SODA WORKS 2011

SODA.WORKS 

New 

Perf orm ance 

W o r k 

2011 

Columnentitel 1

Contents 

Sheena McGrandles » 4 

Ana Trincão » 8 

Keith Lim » 14 

Ana Monteiro » 20 

Dragana Bulut » 24 

Elisabete Finger » 28 

Zoja Smutny » 32 

Yair Vardi » 36 

Daniel Kok » 40 

Programme » 46 

Imprint » 48

Anything But Solo 

One of our rst SODA lectures dealt with dance as an open concept. Reading Eco and Barthes 

as a group not only quickly led us to question our preconceived notions regarding authorship, 

but also established a common language for us to communicate with in the months to come. 

What is ‘open’? Open to what? And for whom? These were precisely the kind of questions that 

we would busy ourselves with in practical workshops as well as table discussions. 

One gift that a programme like SODA offers is time – the time to sharpen and rede ne our 

artistic methodologies, the time to ponder over feedback about our work, and perhaps more 

importantly, the time to re ect critically on the very conditions of performance creation 

and production. By challenging ourselves to reconsider the contextual frameworks that 

surround art making, we have sought to leave little taken for granted while asserting our 

independent practices as critical research. 

In the following pages of this publication, we hope to give you a glimpse of what each of us 

has been concerned with artistically. While we hope the diversity of our approaches 

will speak for itself through this publication, we also wish to highlight how SODA has not only 

been about shaping our independent practices, but also about how the solo artist is 

appreciably in uenced by the community that s/he operates within. We have often tapped into 

each other’s capacities relying on the differences between us in order to go further with 

our respective work. Feeling challenged by others is as much a means of mutual support as 

being given an af rmative pat on the back. 

There are many other members of our community whose contributions to and assistance 

with our work have been just as invaluable. We therefore would like to take this opportunity 

to extend our sincere thanks to our tutors, all visiting artists and lecturers as well as the 

administrative and technical staff at HZT. 

Finally, as we prepare for our nal SODA presentations, we agreed in a recent meeting that 

although all of us will leave SODA with a clearer idea of how we will tender our work as artistic 

research shareable with the public, none of us can rmly draw conclusive and de nitive 

claims about art. Solo, Dance and Authorship will continue to remain moot points and open 

questions requiring further investigation and negotiation. 

Dragana Bulut, Elisabete Finger, Daniel Kok, Keith Lim, Sheena McGrandles, Ana Monteiro, 

Zoja Smutny, Ana Trincão, Yair Vardi 

3

Sheena McGrandles 

To a l l i t shoul d c on cer n Mexico City, November 2011 

Recommendation letter for Sheena McGrandles 

I met Sheena McGrandles dressed as a man in January 2010. 

She was nervous, I was nervous, we were all nervous. 

We were waiting in a room, she presented herself as a man before I presented my paper. 

It went well – really well for both of us. So well that we started to see each other more 

often that year and the year after, and hopefully in the years to come. 

Sheena is a committed human being in her art and life. Kind, intelligent, thoughtful, 

and serious (just enough). 

I saw her playing the bad and the good girl, talking on ‚Gay Romeo‘, transforming 

her body into a hybrid being, questioning Catholicism, and using words to confuse 

( reinterpret) meaning. 

McGrandles is into gender studies, the body, dance, politics, society, norms, laws and 

behaviour. She is active in questioning the place of the body as an entity that carries 

meaning, as well the thing that is able to surpass meaning and open new spaces for 

understanding. 

I like Sheena, I have always liked her … She is a peer that has very clear concerns in her 

work and genuine research questions. In all our encounters, I have found her to be a serious 

artist with integrity and deep consideration, who is rigorous in her enquiry of performancemaking 

and life. All artists need help to develop their methods and their own voice. 

I want to encourage you to support her and her life research project. She will undoubtedly 

make an invaluable contribution to the world. 

Please give her life and art the utmost consideration and do not hesitate to contact me if 

you need any further information. 

Yours sincerely, Ana Trincão 

anatrincao@gmail.com 

4 Sheena McGrandles

Eee 

Columnentitel 5

‘Doing’ the body in performance 

On the next paragraphes I will share and trace for you a passage that I have taken over the last 

year on MA SODA. It is written from the perspective of still being in this practice, still curious, still 

questioning and still dealing with being confused. I hope to convey how I arrived at where I am at 

rather than providing concrete answers, conclusions or statements. Terms will appear throughout this 

text, which are interwoven into my practice. These terms have emerged through my practice, but most 

of all they allow me to speak about my practice. At times they are slippery – it is in their nature, they 

are ‘of’ the body. 

Bodies of Questions | Questions of Bodies 

This is a research that aimed to literally get out of the head and into the body. I call this a no longer 

pointing at the body but a pointing with. After spending half a year talking, theorising and 

conceptualising about performance-making, it became an urgent need of mine to nd a way for the 

body to ‘speak’. My work, then, started to revolve around the question of how can I embody this body 

that I often referred to through queer/feminist theory and the performativity of language and what 

can it potentially communicate?’ 

So what I simply started to do, was ‘do’. It was evident that I was building a body but this time 

outside of language. It was unnameable. All I could say was that I was doing something, indeed 

‘doing’ the body in performance. I was also sure about the direction I wanted it to go in: 

unfolding a compositional space in which the body is signalled as multiple moving between the 

defi able and undefi able; the recognisable, and unrecognisable, aiming to render itself ungraspable, 

ever changing in its act(ion) – even pointing toward a queer. 

But: what is this queer that I was pointing at? Or: how was I approaching this within my practice? 

In helping me grapple with the notion, theory, identity, and all the things it is and is not, I wrote 

an essay ‘Composing Queer’, which allowed me to nd my own story and relation to what it can and 

cannot be. In relating my experiences of practice through theory I attached myself to the following:

moving beyond what has been named, a space of questions that embodies slipperiness, a resistance 

to a singular and most of all that which is not or cannot be expressed through language. I pulled 

this back into practice, accepting language gaps and the unnameable qualities that came with the 

work and named ‘body’ E, which is now a series of three performances. 

Everything has its time 

Back in the studio, the voice made an organic appearance, not in language but as a potential to 

disturb the body. I understand the voice to have a body in and of it self which I call voicebody. 

The voice talks to me about another body, an internal body which externalises itself through the voice. 

We speak in order to say something, but the voice is precisely that what cannot be said. It eludes any 

pinning down and yet it is the material which we use to create meaning in language. I became interested 

in the space that the voicebody inhabits. It is an in-between space: voice being neither inside 

nor outside but coming into its body through this transition from outside to inside. My interest turned 

towards the question of what can this space offer in ‘doing’ the body in performance? 

To ‘do’ body beyond my own 

In harnessing this elusive body I collected some things that I was dealing with and built a ‘working 

language’ (appearing terms), a language that works for my practice and that I work with. It puts the 

body in a motivational action – in a state of ‘doing’ par ticularly a body beyond my own. This ‘doing’ 

happens on a sensorial level, which requires a sensitivity to space, body and voice. It is through this 

practice that a morphic body appears; uncanny, queer, strange in its performance. It is a body that 

nds itself through its own echo, an auto-effective body, listening to the world that it establishes. 

Appear | Appearance 

The practice of ‘doing’ is framed and supported through conditions that I have identi ed: light, shoes, 

a swing, a wig, voice, body and space. These conditions have become the ‘workers’ for the practice 

and I approach them with a ‘not taken for granted’ attitude, in that everything has its purpose and use 

(not aesthetical but operational), thus allowing me to continually re- nd this speci c space of ‘doing’ 

and at the same time provide a world for this‚ living being body‘ to be in. 

What body? 

By working through this collection of ‘doings’ and understandings of the body, over the last year 

I have produced a series of three E’s: ‘E’, ‘Ee’ and the most recent ‘Eee’. This has been a process that 

shifted from the choreographic (E), to a performative practice (Ee) to a performative space in which 

the body moves between ‘doing’ and ‘being’ (Eee). It is through ‘being’ that I re-learnt to bring the 

body back into time and space, to the present, to be in front of you, to be seen and to see. 

Rather than moving through a world that the body creates for itself (Ee). 

A new element to this work is the employment of light as an actor and material to change the context 

of vision and experience, in order to further disturb the body and the space it in habits (Eee). 

So by continuing to push these ‘doings’ into and onto the body itself, I nd other ways of being 

present, other ways of continuing ‘doing’ the body in performance. 

What is the ‘doing’ doing? 

In ‘doing’ what is being done?

Ana Trincão 

To Whom i t May C on cer n Berlin, November 2011 

Recommendation letter for Ana Trincão 

My name is Keith Lim and I have the pleasure of knowing Ana Trincão, as a colleague and 

friend, since we both began studying in the MA Solo/Dance/Authorship course in April 2010. 

Ana is a passionate, devoted and incredibly hard working artist. Having an unshakable 

belief in her work, she continues to inspire me with the integrity of her practise and rigorous 

navigation of her artistic vision. She leaves no stone unturned. 

Her stage presence is impressive, with a focused attention to detail; a certain energetic 

drive combined with sensitive attentiveness. 

For me this especially came through in one of her earlier pieces, where Ana’s heart beat 

and other internal sounds were controlled, manipulated and ampli ed. The sound speaker in 

this dark space interacted with a large sheet of paper, thus creating the sum effect of 

an intimate, visceral sound-scape, whilst the sub-woofer eventually devoured the paper with 

its vibrations. This piece is perfect for a live art or contemporary performance context. 

