DRECK: EIN APPARAT in the frame of ZOOM Festival in Rijeka

Dirt: Show (durational performance):
• Sound of [fæktəri] (cobratheater.cobra)
• Emergent Vestiges (Simone Aughterlony & Michael Günzburger)
• Deck of Dusts (Bettina Vismann)
• DIRT Menue (Thorsten Eibeler)
• Foxes (Liz Rosenfeld)


We’re suffocating in dirt – literally and proverbially. Useless information blocks the channels, spam filters can no longer stop it. Fukushima irradiates – four years after the accident, history is made and everything continues as normal. There is no cleanup operation possible that would rid the world of this history, this layer. The dirt we make disturbs and has always disturbed. Art not only requires a lot of work, it also generates dirt, that which is output from cultural events often outweighs the positive intentions. Beginning with the waste that cultural institutions generate every day, stage design that are created fire proof but far from ecological standards. There is also the waste of exploitation from its laborers, artists and curators alike. Then there are the carbon footprints for the travel by cultural producers as well as the transportation of art objects, this waste is inline with any other business structure.
The task of DIRT: AN APPARATUS is neither to reflect society nor to represent reality. We oppose naturalisations even in the disguise of artistic realism and naturalism with the performativity of matter. We search for a materialistic theatre. Agitators raise dust or rummage in the dirt which as earth could be considered treasure or a history of hidden punchlines. Dirt swarms with microorganisms which may even cure depression. Dirt is the perfect material with which to reevaluate matter.

Nothing is prescribed, everything is resonant. The humanistic narrative was always exclusively European, white, male and preferably heterosexual. It is formed of the dualism of either / or, defined through exclusion. It is opposed by positions such as that of Karen Barad, who uses the idea of the apparatus to describe the production of intra-active situations between human and non-human actors. What could be better than an apparatus to rehearse a new narrative? Jane Bennett takes so-called hoarders – people who collect things so extremely that they cannot be parted from rubbish and live in filth – as examples of humans who can hear the call of things. Capitalism itself, with its lust for more and more, its accumulation of items, could also be the product of a misguided approach to matter, just like the hoarders Bennett describes. This is where our apparatus begins and starts a new narrative. If the task of theatre is to be educational, we understand that as a challenge to generate better representations of reality and in this way to make a better reality possible. If culture is a repository for tradition, for that which seems worth remembering, then culture is also the place for an examination of that which we do not want, cannot rid ourselves of – that which pursues us, proliferates and has it’s very own economy: dirt. If the production of theatre itself is dirty, and increasingly follows the logic of international marketing, then this examination of dirt cannot follow the rules of an entertaining festival in both senses of the word. DIRT: AN APPARATUS does not only celebrate the communion of humans, but rather more comprehensively, the communion of things, of which we are a part.

DIRT: AN APPARATUS is taking over Rikard Benčić Factory space for one exceptional night. We are inviting you to follow the traces of DIRT in Sound of [fæktəri] by cobratheater.cobra, an audiowalk especially created for Zoom Festival 2015. Book an appointment with Bettina Vismann and get a reading out of her own, for DIRT created Deck of Dust, a deck of Tarot of a very special kind. International acclaimed choreografer and performer Simone Aughterlony is showing together with Michael Günzburger, a visual artist from Zürich, Emergent Vestiges, a performance that was developped during the first station of DIRT in Berlin and which is exploring touch and traces of bodies in the space as well as printing on paper. Thorsten Eibeler, who was the creator of the DIRT room at Uferstudios in Berlin, is going to be the leftovers cook, creating a DIRT Menue for artists and guests. Last not least we are presenting Liz Rosenfelds Video Work Foxes, which was also developped during the six weeks of DIRT in Berlin, as well as fragments of the video documentation of DIRT by Imogen Heath.

Stefanie Wenner was born in Kassel, Germany. She studied philosophy, sociology, literature and art history in Bologne, Cologne and Berlin, and got her Ph.D. in philosophy at FU Berlin. She teaches drama at various universities and colleges (FU Berlin, Universität Hildesheim, Hochschulübergreifendes Zentrum Tanz Berlin, Hochschule für Bildende Künste Dresden, HMT Leipzig etc.). She works as an exhibition and festival curator in the field of visual and performative arts, and was the curator at Impuls Theater Biennale 2013 festival. From 2008 she worked for HAU Berlin and at Kunst und Verbrechen. Art without Crime, Your Nanny hates you! Ein Festival zum Thema Familie, ZELLEN and Lunapark Berlin festivals.

From 2010 she started developing performative platforms, producing inclusive platforms like Cells (bio-art and gardening) and Mycorrhiza (production of illusion). Dirt: An Apparatus is her most ambitious project so far.

