituale der Landnutzung, Organisation von Eigentum, Ausbeutung von Ressourcen, Ethik der Pflege, Muster des Klimawandels und die spirituellen Aspekte kolonialer Bestrebungen. Im Kontext unserer Gespräche entstehen Installationen, Ausstellungen, Texte, Audio- Stücke, Gedichte, Publikationen und Vorträge.

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Rock Pleasures is a series of artistic conversations with rocks in different shapes and forms. Rocks speak of the gradually unfolding, interwoven rhythms and movements of the earth. They are tangible witnesses to what has been and will be. Rock Pleasures explores what matter might tell us, following a practice of sensuous knowledge that is alive and always in relation.
We seek to unlearn and move beyond euro-patriarchal-supremacist knowledge systems. Our artistic dialogues with the non-human find joy in fables and anecdotes, poetry and rumour. Our artistic conversations circle around various topics such as rituals of land-use, organisation of ownership, exploitation of resources, ethics of care, patterns of climate change and the spiritual aspects of colonialism. Our conversations with Rock Pleasures lead to installations, exhibitions, text pieces (written and spoken), audio pieces, poems, publications and lectures.

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stories from the perspective of piles

künstlerhaus göttingen (2016)

If a pile of sand could speak to us about power, what would it tell us? The installation stories from the perspective of piles is an artistic exploration of piles and their different meanings. The work includes a collection of photographs taken during ourjourney throughout Occupied Palestine in march 2016, fictional and non-fictional text, and pictures of different model piles.
Throughout the process of their formation, piles gather many trajectories, both physical and narrative. For example, depending on their location and context, piles indicate the place of a future infrastructure, or of a recently destroyed building, or like in most cases across Occupied Palestine, where permanent acts of rebuilding take place, piles can also suggest defiance and a mode of resistance.

looking through the rubble - material traces of impermanence

poem (2021)

Published in Changing Perspectives on Performance Collaboration: Problematizing More-Than-Human Subjectivities', Global Performance Studies, vol. 4, no. 2.

we are in this together  - storytelling with
non-human protagonists

festival theaterformen hannover / university of hildesheim (2021)

"We are in this together" - was an experimental reading group that took place within the context of the reallabor at Theaterformen 2021 in Hannover. Merging the themes of our own practice with those of the festival - climate justice and accessibility - we discussed works by artists and theorists dealing with our culturally shaped relationships to space and so-called „nature“. In various exercises we created different foci for the senses placing them at the center of our knowledge production.

fragments of our correspondance: migrating sediments

owela festival magazine (2019)

This visual and written exchange is an excerpt from a collaboration between the two of us - as artists and as friends. It is a snapshot of our ongoing conversation about questions of space, place, and materialities – in this particular case using a pre-defined channel on telegram. It is a passage from an unplanned archive of correspondence, which began after the creation of the piece stories from the perspective of piles. This practice of correspondence (through our friendship) is the place where our different artistic backgrounds and personal experiences (as research artist/stage designer and performance artist/researcher, respectively) meet, interact, and influence one another. As mobile interlocutors between different places, piles carry on traveling along our friendship. The various journeys and connotations which piles can amass continue to tempt our curiosity - They motivate our dialogue about the terms of our surroundings, our living and our working. this selection of moments in our correspondence is a fragment of the ground upon which we began to build the piece correspondence on migrating sediments.

correspondance on migrating sediments

ruhrfestspiele recklinghausen, tak berlin, ntn windhoek (2019)

correspondence on migrating sediments is a three-part project consisting of a sound installation (Ruhrfestspiele Recklinghausen & the National Theatre of Namibia, Windhoek), a performance (TAK Berlin), and a Text that was created for the publication of the owela festival. The main character of our project – a pile of sand – is the only performer on stage (both when we conceived it as ‘installation’ and ‘performance’), upon whom a dramaturgy of sound, light and smoke is cast. the pile, a migrant in transit, speaks of her journey, not toward ‘integration’, as envisioned by dominant discourses on migration, but rather toward possibility and further creation. The pile’s tale of how words and concepts travel with the movement of her body expose the interconnectedness of sonic and semantic territories, as well as the untranslatability of some of the borders encountered (material and symbolic). Piles have their own language; a language marked by scattered lines of evasion.

the pile between gravel pit and construction

booklet (2015)

My artistic research on the narrative possibilities of piles of sand or gravel began when I was strolling through the streets of Hildesheim, searching for strories that would make the dynamic nature of space more tangible. These first experiments resulted in a collection of images, woodcuts and anecdotes that I gathered in this booklet.

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