Also as a fellow student, I have had the privilege of accessing Ana Trincão’s working 

processes. I can only begin to attempt to comprehend the depth of some of Ana’s imagery; 

the interplay between images produced between words. She creates a poetry of sorts when 

speaking about her modes of production and her work. In a way, it is an artwork in itself. 

I am always con dent in Ana’s abilities and the direction of the work which she presents. 

She has that extra something special that speaks of a true artist. I look forward to what the 

future holds for Ana Trincão. 

Yours sincerely, Keith Lim 

8 

Ana Trincão

SEPT 26th, 2011 MEXICO CITY 

I Imagine #5 

I IMAGINE, I STILL IMAGINE: AN ISLAND, 

AND BY AN ISLAND I MEAN 

SOMETHING HAPPENING IN THE CENTRE: 

NO FRONT NO BACK, PEOPLE ALL AROUND 

AN ARENA. 

EVERYONE CAN PERCEIVE (SEE). 

THE PERFORMERS IN THE MIDDLE 

CAN PERCEIVE (SEE EVERYBODY). 

I IMAGINE A FLOOR MADE OF WHITE PAPER, 

A SQUARE OF WHITE PAPER. 

EVERYTHING THAT HAPPENS, 

ALL THE ACTIONS, ARE ON A LOWER LEVEL, 

THERE IS NO STANDING. 

I IMAGINE BEGINNING … 

SOMEWHERE OUTSIDE THIS SQUARE. 

I INTRODUCE MY VOICE, 

AND MY BEAT AND I … 

SLOWLY INCREASE THE VOLUME 

AND THE INTENSITY OF THE BEAT. 

I IMAGINE TALKING OR SINGING TO THE PEOPLE. 

I IMAGINE USING A MICROPHONE TO TALK TO THE PEOPLE. 

I IMAGINE TRANSFORMING THE OUTSIDE ENVIRONMENT, 

FULL OF NOISE, 

TO A VERY QUIET ENVIRONMENT. 

I IMAGINE THAT I START TRANSLATING 

MY HEART BEAT. 

I IMAGINE TRANSLATING IT FROM it SOUND. 

I START TO DRAW IT, 

“TRANSLATING THE BEAT” TO THE PAPER. 

MYSELF, MY BODY, HAS TO PERCEIVE THE BEAT. 

INITIALLY I DON’T MOVE, I AM STILL, 

AND I START TO TRANSLATE (ACTION) 

WHILE MY BODY IS TRANSLATING THE BEAT, 

MOVEMENT IS BEING DEVELOPED. 

I WANT TO TRY ANOTHER FORM 

OF PERCEIVING THE BEAT. 

SOMEONE ELSE COMES IN, 

I GIVE HER THE MARKER 

AND SHE STARTS TO DRAW MY HEART BEAT 

FROM THE SOUND OF MY HEART BEAT. 

Columnentitel 

Ana Trincão 9

PERCEPTION IS ONGOING, NEVER STOPS. (PLAN SEQUENCE) 

THERE ARE MOMENTS 

WHERE ONE CANNOT PERCEIVE THE OTHER, 

AND THESE MOMENTS I CALL DEATH. 

MOMENTARY DEATH: 

TO THE LACK OF THE PERCEPTION OF ONE I CALL DEATH. 

IS IT POSSIBLE NOT TO PERCEIVE? 

OR IS IT JUST IMPOSSIBLE (SOMETIMES) 

TO PROCESS IT IMMEDIATELY AND TRANSLATE IT? 

WE EXCHANGE ROLES. 

I START TO DRAW THE HEART BEAT OF THE OTHER. 

AND THE DRAWING ON THE PAPER 

BECOMES BIGGER AND MORE DETAILED. 

THERE ARE MOMENTS, 

WHERE THE HEART BEAT 

IS NOT BEING TRANSLATED FROM SOUND ANYMORE. 

THESE MOMENTS “INTEND” TO BRING 

THE (RECENT) PAST MEMORIES OF THE EVENT. 

WHAT WAS (JUST) HAPPENING 

BUT WE CANNOT SEE/HEAR ANYMORE. 

WHAT HAPPENS THEN? 

I START SENSING MY HEART BEAT, 

TRANSLATING IT TO PAPER BY 

BRINGING MY HANDS REALLY CLOSE 

TO MY HEART AND TRANSLATING IT 

FROM THE SENSATION OF THE BEAT, 

OR BY BRINGING MY HANDS 

CLOSE TO MY HEART 

AND TRANSLATING THE BEAT 

TO A CERTAIN MOVEMENT. 

THIS MOVEMENT IS BEING PERCEIVED 

BY THE OTHER AND THE OTHER KEEPS ON, 

TRANSLATING THIS HEART BEAT TO THE PAPER. 

THE AUDIENCE IS PERCEIVING ONE 

THROUGH THE OTHER ACT OF TRANSLATION. 

DO YOU REMEMBER THE TRIANGLE? 

TRANSLATOR/CONTAMINATOR/MULTIPLE. 

I AM STILL INVESTIGATING IT. 

10 Ana Trincão

Event July 5th, 2011 

Score 2 

Space is not arbitrary. Choices are different from impulses. The contact 

with these objects generates more than images. Images become events that 

have continuity beyond the event itself. Deal with materiality beyond materiality. 

Give time, meaning by not doing anything, something still happens. 

Experience beyond the experiment. Allow echoes. Choose randomness. Create 

a landscape/environment. How can we not generate a hierarchy? Reveal. 

Make visible. Acknowledge space without having to experiment. Undo. 

Redo. Map. Trace. 

Columnentitel 11

Berlin, May 2011 

L etter nº7 

“What is there?” 

“What can I not see that you can try to make visible for me?”, having as a principle that 

everything is already there and nothing is new. 

I brainstorm whatever was in my mind at that moment: ideas, concepts, modes, issues that 

made the big cloud above my head. After I shared them with Sandro, we started to negotiate 

those ideas and see what was emerging out of that big line of thoughts (a big roll of white 

paper with 15 m of written words). How/What could we work with? 

A rst summary … an archive of qualities: LANDSCAPE/SITE, BEING, SILENCE, 

PLAN-SEQUENCE, MAKE VISIBLE, INVESTIGATOR, VOICE, MAP, PRECARIOUS, 

EROTIC SILENCE, DESIRE, ARCHITECTURE, CONTEMPLATION, POETRY … words that were 

abstract but that meant something in relation to each other. They created the big landscape, 

and we established a language as a way of communicating through that landscape. (We had to 

share as much as our subjectivity allowed this universe of codi ed words.) An nomenclature. 

This rst period of work has been a period of intuitive research and experimentation, of nding 

the mode/ nding the making, based on a daily physical and written practice. This mixture has 

so far allowed a hybrid modality where one deeply informs the other, generating a speci c 

realm for action. We are dealing with the materiality of our language … ideas are emerging. 

Still, what is there? Meaning that we are trying to nd an internal logic; the parameters of the 

mode of making we are working with. 

Rocks, water, sound, environments, what is there?, nothing, almost nothing; slightly weird, 

to work with the information that a certain locale is providing and just add a new layer of 

thought that is con ned to our subjectivity as makers. To propose a way to engage with what 

is there, that is recognisable and somehow perceived with a certain normality provided by the 

way one sees the world. 

What was the subject? 

How to proceed? 

What to do with it? 

We gured a way: maybe the conditions of how to perform the making. 

Apply it to the space that was there. When I say space, I think about the architecture, 

the environment from our window, the sink in the studio, the materials available: 

pens, paper, a rock. 

12 

Ana Trincão

Some days ago, after the session we felt: 

This is about almost nothing, like when nothing happens. 

Our “almost nothing” appears in the way we mapped the process. Putting things next to 

one another in order to generate the other, although they must belong next to each other to 

generate another. Our map looks and feels like almost nothing. 

What can nothing contain? 

1. Almost nothing – actions empty of content in itself, but meaningful in relation to each other. 

2. Almost nothing – the action in itself is nothing but you make something out of it because 

you have an intention with it. 

The work now is: what is the body of this almost nothing … a contemplative body? 

I like simplicity, objectiveness, and I don‘t want to impose anything more in the performative 

space, I mean, I don’t want to bring an alien in to it. I don‘t want to ignore the architecture of 

the studio, the sound of the speakers, the echo, the black curtain, the wooden oor and the 

poetry in it … and us in “that”. That’s my “What is there?” 

It is about creating a “being” that exists in “that”, if that changes, this “being” is changing in 

relation to the concrete as well. 

It’s taking more and more the form of an installation, something that can be seen from different 

points in space. 

It‘s slow … (as always) 

New ideas: 

Landscape pumping as a heart beat. 

What is randomness? Is there a place for randomness inside the choices already made? 

Periphery/No centre. 

We realised that we are concerned with autonomy. Autonomy of the process/work. The mode 

of making is dictating its own strategies and asking its own questions. The subtext of the 

work, meaning the mode of operating within it, should be the only concern of the makers/ 

performers. The idea that one means something is attentively trying to be surpassed, 

one is meaning something that can be meaningful in many ways if one is not concerned with 

meaning but merely with the subtext that is sustaining the work. The materiality of the subtext 

should then be the concern with the locality of the event, what a certain context is, has, etc. 

Studio, street, house. One’s aesthetics emerged by the activation of the poetic landscape 

one is operating within. 

Ana Trincão 

13

Keith Lim 

To whom i t may c on cer n Berlin, November 2011 

I recommend Keith Lim with the highest regards. 

I had the great pleasure to meet Keith during the Solo/Dance/Authorship Masters Studies 

in 2010/2012. 

The rst thing that struck me when I met him was his smiling, uplifting manner. 

