choreographische installation
17.tanztage/fabrik potsdam

the playfield.

In previous versions, "kunst.hand.werk." observed "the money transfer" - even at "the counter". Now, during the Tanztage in the Spiegelzelt at the fabrik Potsdam, it emphasizes the playful moment in the meeting between co-producers and performers. The kaleidoscopic atmosphere of this mobile dance hall gave us the idea to place the live video image of the performance in such a way that it is reflected in the live camera. The choreography is reflected in itself and invites one to play with the optical phenomenon of near and far - with dancing hands on the playing field, representative of a pair of ballroom dancers. The video editing of this series of films each shows the entire performance, however, the speed is fitted to various tangos: sometimes in fast motion, sometimes slow motion.

Art doesn`t come out of nowhere.

In "kunst.hand.werk." we invite the public to become a co-producer of our work. In giving a sum of money - the amount is freely determined - the co-producer receives three items after signing the co-production contract:

1: an individually developed hand choreography performed live that is visible for all on a monitor;
2: a limited edition card with a trace/imprint of this choreography;
3: the presentation of the choreography on the internet listed under the edition number and the name of the contracting co-producer.

It is only through the direct (financial) involvement of the public that this work of art can be realized in its entirety.

"kunst.hand.werk." focuses on the economic foundations of our work. It is an attempt to make the work situation of "free and independent" artists productive for the creative art process.

The money transfer - a necessary movement in the exchange of money for art - is the motivation and creative impetus for a hand choreography. By breaking down the causal chain in the theater context (pay money > receive ticket > see performance), the cash hand-over and the card already constitutes the art action. The simple consumer is simultaneously the public co-producer. He or she receives, in exchange for money and release of his or her name, not just an almost private but ephemeral performance, but also an object and the publicity for his contract and participation. In the media realization - via video on location, on the limited-edition card and as an internet video – the choreographic action leaves traces and thus turns an object into a commodity. This occurs beyond the fleeting nature of the live performance.

The movement resulting from monetary exchange - a daily fact of life - is the first movement of a dance event. It becomes choreography through the contextual framework of the installation and the video.