2016 : Walking with Ghosts
In the 1920’s, Filmstadt Weißensee, the now almost forgotten area in northern Berlin was once the city’s cultural hotspot. Stars like Marlene Dietrich and Fritz Lang were there, at Calagariplatz and on the Gustav-Adolf Straße, which at that time was lined with bright lights and 20 cinema houses. Among the finest and most popular of these was the former silent-movie theater Delphi. Direct on Caligariplatz, this relic rests like a hidden jewel, unrecognizable from the outside, and practically unknown to most Berliners. The theater miraculously survived WWII, and remained closed during GDR times. In fact, the theater has remained closed to the general public since the war, and remains so today. This building was one of the first cinemas of its size in the world, and the original interior of this former 870 seat theater remains intact. It is one of the best remaining examples of the glamour and flair of this important cultural era- the heyday of German silent film.
Director: Paola Barreto
Videoperformance ( audivisual editing + live projections/ mapping ) : Moana Mayall Parangotela performance: Camila Rhodi
“Fluids” – a 2015 reinvention of Allan Kaprow’s happening from 1967 . Artist Alexandra Pirici
commissioned by Nationalgalerie – Berlin in the frame of Stadt/Bild, Berlin Art Week
This version of Kaprow’s “Fluids” operates a change of material: from ice-blocks to the assemblage of the human body. The new work attempts to re-address and re-position itself in relation to some of the issues the original work tackled with – the medium of sculpture, the concept of monument, temporality, participation, production of collectivity – while also considering the human body as medium and the materiality of “immaterial” performative works and their economy at a time of a (second) “performative turn” in the visual arts. It also attempts a more abstract way of being in common – the participants building themselves into a 9 meters long, 3 meters wide structure instead of building an exterior object, thus reflecting on the effects of today’s immaterial labour (in affluent societies) as opposed to the former dynamics of the industrial age and the factory floor.
The living, sounding sculpture “melted” away from 12 to 8 p.m. in Potsdamer platz.
curated by Lisa Marei Schmidt and Udo Kittelmann production: Hannes Frey
participants: Ferre Naima, Valerie Renay, Zuzanna Ratajczyk, Paul Walker, Jozefiens Beckers, Reza Mirabi, Juan Gabriel Harcha, Julia Illmer, Josephine Findeisein, Marc Carrera, Annekatrin Kiesel, Amit Goldenberg, Miriam Kongstad, Maria Ferrara, Iam Campigotto, Helen Follert, Kathrin Knopfle, Jasmin Ihrac, Gregori Homa, Katarzyna Guzowska, Jolika Poulopoulou, Darcy Wallace, Julia Jadkowski, Ana Mrdjanov, Leonie Nadler, Jana Kruger, Carina Erdmann, Sura Hertzberg, Ralph Klein, Annette Zander, Alice Heyward, Yuca Meubrink, Viviana Druga, Rene Ricarda Vollhardt, Edith Buttingsrud Pedersen, Carlos Kong, Emily Ranford, Thomas Mielmann, Tobias Kluge, Corinne Schlichting, Lenine Guevara, Martha Hincapié Charry, Andrei Barza, Rachell Clark, Tatiana Heide, Laura von Raffay, David Loscher, Neele Ruckdeschel, Sven Hermans, Frida Yngvesson, Hanna Nordqvist, Giulia Heder, Sarah Bouars, Maddy White, Miha Jensterle, Rebekka Böhme, Pedro Vieira da Costa Filho, Juliane Dames, Jessica Kammerer, Paul Riemann, Eva Rozalia Tankó, Judica Albrecht, Lola Lustosa, Camila Rhodi, Dmitriy Povernov, Benjamin Egger, Uwe Zimmermann, Sarah Berger, Marie Zwinzscher, Sophie Camille Brunner, Anton Rose
‘I am not a feminist but’ . work in collaboration with Makiko Yamamoto
This work was produced in collaboration with Japanese artist Makiko Yamamoto. Rhodi co-developed a performance piece to accompany Yamamoto’s 12 minute audio piece filled with the single sentence, ‘I’m not a feminist but…’. Yamamoto reads the sentence out loud with different distortions in speed, tone, and volume. Together both artists made the video performance.
Liquid Architecture . Melbourne . Austrália . August 2015
2013 No Parking
U-bahn Antigone . colaborative work with the collective Das ist doch keine Art . Directed by: Yaell Sherill
Yellow-grey walls and high ceilings of the Hermannplatz underground station. Seven girls wearing headphones, formed in a group, moving throughout the platform. Their gestures are estranged, exaggerated, their steps are measured. They speak aloud in different languages, accompanied by passing trains and familiar noises of the traveling masses. Suddenly a flash of a narrative emerges: the unburied body of the brother, a king and a rebellious woman. The group is attentively observed by a crowd, shorty noticed by some passers-by, overlooked by others.
The performance is inspired by the fundamentals which assemble the ancient Sophoclean text. The play enfolds a critical spatial act as a means to expose the boundaries of state and the spatial facet of governmental power. “Antigone” essentially orbits the practical procedure of the burial and the law of public space. In the performance these aspects are conveyed through physical choreographed sequences, rule games and a playful approach to public space and to a lesser degree through a conventional use of narrative. “U-Bahn Antigone” is constructed around a pre-set route through various platforms and train carts of Berlin’s underground system. Different languages employed here relate to the participants’ cultural origins. This is the first part of this project.
Live Performance for steinum knitwear
Premiered on November 28, 2012 at Berlin Fasion Week, Berlin, Germany