At that point I could understand very little of what he was saying – a mix of my non-native 

English skills and his mumbling way of talking. Two years later, I can assure you, we both 

improved our communicative dexterity, in addition Keith is now able to give lectures and 

talks on his artistic practice in an articulate yet frolicsome way. 

Keith is truly multifaceted: a mover, a computer programmer, a puppeteer, a psychologist, 

a media artist, a choreographer and a spiritual researcher. Besides this impressive set of 

skills, Keith is a wholehearted art-warrior, determined in pursuing his investigations in the 

complexities of the self without avoiding the necessary hardships of such a quest. 

Keith is a beautiful artist and an even better person. You will be very fortunate to get 

to work with him. 

Please let me know if you have further questions. 

Sincerely, Ana Monteiro 

anaisabelvieiramonteiro@gmail.com 

14 

Keith Lim

Keith’s Simple (and Slightly Stupid) Question Generator 

Aim: 

To make a question generator for/about/to my work. 

Ideally by sharing my current, diverse set of questions through this experiment, it will reveal 

some of the methods, concerns and analytical tools I learnt from SODA. 

This test with Keith’s Simple (and Slightly Stupid) Question Generator (KSSSQG), will also 

hopefully expose some of my processes in self-referential divergent thinking for the generation 

of material. 

By re-processing the list of questions I encountered during SODA to the generator and then 

back to myself, I hope that some sort of evolution will occur in the questions themselves. 

These new questions may then be an additional basis for discourse, provide different insights 

into the original questions, or create completely divergent propositions. 

This is a test in using technology to produce a creative divergence, within a scienti c 

methodology, whilst applying artistic criteria on artistic analytical content to address my work. 

Through practise! 

Methodology: 

This is a basic, yet hybridised, scientific method to make my existing 

question base more complex, using “brute force” trial-and-error code. 

Otherwise know as “variations”. It is hybridised scientific method, since 

subjective aesthetic decisions are integrated in the methodology. 

1) I quickly write up as many simply structured “input” questions as possible in 15 minutes, 

which broadly re ect my concerns, the things I learnt and my research during the SODA 

course. I delete the questions that I don’t like or don’t want to share, either for you, my 

dear imagined reader, or to protect myself. The owing order of question remains the 

same, minus these omissions. 

2) I manually split the input questions into three parts: 

The rst part of the question is the “handle”. E.g. “How do I” or “What does it mean”, etc. 

The second part of the question is the “verb”. E.g. “use mash up as” or “to be authentic 

to”, etc. The third part of the question is the “subject”. E.g. “a means of production” or 

“the work”, etc. Each question part is placed, in programming code (Appendix 1), into its 

respective word sets: handle, verb, subject. Duplicates in the set are kept, to maintain the 

weight/emphasis of that part. E.g. “a ow state” is repeated 4 times, and is thus 4 times 

more likely to appear than the one-off “radical gesture”. 

Keith Lim 

15

3) Generate the output list. Run the algorithm/code (Appendix 1) and produce output 

questions. Putting the input questions through the random generator mixes up the “handle, 

verb, subject” sets between questions. The probability is that any one of the new output 

questions is a mash-up of three different input questions. Arbitrarily create 20 questions at 

a time, for ease of ltering. 

4) Filter. I choose the generated questions and put them into a nal output list. These 

questions resonate with my work, are possibly interesting in a wider sense, or are funny 

(I think …). I delete the questions that don’t make any sense, are boring, or are repeats of 

the original input questions. 

5) Fix the grammar. KSSSQG is slightly stupid. As is its maker. 

6) Repeat the generating and ltering stages until we reach the same number of questions 

as the inputs. 

7) Re-order the list for some sort of dramaturgical ow. 

Results: 

KSSSQG is slightly stupid in that it doesn’t handle all the grammatical 

irregularities that our bastardised (in a good way) English language 

has. Tenses sometimes miss the mark. But most of the time the code gets 

it right. The list was generated approximately 5 times, producing 100 

questions which were edited to 61. 

While editing the questions, attempts were made to keep the grammar as close to the original 

output as possible because different meanings arise from different prepositions. For example, 

“What does it mean to use found material to wants?” is different from “What does it mean to 

use found material for wants?” Although the second is more grammatically correct, the former 

original has a different, possibly more subtle, meaning. 

In some other cases it is still not clear what the correct grammar is (slightly stupid, see above), 

or the incorrect preposition creates a more … spacious … question, or the slippage in grammar 

is amusing. In which cases I defer to the original output. 

16 Keith Lim

Input Questions: 

Output Questions: 

How can I codify myself? 

How can I codify my work? 

How can I use mash-up as a tool? 

How can I use divergent thinking as a means of production? 

How can I manage myself? 

How can I manage my practise? 

How can I use the context productively? 

How can I express energy without going into representation? 

How can I be authentic to my desires? 

How can I balance impulse with control? 

How can I balance acceptance with change? 

How can I pull in all my knowledge into a one hour show? 

How can I be in a ow state? 

How can I use the existing tools to produce something new? 

How can we use technology artistically? 

How can I use found material to create something new? 

How can we use therapeutic practises in performance? 

How can the audience approach the work? 

How can I use gami cation to provide feedback? 

How can I use feedback to create games? 

How can I use ritual to create performance? 

How can I nalise the work? 

How can I manipulate myself (in a good way)? 

How do I build a practise? 

How do we share a practise? 

How do we produce new knowledge? 

How do I contain the chaos? 

How do I use the chaos? 

How do I feel? 

What does it mean to be divergent? 

What does it mean to be in a ow state? 

What does it mean to be happy? 

What does it mean? 

What does it mean to give technology what it wants? 

What does it mean to be in a state of non-duality? 

What is dance? 

What is solo? 

What is love? 

What is authorship? 

What is staging? 

What is a mash-up? 

What is a framing statement? 

What is self re ection? 

What is analysis? 

What is the shift in thinking? 

What is the role of the body? 

What is the role of the audience? 

What is the criteria for the research? 

What is “The European Context”? 

What do I mean by “The European Context”? 

What is the framework in which we can look at this? 

What is the radical gesture? 

What are the hallmarks of analysis? 

What comes from argumentation? 

What are the rules of the game/task/score? 

Is it useful to be in a ow state? 

Is it good to be in a ow state? 

Is it bad to be in a ow state? 

Is it relevant to categorise in terms of “good, bad or useful”? 

Is the game in nite? 

Is it possible to answer all these questions? 

What does it mean to manage a ow state? 

What is it to be authentic to the chaos? 

How can I balance impulse with divergence? 

What is it to balance acceptance with importance? 

What does it mean to balance impulse with control? 

What does it mean to manage practise? 

What is manipulated (in a good way) solo? 

What is it to pull all my knowledge into productivity? 

How can I codify an algorithm? 

Why use ritual to myself? 

How do mash-ups use ritual to happy? [sic] 

How can I use existing tools to provide feedback? 

What is it to codify providing feedback? 

Is it possible to codify a ow state? 

How can I codify divergence? 

What does it mean to use divergent thinking as the work? 

What does it mean to use divergent thinking as creating games? 

What does it mean to express energy of the game/task/score? 

What does it mean to use therapeutic practises productively? 

What is expressing energy as practise? 

Is it good to be in practise? 

How do we give technology dance? 

What does argumentation want? 

What is being new knowledge? 

What is it to pull all my knowledge into new knowledge? 

What is answering a practise? 

What is answering the work? 

How can I give technology my desires? 

What does it mean to use found material to wants? 

How can I be my desires? 

How can I be the role of the work? 

What is it to be the criteria for the research? 

What is using technology with the hallmarks of analysis? 

How do I specify the hallmarks of analysis? 

What does it mean to share my practise? 

What is sharing without going into representation? 

How do I build staging? 

What comes using mash-up as staging? 

What does it mean to feel staging? 

What is it to nalise a means of production? 

What does it mean to constantly create performance? 

What does it mean to be the radical gesture? 

How can I use gami cation to the role of the body? 

How can I nalise myself? 

What comes codifying the shift in thinking? 

How can we produce terms of good, bad or useful? 

What is the in nite game in self re ection? 

What does it mean to go by “The European Context”? 

How can we give authorship to “The European Context”? 

How can I give authorship to the framework from which 

we can look at the work? 

What does it mean to be authentic to that what I mean by 

“The European Context”? 

How can I use the context to terms of ‚good, bad, or useful‘? 

How can we be control? 

How can I give authorship to change? 

What is using existing tools to the role of the audience? 

What is the role of the role of the audience? 

How do we pull all my knowledge into the role of the body? 

How do we be authentic when being beyond one‘s limits? 

How can the audience feel in nite? 

How do I categorise in love? 

What is being in in nite?

Conclusion: 

For me, the strongest questions generated by KSSSQG this time are “How 

do we give technology dance?”, “What is the infinite game of self-reflection?” 

and “How can I finalise myself?” 

Does KSSSQG count as having performed in our contemporary de nition of dance? Was 

it solo or was it a duet between me and the machine? I wouldn’t have come up with the 

majority of the output questions by myself but I wrote the code. By giving the computer 

authorship, we attempt to break some of the human habitual pattern-making, which is visible 

in the input ow. By breaking this patterning, maybe we have stumbled upon what it means 

to “give technology dance”. 

In this in nite game of self-re ection, the context and structure of the input questions is 

of note. These input questions draw on the eld of self-criticality which is one of the most 

invaluable tools that I’ve begun learning on the SODA course. The underlying methodology 

of analytical questions is within the input questions, which KSSSQG capitalises on and 

outputs using simple remix techniques. 

The question of convergence remains. What if all of these questions can be answered? 

