Sadly, «trial & error», the experimental laboratory for bold choreography, was cancelled in the spring due to the first lockdown. Dampfzentrale Bern therefore called on artists to address questions in the digital space – this virtual world that has now become part of our everyday lives. What does this place conceal, how much creative potential does it have for choreography? This has led to a new way of exploring and communicating far beyond live streaming.

«trial & error» featured three works exploring choreography and digital space. Did you miss this event?
Then you can watch the performance by Rebekka Bangerter here:

attemptsonyourbody.com/

Rebekka Bangerter – attempts on your body (by the anonymous screen in front of you)

What does sitting in front of a bodiless entity actually mean? Who or what is talking to you?
Where is the fine line between explicitly violent texts, harmless flirtations, laughable threats and a simple request?

Inspired by Peter Handke’s play «Offending the Audience», videos from drone cockpits (published by Wikileads), the survival game «Rust» and her own experience with sexual harassment and explicitly violent comments on dating sites or in social media chat rooms, Rebekka Bangerter has developed a written-word online performance. It involves examining how the Internet assaults the real physical body and explores the real-world consequences of virtual actions.

Rebekka Bangerter’s performative installations border on visual art and deal, in particular, with the question of how medialisation shapes our perception and reality and often involve the audience in some strange and unusual way.

Fotocredits:
Yves Klein, Leap into the Void, (IMMA 21) October 1960 5, rue Gentil-Bernard, Fontenay-aux-Roses Artistic action by Yves Klein: © The Estate of Yves Klein, ADAGP, Paris / ProLitteris, Zürich, 2018 Photograph: Shunk-Kender © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20)

Rebekka Bangerter:
Konzept, Text, Performance: Rebekka Bangerter. Dramaturgische Unterstützung: Andreas Wirz. Unterstützt durch: Fondation Nestlé pour l’Art.