At the same time? How can these questions be resolved through artistic practise? Maybe my 

nal SODA performance, re:self->com provides the answer. Maybe. 

KSSSQG also addresses further questions of the language and methodology used in this 

artistic context. Rather, how can we use a scienti c or technological methodology to 

produce/support critical enquiry? Although there is plenty of complexity to be found in our 

sets of language, is this complexity calculate-able and possibly nite in its combinations and 

permutations? For these input questions there are 18 unique handles, 39 unique verbs, and 

64 unique subjects, resulting in a maximum combination of 18 x 39 x 64 = 44928 questions. 

Presumably about half of them are nonsense or uninteresting. In some ways approximately 

22500 questions is plenty, in other ways, it is not enough. To ensure the longevity and 

contemporaneousness of critical enquiry, we must continue to expand the vocabulary of 

the language and methodologies used. We can see that simple, inter-disciplinary tools can 

already yield rich results. Surely this is a eld for further investigation and speci cation. 

18 Keith Lim

To this end, further interaction with this experiment may be possible through further development 

of the KSSSQG code in two ways. 

1) Build a simple interface for directly editing the handle, verb and subject sets. This would 

allow for users to generate their own lists of divergent questions. Users would be required 

to “split” their own questions, following the example question parts or the generator may 

not produce meaningful output. 

2) Build a more complex, smarter interface that takes a list of user input questions and 

attempts to “split” the questions in code. However, then the generator will no longer be 

simple or slightly stupid. This option is outside of the scope of the experiment. For now. 

Appendix 1: Programming code. Code is written in PHP. Pretty simple 

programming code. Comments are in green. 

//initialise the word sets of handles, verbs and subjects 

$handles = array(„How can I „, „What is it to „, „How can the audience „ . . . ); 

$verbs = array(„specify „, „use divergent thinking as „, „be „ . . .); 

$subjects = array(„myself“, „the work“, „in performance“ . . .); 

//etc. etc. 

for ($i = 0; $i < 20; $i ++){ 

//generate 20 questions at a time 

$question = $handles[ array_rand($handles) ] // pick a random handle 

. $verbs[ array_rand($verbs) ] // add a random verb 

. $subjects[ array_rand($subjects) ] // add a random subject 

. „?“; // it ain‘t a question without a question mark. 

print($question); //display the question 

print(„“); //new line. To keep the list a bit neat. 

} 

The script is available to run at: 

http://www.kidsthesedays.com.au/soda/question-generator.php 

Keith Lim 

19

Ana Monteiro 

To Whom I t May C on cer n Berlin, November 2011 

RE: Letter of Recommendation for FORCED ENTERTAINMENT PERFORMER 

It is with great pleasure that I write this letter of recommendation for Ana Monteiro. 

I have known Ana M as a fellow artist and a peer since 2010. We have worked together in 

a range of capacities during the last year and I have no hesitation in recommending her 

to you as a highly skilled performer and collaborator. 

I have experienced Ana to be an intelligent, self disciplined and humorous woman. She is a 

dedicated collaborator with an interest in pushing the ways and means of working with other 

artists. Her most recent work SHOWCASE demonstrates just this through her multifaceted 

and multimedia approach to collaboration and authorship. In this piece she is working with 

a range of people from the local Turkish belly dancing school, an experimental video artist, 

as well as a performer who creates a solo for her via emails. 

Ana’s creative writing abilities are next to nothing, her use of words to grasp a situation, 

a thought are just immense. I have had the privilege of experiencing some of her devised 

texts and scripts. They are intricate pieces of work that interweave the critical and 

poetical, documenting and capturing situations and discussions around performance and 

collaboration. It is her talent to take this material and ip the context around from a heated 

exchange about working to a fun lled dramatic, yet ironic soap opera. She has a rich 

ima gination and a way with words that allow her to be generous, yet precise in what she 

wants to convey. 

It is in Ana’s performance skills that really show her competence. Her use of hyper 

theatrically and ‘concern’ for the audience, which pairs very well with the work of Forced 

Entertainment. Through this she challenges and at the same time pushes and teases the 

boundaries of what we understand as theater and ones role as performer and beholder. 

It is clear that Ana M has found an imaginative and risk taking attitude to making on the 

MA SODA and I can only further insist that she would be a credit to the company. 

Yours, Sheena McGrandles 

sheenamcgrandles@yahoo.co.uk 

20 Ana Momteiro

SHOWCASE 

The starting point for the project SHOWCASE began when I became aware that the nal presentation for 

the 4th semester of the MA SODA has, as one of the criteria, a performance presentation of at least 

45 minutes in length. This information ignited a proliferation of questions that, I believe, surpass largely 

the academic context at hand: 

What are the assumptions behind a time frame considered as standard in a given context? 

What does it say and do in terms of modes of perception and partitions of the sensible? 

Are standard time frames for performance presentation already inscribed within a certain 

understanding of what performance-making and performance-spectating should be and should do? 

Does this standardisation contribute to a homogenisation of artistic practices? 

To which extent does a certain standardisation of conditions become part of the logic 

of the production of the work? 

How does a predetermined time frame organise (choreograph) the work? 

Curious to investigate the notion of autonomy, which I understood as the creation of one’s own 

conditions of engagement inside the speci cities of a given context, I decided to propose a set of 4 solo 

performances of 12 minutes each. The creation of each solo would be autonomous from one another, 

exploring different logics of production yet interdependent in that they would be presented side by side in 

the same evening in a kind of showcase (as in a display case in a store or museum). 

What would the spaces in between the works do? Which unpredictable relations would emerge out 

of such conditions? What different perceptions of time and space would it generate? 

Interested in differentiation as an approach to artistic practice in general and solo work in particular 

(it seems relevant to me to point out that this text is being written exactly one month before the 

presentation of the work), it is in motion a series of different operations that mediate the creating 

process of each solo and enable singular and inderterminable sets of relationships to take place. 

It is necessary to mention the crucial role of other people in the process. I would provisionally call the 

pieces ‘joint creations’ which involve two creative processes that intercept (join) each other at given 

moments while keep running in parallel. Processes in which creation emerges from the tensions and shifts 

between relations, exploring the autonomy-interdependence chiasma. 

The experiment is ongoing and the effect and affect cannot be anticipated. 

Columnentitel 21

SODA OVERVIEW? 

The practice I’ve been developing 

during the MA SODA has been 

con cerned with the questioning of 

modes of production of stuff, spaces 

in between stuff, the order and the 

place of stuff. ‘Where?’ rather than 

‘What?’ has been a crucial question 

for me for the past two years. 

SODA has been generously granting 

me the opportunity to increase my 

awareness of conditions and conditionings 

and it has been supporting me 

with time not only to raise but also to 

experience that questioning process. 

The dif culty in talking or describing 

the space between stuff seems to be 

that this ‘Where’ is constantly moving 

and shifting; the space between is 

inevitably relational, a process, 

un nished, ‘undecideable’, ongoing. 

I am thinking, how can I represent, 

inscribe, share and continue to 

practice the questioning on these very 

pages? 

The following list of questions was 

written between 7 and 7:30 am 

on the 09. 11. 2011. The guide for the 

movement of thought was to direct 

attention to images and sensations 

that have arisen during my journey 

through SODA and to try to unfold 

them in a cascade of questions. 

How to articulate without de ning? 

How not to de ne articulation? 

How not to articulate articulation? 

How to articulate non-articulation? 

Where is the place for contradiction? 

Is contradiction perception? 

Where does perception become 

paranoia? 

Can confusion become a place? 

Could confusion be the name for the 

impossibility of engaging in a particular 

form of distinction making? 

Can displacement be created 

through a particular perception of 

distances? 

Can the process of question formulation 

enable a mutation? 

22 Columnentitel 

Where does reaction becomes a 

response? 

Does urgency become the place for 

the production of questions? 

Producing or enabling? 

What to include? What to exclude? 

An illustration of a question? 

Is a question an illustration? 

Is a question a translation? 

How do ‚pink‘ and ‚solo‘ go to gether? 

Going together in a pink solo? 

Are singularities made of differences? 

Autonomy? 

Autography? 

Choreography? 

Revelation without con rmation? 

Recognition without knowing?

What else can appear in the process of 

repetition? 

What else can appear in the process of 

repetition? 

What else can shift in the process of 

repetition? 

Being traversed by a question? 

Being relations? 

? 

Is this pointing to? 

Is it doing it? 

Are distinctions mere conventions? 

Are conventions mere distinctions? 

Where is the perimeter of the question? 

Where is the co-creation of this 

moment? 

From oneself to at least fourselfs? 

To differ? 

To differ from what? 

Who owns this invitation? 

Is the way the question is formulated 

part of the question? 

Is the way the question is formulated 

the question itself? 

Does the part contain the whole? 

Does the part contain the hole? 

What can the hole contain? 

A frame within a frame within a frame 

within a frame? 

Curiosity as irritation? 

Irritation as curiosity? 

How can two parallel lines meet each 

other constantly? 

Standing under as understanding? 

Can this be a vitrine for questions? 

Can a vitrine be a form of questioning? 

Can surface become depth? 

Is there something happening between 

the questions? 

Development in the form of a line? 

Can accumulation turn into 

accommodation? 

Are conditions the conditioning? 

Are conditionings the condition? 

Can conditions turn into expression? 

Is the performance the embo di ment of 

a questioning? 

Is this list about the questions that are 

not yet here? 

Does the word question come from 

quest? 

Does this keep postponing 

the solution? 

Is the solution to keep post poning? 

Ana Monteiro 23

This page is mine! 

Dragana Bulut 

24 

Columnentitel

„This Page Is Mine!“ 

Author: Dragana Bulut 

25

26 

This Page is Mine! 

If you want to buy it write to: draganabulut@yahoo.com

Dragana Bulut 

To whom i t may c on cer n Lisboa, November 2011 

I’m writing to recommend Dragana Bulut. 

I still have a strong memory of when I rst saw her, in a studio in Berlin. She was standing 

in front of a serious looking jury, with her 80’s styled long black curly hair, wearing a black 

leotard and a pair of black dance socks. The situation seemed a bit odd, and she looked 

somewhat nervous. However, when we heard the rst musical chords from “What a feeling”, 

by Irene Cara, the infamous song from “Flashdance” soundtrack – we all got caught up by 

her ability to reveal the context, whilst commenting and revealing it, by using humor to 

answer to an audition with another one. 

Inside and outside of the SODA group, I could see Dragana going further and further in 

what, in my point of view, is her signature: re ecting upon the moment, the conditions, 

the reality, and giving it back to us as a strange (broken) mirror. 

As a colleague, I can say that Dragana is strongly committed to both the work itself and 

a critical perspective of it, which makes her a special intense disturbing and important artist 

to have inside a group. As a person, she is ready and available to help others, especially 

if helping means getting into a good discussion. She has a remarkable sense of honesty, 

and she rarely complains about life. She can’t really cook, but she doesn’t expect others 

to cook for her. She is perfectly ne with a doner kebab in the corner and/or a piece of 

chocolate. 

Dragana Bulut is a strong and special person to get to know, and also a dedicated and 

critical artist. I am sure she is always going to bring important contributions to any group, 

context or situation in which she happens to be. 

Please do not hesitate to contact me for further information. 

Yours sincerely, Elisabete Finger 

elisabete. nger@gmail.com 

Dragana Bulut 

27

Elisabete Finger 

Balkan dance alliance association 

Kings Petar Street 6/81 

Smederevo, Serbia 

To Whom I t May C on cer n November 11th, 2021 

I recommend Elisabete Finger with the highest regards. 

I had the pleasure of meeting Elisabete 10 years ago, during the MA Solo/Dance/Authorship 

that we were both taking part in. From the start Elisabete made a striking impression as a 

practitioner deeply interested in emancipation. Getting to know her better was (and still is) 

an interesting and inspiring process. She never stopped surprising me with the speci c 

sensibility and intelligence through which she approaches the process of learning and 

education. Very soon Elisabete became a comrade, always there to help and share concerns 

with. 

Now, ten years later I am amazed by her strong determination to stay true to her interests 

which are shining through any given context, no matter what the conditions impose. 

She carefully moulds her world of “monstro”, holes, fur, hair, balloons; all kinds of materials 

which she manages to bring to life while building a speci c language and poetics. 

Elisabete always has something to reveal, something hidden you wouldn’t imagine was there 

before. Observing her through the years made me think that rather than talking about the 

work, she is interested in being IN it. 

Her latest work indirectly acknowledges the relevance of motherhood, where becoming 

a mother four years ago makes a shift in her thinking and at the same time strengthens 

her artistic position. She is generous, has a re ned and compassionate personality that knows 

how to listen and is always ready to open her doors to you. 

I believe that the Balkan Dance Alliance Association will hugely bene t from her presence 

and integrity which unquestionably adds value to any context she operates in. 

Please let me know if you have any further questions. 

Sincerely, Dragana Bulut 

draganabulut@yahoo.com 

28 Elisabete Finger

Columnentitel 29

there is 1 

there is language and practice. there is name and nameless. there is image 

and imaginary. there is effect and there is affect. there is sensation and there 

is feeling. there is a situation. there is an egg. there is the skin of an animal. 

there is repetition and there is variation. there is something red. there is 

something hairy. there is something ying. there is something turning. 

there is something dying. there is an arrow. very well. there is presence. there 

is functionality. there is excess. there is togetherness. and otherness. there 

are collisions, fusions, perforations and co-penetrations. there is aparição, 

manipulação, consumação, alucinação and assombração. there is happiness 

and headless. there is darkness. there is an abîme. there is voyage. there 

is vertige. there is a mystery. there is a monstro. there is sacri ce. there is 

traversing. and there is piercing. there is coca-cola. there is an accident. there 

is an immigrant. there is something unready. there is gestação, maturação, 

becoming, delivering. there is devouring. there is Jean Cocteau, Caetano 

Veloseau, and Brigitte Bardot. there is George Bataille, and Roland Barthes. 

there is vibration. there is consummation. there are possibles. there is time and 

timeless. there is form and formless. there is a circle. there is a hole. there is 

O. 

1 Since the beginning of MA SODA, I’ve been occupied with images. I’ve created, experienced, performed, discussed, I’ve read 

and written about images, I’ve been wandering around images. I’ve used images to build situations, engagements, sensations, 

affection. They are my battle eld. If this collective book is as a place to share materials that are present inside my research and 

practice, it means for me a place to share images and the imaginary. The only writing I could add to this selection was this kind of 

list – the “there is” that I constantly generate, increase, improve, by means of practice, beside and inside practice. The list format 

suits my way of producing and editing. It is how my monster project comes into language. It is a catalogue, a collection, a breviary. 

“There is” was produced or collected in Berlin, New York, Curitiba and Lisbon. In “there is” there is also: Joana von Mayer Trindade, 

Sandro Amaral, Vera Mantero, Johanna Hegenscheidt and Yair Vardi. There is Jodi Melnick, Vicky Shick, Susan Rethorst, Melinda 

Ring and Neil Greenberg. There is Neto Machado, Michelle Moura and Gustavo Bitencourt. There is Miguel Pereira, Susana Gaspar, 

Rita Natálio, Dinis Machado and Joana Martins. There is Ric Allsopp, Rhys Martin, Litó Walkey and Jeanine Durning. And there is 

always Kerem Gelebek. 

30 Elisabete Finger

Columnentitel 31

Zoja Smutny 

To whom i t my c on cer n Berlin, November 2011 

Letter of support and recommendation for Miss Zoja Smutny. 

I know Zoja Smutny through the two years we have spend together as students at the SODA 

(Solo/Dance/Authorship) programme at the HZT Berlin. From the hours sitting together on 

the benches of this institute I have come to know her as loving colleague, a friend and a very 

honest and generous collaborator. 

In the centre of Zoja’s practice lies the focus on human relationships. She has a great curiosity 

in how we can build, create and maintain relationships, and how these can be stretched 

and translated into an artistic language. Her keen eye always manages to reach the core of 

the people she is observing and gently touch the deepest layers of their soul. From that point 

she creates a structure and materials to analyse and understand what lies at the basis of 

human communication. 

Zoja deals with “real” life and “real” relationships. By constantly being alert and aware of 

her surroundings, she notice structures and concepts of human communication and develops 

these into material that becomes the basis of her artistic practice. She has a unique ability 

to mix and blur “the artistic” and “the real” to a point where the observer no longer bothers 

or cares to maintain this difference. 

On stage I have experienced Zoja as a strong and powerful performer and have a great deal 

of respect for the way she manages to give you, as an audience, the “gift” of being in the 

performance while at the same time she breaks down the conventional distance in the 

performer/audience relations. 

She creates events that merge her outstanding sense of performativity together with deep 

understanding of human communication by the way in which the performance itself offers 

the public new ideas and methods for reading and re-questioning their way of communicating 

and through that also their existing relationships. 

As a collaborator Zoja is one of the most honest, open and serious people I have been able to 

work with. I feel lucky to have been able to work with her and know that she is a person to 

trust and count on in the future and I am sure that anyone who gets the chance to work with 

her in the future can expect a great deal of intelligent, creative and astute communication. 

I expect in the future that she will continue to challenge the relationship between what is 

“real” and what is “artistic” and as these borders become more blurred, I can see that this is 

not only her artistic life but it becomes rather her practice of life, and I guess her life practice. 

I wish to nd in my life more people like Zoja to work with. And for you I wish the greatest 

of luck in working with her. 

Sincerely, Yair Vardi 

Vardi.yair@gmail.com 

32 Zoja Smutny

I love you 

I miss you, 

I want you, 

I feel you, 

I remember you, 

I wish you, 

I see you, 

I know you, 

I like you, 

I kiss you, 

I love you, 

I drink you, 

I smell you, 

I believe you, 

I hate you, 

I suck you 

I fuck you 

I feed you 

I show you 

I love you, 

I endure you 

I time you 

I project you 

I love you 

I am you 

I know you 

I read you, 

I betray you, 

I love you, 

I dance you, 

I act you, 

I cry you, 

I tell you, 

I desire you, 

I sweat you, 

I ride you, 

I sense you, 

I hear you, 

I love you, 

I interpret you, 

I call you, 

I am you. 

Zoja Smutny 

33

“oh I wish you were here“ 

Proximity 

“I watched you walk away and you did not look back“ 

“did not shut you out, fell asleep with phone in hand“ 

“I miss you“ 

“when are you coming back?“ 

“on my way“ 

“missing you“ 

“I will be there when I get there … “ 

“I can close my eyes and picture us there“ 

“I send you big hugs“ 

spending time 

“don’t think you are too interested in hanging out unless we r having sex“ 

“you are important to me, I wonder how long I will be important to you“ 

“y o u awake? “ 

“can I come tomorrow for 2 days“ 

“I am going to burn them and watch the smoke rise“ 

“just curious are you planning on meeting me soonish?“ 

“he isn’t leaving until Monday does that mean I won’t see 

you until Tuesday? Oy you are on your way there …“ 

“what about next day “ 

“I am not alone“ 

“I wish I could hold you to sleep“ 

34 

Zoja Smutny

Persistence 

“and so do I have to ask?“ 

“are you coming w me?“ 

“don’t be crazy you are my girl“ 

“I keep dialing but your number is busy“ 

“clearly I said too much“ 

“call you mother this weekend, if not please call her before I see her this eve?“ 

“stop txting g“ 

“did you get my last message and choose to ignore it? “ 

endurance 

“read you email we need to talk, totally drunk and walking down queen st“ 

“I love hearing from you don’t stop“ 

“I tried calling you 4 times today“ 

“oy I am upset that is not the end of the conversation“ 

“I love hearing from you don’t stop“, “don’t stop“ 

“I will try to communicate with you again, if that’s what you want“ 

For the last two years I have been researching language that appears through and between I … YOU. In looking at my own 

personal emails, letters, texts, lyrics of many love songs, dialogues in lms and interviews, which I have speci cally selected that 

deal with questions of romantic love and departures, I am drawn to the relationship between the eroticism of writer and reader, 

as well as that of the performer and the audience. The theatre space then becomes a place of examination; the audience becomes 

the means to establish or discover what the connections are in order to try to de ne and re-de ne a lover‘s discourse. 

Zoja Smutny 

35

Yair Vardi 

To Whom I t May C on cer n Berlin, November 2011 

Recommendation letter for Yair Vardi 

In my experience, Yair’s reputation for warmth and generosity preceded him. I experienced 

this when I was travelling in Israel before arriving in Berlin to begin SODA, the masters 

programme that Yair and I belong to. Although he was not in Israel at that time and had 

not even met me, he had put me in touch with his friends and family who were instructed to 

take good care of me and from whom I also learned more about the man I was to spend 

the best part of the following two years studying with. 

In the months to come, Yair and I would often nd ourselves at a large table discussing art 

making and our work from morning till night. In these sessions I was constantly challenged 

to question my assumptions, due in large part to Yair’s artistic acumen and candid analysis. 

He has the gift and sensitivity to see work and people in a tting context; his keen eye 

for detail is always, however, balanced by a critical awareness of the larger picture: about 

people’s history, cultural background, practical needs and artistic growth. He is able to 

discuss one’s work with insightful questions that lead one to tangible answers. I believe Yair 

would make a great teacher because of his ability to put his own artistic tastes and values 

aside and appreciate the other person‘s point of view. 

Having lived and studied in Israel, England and Berlin, Yair’s exposure to a wider context 

has given him a comprehensive view of performance making and put him in a good position 

to play the role of a curator. Yair has been directing the A-Genre performing arts festival 

in Israel since 2003. He makes a great curator not only because of his grasp of critical 

discourses or rst-hand experience as an art maker – both of which qualities Yair certainly 

already possessed – but also a strong knowledge of production and technical management. 

His pro ciency as a lighting designer further gives him the advantage to understand the 

demands of artistic production from multiple perspectives. 

Yair’s dedication to his artistic eld, his work and that of others is unequivocal. He ghts 

passionately for his beliefs and readily stands up for others in times of need. He has a 

perfect record for punctuality and is always well prepared in meetings and discussions. 

These are added testimonies to his commitment to his profession and discipline in life in 

general. I wish him the best as he ful ls his vision and would be happy to assist in any way 

possible along the way. 

Yours Sincerely, 

daniel kok diskodanny 

36 Yair Vardi

You never look at me from the place I see you * 

The piece is a performance based on light compo sitions 

and texts reconstructing light as object, memory, and 

text. The images and the perceptions of light described 

in the texts are drawn from our daily life. The audience 

is lit with different light pictures (images of lights) and 

texts in relation to how we remember and perceive 

lights. 

My project investigates how designing lighting for the 

theatre space can create a d ifferent frame and dramaturgy, 

and in this way make a performance just by 

using lights and not creating any other element. Can the 

body of the observer in the space become the performer 

in this situation just by being lit? 

In this way the project will show the aesthetics of the theatre space as a c ontainer of the 

audience’s actions in order to show that it is possible to create an intervention with the public 

which is respectful and not an aggressive action but rather a gentle and poetic one, using the 

sensitivity that the light has as an anti-material materiality. 

Lacan says “I saw myself seeing my self” in his essay ‚Of the Gaze as Objet Petite a‘ (1973). In 

which he explains how we perceive reality through our gaze. The premise of my piece is to 

explore how we see and experience a well known environment and by seeing how we are seeing, 

we create a whole new level of reseeing, which we already forgot that we once saw - to become 

“a tourist” once more in our familiar surroundings. 

From this assumption I would like to re-examine the use of light (which allows us to see) as a 

stage event e.g. action, material, choreography, dramaturgy, framing the performer, framing the 

audience, and framing the context of the theatre, in order to investigate how light can become a 

language. This language is created by the relationships between what we see (the light and the 

object), the memory of it, and the language we are remembering this in (text) – the elements 

that make us see and perceive the way Lacan states. In relation to audience participation (or 

activation) which is the core of the piece, light should function as a central tool for creating a 

balance between the audience as audience and the audience as performer. 

* Jacques Lacan 

Yair Vardi 

37

These sketches are an excerpt from the documentation process of the performance which 

have become a “piece” in their own right as a series of light drawings and text. 

During the documentation the drawings became an additional re ection on the quadruple 

process of moving between elements: text-light-drawing-observer. 

Back side and foot light Wash #203 

Channel 7+8+9+10 PAR MF 1000W Cell phone lights #202 – #201 

The white piece of cloth at the bottom of the painting 

catches a lot of light and at the same time, the coat of 

the man (it is from fur) doesn’t catch the light even 

though it is supposed to do it especially if it is 203 (203 

works great on dark coloured surfaces). The piece of 

white cloth is actually a w oman, a h and of a w oman, 

and it (the hand of the women) receives the light from a 

totally different source: from the top right hand side – it 

has 203 on it, as well. 

Maybe in 1604 someone discovered candlelight, and 

understood that the composition of the light (which 

is to say what we can see, and where our eyes are 

directed) doesn’t have to be according to the narrative 

of the story. It means that the best lit here is not 

Maria and her baby, but it is the arm of the woman 

who is watching them. Her light doesn’t come from 

the candle it comes from a different place. 

The observers that are on the podium that is far from 

the entrance door: Please take out you mobile phones 

and switch them on so we can see their lights. 

First row please hold your phone in your left arm and 

place it to light your right arm. Can the two other 

rows please hold your phones to light your face? 

Thank you, now can you please turn off your phones, 

and put them in your bags or pockets, so that we 

can not see the light anymore. 

38 

Columnentitel

SP backlights OW, Channel 18 PAR VN 

There is a p aradise; in this paradise there are a l ot of 

happenings. It means that there are a lot of animals and 

the animals are gathered in the front of the stage, which 

is to say the painting. At the back, there is a small hill 

with a t ree and a lot of animals, and on the hill, what 

is important is that, Adam and Eve, the snake, and an 

ostrich can be seen. And they are better lit since the 

light in this picture comes from the cracks in the tree 

from the top left side, and it is lighting them from the 

side, as well as the animals which are sitting in the right 

front of the painting. Because the lights hit the ground 

at this point, after they hit Adam and Eve from the left. 

When we draw the night, we need to paint the dark. For 

painting the dark we need to paint the light. And when 

we need to paint the light in the dark or the dark in 

the light every thing is dark. Every thing is light, every 

thing has a lter, every thing is. 

The ones that are in the lights are: The lion, the lioness, 

the ibex, the white horse, the swan, the ass of the brown 

horse, the stork. 

The ones who are not in the light: The cow, the tree, the 

Billy goat, the fox, the goat, the camel, the duck. 

If they had only chosen a d ifferent place to sit in the 

picture, it would have been a totally different story. 

Columnentitel 39

Daniel Kok 

To whom i t may c on cer n Berlin, November 2011 

Recommendation letter for Daniel Kok 

My name is Zoja Smutny. I am choreographer/director, performer based here in Berlin. 

I rst met Daniel at an audition 2 years ago in Berlin, ever since I saw his audition I became 

curious about this man’s work, I thought who is this guy? How is it possible he is getting away 

with dancing to Beyoncé in the context of applying to a conceptual art masters programme? 

I slowly opened up, and gave his work a chance, and realized he was brilliant. Daniel has 

the ability to bring together his academic knowledge of art history and his true passionate 

love for dance and performance. He deals with concepts that very much pertain to the world 

in this moment (technology, immediacy, loneliness, sexuality and voyeurism, lling up 

time-distractions). 

Daniels new work “the gay romeo” I highly recommend for this years Impulse Tanz Festival. 

Not only is it visually stunning and deals with the idea of who is watching, but also Daniel 

puts himself as a performer in the role of the audience. He does this by creating an 

atmosphere where you are aware that his research (his lovers) are in the room with you. 

Therefore we as audience become voyeurs to an experience that some of us know about and 

some us merely become a part of. Many artists try to use the tactic of audience participa tion, 

but in my opinion Daniel does this far and beyond other works I have seen. 

In this solo, Daniel invites the people he has gone on dates with through the social network 

Gay Romeo to come to his performance where he gives back personal gifts to the people 

he has gone on dates with. It is the rst time these dates see the gift … so the work 

becomes very interesting for the audience … they start to look around wondering who is 

this one for, who in this room is the “ONE” … creating an intimacy and a curiosity within the 

audience themselves. The audience starts to acknowledge each other and their role in Daniel’s 

work. 

Daniel is pushing the borders between, performer, audience, work, and the idea of “sharing”. 

He is pushing the boundaries with what experience looks like and more importantly feels like. 

‚The gay romeo‘ has the ability to change at how we look at audience participation today 

within the dance world. 

Thank you, Zoja Smutny 

Zojasmutny74@gmail.com 

40 

Daniel Kok

3 Monologues To Trick Myself I nto Dancing 

by daniel kok diskodanny 

The Premise of A Dance: 

At its heart, A Dance is an encounter between the subject and the love-object. 

It remains inde nite (or inconsequential) who the subject or what the love-object 

is. In the case of the dancing being and the being-danced, the subject and the 

love-object are interchangeable. The audience enters the equation by considering 

this ambiguity or by identifying with either the subject or the love-object. 

The performance is then a process of substitution and alternation, almost always 

about desire and a movement towards/around/with it. 

Monologue #1: We Search for We 

‚I do … I d o … I d o … (a gesture) I do! I really do. Do you? Don’t you? Because 

I do. I really do. I will. I mean I would. Just not now, not yet. But I should. Would 

that do? It could. So I might. Yes, I think I might. That might do. Don’t you think? 

You don’t? Oh, you do not. But you did! You did say “I do!” When you said “I do” 

to me, I stood there, (gesture) frozen as I am transformed by your will to perform 

an act, an act to perform but one that does not act, does not perform. When you 

said “I do” and didn‘t do anything, what were you doing? Your speech-act marks 

an emptiness of action as well as enacting an act of ful lment. It bonds me to you 

and we go in search of “us”... till death … do … us … part. Yet in this momentous 

shift, at this moment, nothing happens. You do nothing and neither do I. The only 

reply I c an give you, if indeed a r eply is what you want, is to also say “I do”. 

I offer a r eply by means of a r epetition, a m imicry, a d oubling. A d oubling. 

I copy you. I a m a c opy of you. I d o what you do and not what you do not. 

In doing so, I g ive you what you want, just as you have given me. I, too, say 

“I do”. But that is a trap. That is too easy. That’s also why I did it. The easiest thing 

I could do, I did it. So I said it. I said “I do” too. Now it’s too late. I cannot undo 

what I have done. Now we both do nothing. We said “I do” and we said nothing. 

There is just this gaze. This gaze that we exchange. A g aze that pins the here 

and now down to the here and now. (gesture) We try to transform the here and 

now and turn a moment, this here and this now, into an eternity. Still, nothing is 

happening. At least not now. Not yet. We wait … for something to happen … for 

something to emerge … for someone to do something … For someone to take this 

moment and go somewhere with it. But is this enough? Would this do? What do 

you say? Did you say something? Maybe? You wonder. Your mind wanders. Wondering 

with an ‘o’ and wandering with an ‘a’. You started here with me but you 

Daniel Kok 

41

are now somewhere else. Maybe. Maybe it is the same with me. I may be here, 

I may be speaking to you, but who’s to say where I might really be, where I might 

go? Might I go? Should I go? Could I? I could try. I could try to do it. No! I should 

not try. I should just do it. OK. I will do it. I will do it. I will to do it. In 3 minutes, 

I will do it for you. But before I begin, I should clear up this question: What do 

I mean by ‘doing’? What am I trying to do? But no! That is not the point! I am 

not here to tell you what this is or to shed some light on what it might be, should 

be, could be. I will simply do it. Almost two minutes now. I will do it. I will start. 

Just not now. Not yet. In about two minutes, I w ill carry this to its natural 

conclusion. I w ill nish what I h ave started. That is only responsible of me. 

I know I am accountable to you. I need to account for myself. I need to account for 

this, this thing that I am doing, this thing that I have started to do, this thing that I have 

said I will do. This dance that I will do but just not now, not yet! This dance that I will 

do … In about 1 minute … I will start in 1 minute … When I am ready … I will be ready …‘ 

Monologue #2: A L ast-Minute Dance 

(1) 

I‘m thinking a thought. 

This thought is a memory. 

You are in this thought. 

In this memory, we were dancing at a party. 

It was 10 years ago. 

2001. 

(2) 

In 3 minutes, I will stop thinking this thought. 

I will drop this memory and start another one. 

Or start to do something else. 

See? 

I have already started. 

I have already stopped. 

3 minutes into the future. 

Less than 3 minutes now. 

42 

Daniel Kok

(3) 

I’m thinking a thought. 

I’m remembering us dancing because of this song. 

This song was playing on my iTunes 

When I was doing some work in my room last night ... 

20 hours ago. 

(4) 

The song is still playing. 

20 hours into the past. 

I‘m still listening to it. 

(5) 

I’m thinking a thought. 

We were dancing in the middle of a crowded room. 

We were waving our arms in the air ... 

2 minutes from now. 

(6) 

10 years later, I’m here thinking this thought. 

Right now. 

I am at the party, dancing with you. 

I am listening to this song. 

1 minute from now. 

Less than 1 minute. 

(7) 

I don’t want to think this thought any more. 

I want to do something else. 

I‘m dropping this memory. 

It’s leaving my mind. 

Daniel Kok 

43

Monologue #3: A Dance To Be R emembered 

What if you have never met the one you love? What if you met this person in 

a dream? You see, when she stepped onto the train, she saw her standing by the 

window. She decided not to approach her, in spite of the fact that she had known 

her for years. For once, she just wanted to be a stranger, to remember what it 

was like before she knew her, the long days when they had yet to meet. She watched 

as she played with the earphones from his iPod. The way he ddled with 

his ears when he was restless, the way she touched the side of his own neck. 

The music was so loud it could be overheard and he was obviously nodding not 

quite in time with the music. I wonder if he was thinking of me, although surely 

not in the way I was thinking of her at this moment … In my fantasy of a chasm 

between her and I, between past and present, between a lost and solitary version 

of herself and the man who had become her husband. When she went onto 

the oor to dance, the music was suddenly too loud. Without letting her see 

me, I danced a few feet away. I decided not to approach her, in spite of the fact 

that she had known him for years. For once, he just wanted to be a s tranger, 

to remember what it was like before he knew her, the long days when they 

had yet to meet. She watched as he played with the earphones from his iPod. 

The way she ddled with his ears when he was restless, the way he touched the 

side of his own neck. The music was so loud it could be overheard and he was 

obviously nodding not quite in time with the music. I wonder if he was thinking 

of me, although surely not in the way l w as thinking of him at this moment … 

in my fantasy of a chasm between him and I, between past and present, between 

a lost and solitary version of himself and the man who had become her husband. 

When he went onto the oor to dance, the music was suddenly too loud. Without 

letting him see me, I danced a few feet away. We danced in our different ways, 

him with his hands in the air, me with my hands in half-surrender. I could tell she 

was not quite in time with the music but I pretended not to notice. Our visions 

crossed like searchlights in the ickering dark and still we saw nothing beyond 

our own immersion in the lights and the pounding music. And her shirt … her red 

shirt would ride up her torso and she had on the tightest jeans that seemed about 

to come unhinged from her hips each time she moved. We danced apart like this 

for a long time, him with his hands in the air, her with her hands in half-surrender. 

He could tell I was not quite in time with the music but he pretended not to notice. 

Our visions crossed like searchlights in the ickering dark and still I s aw 

nothing beyond my own immersion in the lights and the pounding music. And my 

… shirt … m y shirt … w ould ride up your torso and I h ad on the tightest jeans. 

44 

Daniel Kok

We danced apart like this for a long time. And did I want to touch you? Of course 

I did, but the more you danced, the further you became from me. And I s eemed 

to be watching you across a great distance … of smoke, and light … the way 

you gyrated, the way your hands wove and ploughed the air around you … t he 

jagged cuts of your body as you moved … the uncompromising jerks … and sudden 

moments of delicate grace … You look at me from across the bar. I r eturn 

your gaze. Our eyes meet but only very brie y. Why does this simple act require 

so much courage? If I h old your gaze for a l ittle too long, my boldness would 

be considered conceit. How dare I p resume that I w as good enough for you? 

How dare I a sk if you were good enough for me? But what is the alternative? 

Never meet you and go home alone? What do polar bears say to each other 

when they rst meet? … I d on’t know either … I’m just trying to break the ice … 

Yes, I know you’ve heard it all before … and yes, I think we’ve met before … in 

this very same place. I remember it like it was yesterday. I’ve been watching you. 

I’ve been watching you for a l ong time. You have a b eautiful body and I h ave 

never seen such a beautiful body as yours. If I watch you for long enough … if 

I keep watching you … I s uspect I w ould disappear completely. I d o believe in 

the suspension of disbelief. It is an aesthetic theory intended to characterise 

your relationship to me. It refers to your alleged willingness to accept as true 

the premises of my dance even if it is fantasy, contradictory or impossible. 

It also refers to your willingness to overlook the limitations of my medium so 

that these do not interfere with the acceptance of those premises. So accordingly, 

you have agreed to provisionally suspend your judgement in exchange for the 

promise of entertainment. You have been watching me. You have been watching 

me for a long time. I have a beautiful body and you have never before seen such 

a beautiful body as mine. And if you watch me for long enough, you might disappear 

completely. 

Daniel Kok 

45

SODA.WORKS 2011 

Programme 

Performed at Uferstudios I Studio 14 

» December 6th, 2011 

Ana Trincão – Crystal 

» C oncept: Ana Trincão in collaboration with Alma Quintana, Esthel Vogrig, Joana Von Mayer Trindade, Joel Alejandro Rodriguez, 

Sonja Pregrad » Sound design and O riginal Music: Joel Alejandro Rodriguez » Performers in Mexico: Alma Quintana, Ana 

Trincão, Esthel Vogrig, Joel Alejandro Rodriguez » Performers in Berlin: Ana Trincão, Joana Von Mayer Trindade, Sonja Pregrad 

» Musician: ANY (angelina nina yeowell) » L ight design: Jésica Elizondo » L ight adviser/L ight operator in Berlin: Yair Vardi 

» Tutor: Angel Rosas » Technical Support: Max Stelzl, Nikola Pieper » Artistic R esidency: Programa de Residencias Artisticas 

para Creadores de Iberoamérica y Haití en Mexico » Production: Masha Soluciones Escénicas » Thanks to: Ezequiel Steinman, 

Gerardo García (cosas de ingenieria), Indira Pensado, Magdalena Leite, Omaris Mariñas, Ricardo Cortés, Rolando Apolo, 

Zoja Smutny and Jeanine Durning, Litó Walkey, Ric Allsopp, Boyan Manchev, Rhys Martin and SODA class 2010 – 2012 for being 

part of my work and life since April 2010. » Special thanks to: João Bento, Thiago Granato, Sandro Amaral » Project 

supported by: HZT Berlin, Fundação Calouste Gulbenkian, Fondo Nacional Para La Cultura Y Las Artes (FONCA), Consejo nacional 

para la cultura y las artes (CONACULTA) Centro Cultural De España En México, Secretaría De Relaciones Esteriores (SRE) 

De México, Centro Nacional De Las Artes (CENART) » Ana Trincão is a scholarship holder of Foundação Calouste Gulbenkian. 

Zoja Smutny – this I L OVE you thing 

» C oncept & Performance: Zoja Smutny » C ollaborator: Jenn Goodwin » L ight: Yair Vardi » Costume: Johanna Bartsch » 

Music: i will always love you (Dolly Parton) » Mentors: Sharon Smith, Thomas Plischke » I would like to TH A NK yo u SO much: 

SODA crew, HZT Berlin, UFERSTUDIOS, Jan Komarek, Manuel Bujold, Ame Henderson, Zoe Knights, Guntar Kravis, Srinavas 

Krishna, Alicia Grant, Lanimal, Claudia Fancello, Ilektra Almetidu, Milan Smutny, anna and christina, Athena Stamatis, 

Brad Horvath, Florian Kowatz. 


Elisabete Finger – O. 

» C oncept & Performance: Elisabete Finger » L ight: Yair Vardi » Tearing and motion: Joana von Mayer Trindade 

Mentors » Vera Mantero, Sandro Amaral, Johanna Hegenscheidt and Cristóvão dos Reis » C ollaborators: Dinis Machado, 

Susana Gaspar, Rita Natálio and Miguel Pereira (Lisbon) » Donnators: Jodi Melnick, Vicky Shick, Susan Rethorst, Melinda Ring 

and Neil Greenberg (New York) » Accomplices: Neto Machado, Michelle Moura and Gustavo Bitencourt (Curitiba) » Thanks to all 

the so da group and also to: Ric Allsopp, Rhys Martin, Litó Walkey, Jeanine Durning, Joana Martins, Antje Kuhlebert, 

Eva Meyer-Keller, Thiago Granato, Jorge Alencar, Ricardo Marinelli, Cândida Monte, Alex Cassal and Kerem Gelebek » Support 

and residencies: O Rumo do Fumo (Lisbon – PT) and Couve-Flor Minicomunidade Mundial – Petrobras Cultural, Couve-Flor 

Manutenção Coletiva (Curitiba – BR) 

The “studies for Monstro” – the process that gave rise to O. and the research I have developed since April 2010, was also 

supported by Bolsa Residência em Artes Cênicas FUNARTE – Fundação Nacional de Arte (BR); Programa de Intercambio e 

Difusão Cultural – Ministério da Cultura (BR); Forum Dança and O Rumo do Fumo/Residências no Edifício (PT). 

daniel kok diskodanny – The Gay R omeo 

» C oncept & Performance: Daniel Kok » Dramaturge: Jorge Gonçalves » Production A ssistant: Lia Schmieder » Mentors: 

Jeremy Wade, Eike Wittrock, Sharon Smith 

46 

Columnentitel


Keith Lim – re:self->com 

» C oncept & Performance: Keith Lim » Stage, L ighting D esign & Video: Keith Lim » Puppet design and construction: 

Keith Lim » Music: Manuel Breuer » Mentors: Anna Henckel-Donnersmarck, Lisa Becker, Jorge Gonçalves, Daniel Belasco Rogers 

» Super duper mega thanks: Rhys Martin, Jeannie During, Ric Allsop, Thomas Plischke, Boyan Machev, Max Stelzl, Nikola Pieper, 

Lisa and Manuel again, Federica Fiore, The Evolution Group and Jonas Roy. 

Dragana Bulut – Pass it on 

» Author & Performer: Dragana Bulut » C ollaborators: Maria Baroncea, Sheena McGrandles, Alex Baczynski-Jenkins, 

Ligia Soares, Drinka Bulut » Mentor: Ana Vujanovic » The project is supported by HZT Berlin and City council of Belgrade. 


Sheena McGrandles – Eee 

» C oncept & Performance: Sheena McGrandles » L ight: Raphaël Vincent » Mentor: Zigal Zouk » Dramaturg: Sophia New » 

Endless thank you‘s: Ric Allsopp, Rhys Martin, Litó Walkey, Jeanine Durning, Kattrin Deufert, Antonia Baehr, Sabine Trautwein, 

Eva-Maria Hoerster, Judith Brückmann, Eva Meyer-Keller, Andrea Keiz, Max Stelzl, Nikola Pieper, Sabine Zahn, Eva Burghardt, 

Katja Legin, Katja Münker, The SODA‘s 1st and 2nd, Studienstiftung des deutschen Volkes and my love, Nina Gribat. 

Ana Monteiro – Showcase 

» Project by: Ana Monteiro » C ollaborators: Ivo Serra, Eva Johanna Burghardt, Susanne Schubert » Performance: Ana Monteiro, 

Susanne Schubert » Video: Ana Monteiro, Ivo Serra » L ights: Ana Monteiro, Yair Vardi (light consultant) » Sound R ecording: 

Christoph Schlimbach » Technical Support: Max Stelzl, Nikola Pieper » Graphic D esign: Carlos Monteiro » Mentoring: 

Siegmar Zacharias, Pirkko Husemann, Anja Müller » Documentation: Ivo Serra, Andrea Keiz » Project supported by: HZT Berlin 

» Ana Monteiro is a scholarship holder of Fundação Calouste Gulbenkian. » Wholehearted thanks to: Vera Mantero (O Rumo do 

Fumo), Gloria Barbin (Mobile-Studio für Bewegung und Tanz), SODA Class 2010 – 2012, Rhys Martin, Judith Brückmann, Sabine 

Trautwein, Litó Walkey, Ric Allsopp, Jeanine Durning, Daria Fain and Carlos Monteiro. 

» January 21st, 2012 

Yair Vardi – 

You never look at me from the place I see you (Lacan) 

47

Imprint 

» Publisher: Hochschulübergreifendes Zentrum Tanz Berlin (HZT) 

» Master Programme: MA Solo/Dance/Authorship (SODA) 

» Authors & Concept: Dragana Bulut, Elisabete Finger, Daniel Kok, Keith Lim, 

Sheena McGrandles, Ana Monteiro, Zoja Smutny, Ana Trincão, Yair Vardi 

» Editor: Judith Brückmann 

» L ectorate: Sophia New, Daniel Belasco Rogers, Dr. Ric Allsopp 

» Graphic Design: gewerk design, Susanne Kluge in co-operation with Dragana Bulut, 

Elisabete Finger, Daniel Kok, Keith Lim, Sheena McGrandles, Ana Monteiro, Zoja Smutny, 

Ana Trincão, Yair Vardi 

» Photos and I mages: Diego Wiltshire, p. 5 – 6; Crystal # Rehearsal series by Ana Trincão, 

Alma Quintana, Esthel Vogrig, Paper, Blue water marker, 2,30 m/2,80 m, 2011, p. 9 – 10; 

Roger Rossel, p. 11 (Performers: Ana Trincão and Sandro Amaral); Unknown, p. 12 – 13; 

Ana Monterio, p. 22 – 23; Elisabete Finger, p. 29 & 31; Guntar Kravis, p. 34 – 35 

» Thanks to: Jens Imig, Susanne Kluge und Birgit Schlegel for their unconditional support. 

» Print: Primeline Print Berlin 

» Edition: 700 

Hochschulübergreifendes Zentrum Tanz Berlin (HZT) 

» Directorate: Prof. Nik Haffner, Eva-Maria Hoerster (Managing Director), Prof. Ingo Reulecke 

» Study Programme C o-ordinators – MA Solo/Dance/Authorship (soda): 

Prof. Rhys Martin & Prof. Dr. Ric Allsopp 

» soda Core & Visiting Staff 2010 – 2012: Dr. Ric Allsopp, Dr. Una Bauer, Dr. Ramsay Burt, 

Dr. Emilyn Claid, Dr. Franz Anton Cramer, Bojana Cvejic, Dr. Kattrin Deufert, 

Jeanine Durning, Nik Haffner, Heide-Marie Härtel, Janez Janša, Dr. Bojana Kunst, 

Dr. Boyan Manchev, Rhys Martin, Eva Meyer-Keller, Martin Nachbar, Dr. Isabel de Naverán, 

Jeroen Peeters, Dr. Victoria Perez, Thomas Plischke, Litó Walkey 

» Administration: Sabine Trautwein 

» Communication: Judith Brückmann 

» Technical: Maximilian Stelzl & Nikola Pieper 

» Web: http://www.hzt-berlin.de 

© 2011 All Rights Reserved

SODA WORKS 2011

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