A production of Apparatus GbR in co-production with Kampnagel Hamburg and Inkonst Malmö and in cooperation with Uferstudios GmbHand, Drugo more Rijeka. Funded by the German Federal Cultural Foundation, by the Berlin Senate Chancellery – Cultural Affairs Department and the Goethe-Institut.

Rikard Benčić Factory, 25. September 2015
from 19:00 – durational performance

Sound of [fæktəri] – cobratheater.cobra

Factories consist of stories made by modes of production. Time alters methods of production and constantly leaves new residues. A factory is the echo of a choreography of movement and material. In its dirt are traces of sounds, workers and sweat, a medium that the factory processes have archived in the form of sounds and echoes. The drones; tones and crashes layered; the scratches and stories.
cobratheater.cobra looks for factory sound narratives. What stories or atmospheres have compacted onto the surfaces over the centuries? Which ones can be listened to? We unfold a documentary fiction: The factory as "mythical place, the actual dream of collective labour and nightmare of alienated life".
The audience moves through the space of Rikard Benčić Factory as in a walk-in soundtrack. They unlock the space with headphones, follow traces of work and examine an archive beyond the storage medium of paper.

cobratheater.cobra is a network of artists from across Germany as well as being a label. It isn't about a recognisable artistic stamp, being closed, not about a fixed team, not about consensus - but about plurality, exchange, contradiction and stepping into the unknown. The cobra is structurally open. It is subject to the constantly new and diverse perspectives of theatre and world. The network grows through the principle of infection - and in this way works in ever-changing connections and constellations on an aesthetic and interdisciplinary production of theatre processes and collectives.

Deck of Dust – Bettina Vismann

Minute fragments of things, small particles of bodies, worn down rocks, as well as industrial emissions form particle accumulations of infinite combinations. Diverse and extensively distributed solid matter either floats around freely in clouds or generates collectives – accumulations that only share a pulverized state as their common condition.
What would happen if the mixture of airborne, circulating particles were regarded as part and product, as self-produced environment and material milieus in which fine particles not only extend into things, but also act as a template, representing various viewpoints on the phenomenon of dust itself?
From the dust archive, Bettina Vismann has developed a deck of cards to be applied as a structure to rethink coincidental constellations. You are invited to a joint laying out and reading of cards.

Bettina Vismann lives and works in Berlin. She studied architecture and city planning at the TU Stuttgart, at the Kingston Polytechnic in London and at the ETH, Zurich.
In 1999, she collaborated with Annemarie Hürlimann on the concept of the exhibition „Fremdkörper“ (alien bodies) at the Deutsche Hygiene-Museum in Dresden. She showed her work in numerous exhibitions, at the 9. Biennale for Architecture in Venice, at the Art Frankfurt in 2002 or contributed to the exhibition OZ, Berlin, with a walkable spatial installation. Since 2001 she works as freelance architect. Next to her architectural practice, Vismann undertakes two long-term research projects on theories of dust and waste economies.

Emergent Vestiges – Simone Aughterlony & Michael Günzburger

A queer and incandescent collection of dust-like particles co-habitat and confederate with companion fluids of different viscosity and other desirable bodies: from dirt to colorful pigments, from lubricant to fixative, from paper to skin. Simone and Michael fashion a temporary printing station within Dirt: an Apparatus that eschews the production of printed objects but rather pays close attention to the qualities of materials, the marks they make and the ways in which this process of intra-action is articulated through intimacies between bodies. They are curious about how things made dirty retain their allure. The happenstance of dirt transmission as well as the (un)conscious transposition of marks to unlikely spaces that map and score encounters between things. The potentiality and futurity of indelible traces as a response to the so-called ephemerality of performance. Touch and the surplus of touching – the narratives we form through touch, being touched and touching. Embracing the impossibility of avoiding traces when moving in particle covered space and observing the emergent readings that surface through this.
Station visit / Open House: Invitation to observe our digging into these questions, participate in the practice or discuss.

Simone Aughterlony is an independent artist based in Berlin and Zurich where she works in collaboration with others at the frontiers of dance and performance art. Her practice is committed to qualities that affirm the transformative potential of bodies and all things engaged in choreographic thought. She has a vested interest in the scope of humor and the mystery of desire to feed the political affects of performance.

Michael Günzburger’s work revolves around drawing and craft. From these starting points works are made in dialogue with other artists and academics that go way beyond the boundaries of visual art. In recent years his work has been marked by a deepening preoccupation with the impression or print which he describes as the collision of two bodies.
His works are exhibited in the Kunsthaus Zürich and internationally in galleries in New York, Mexico, Paris and elsewhere.

Foxes – Liz Rosenfeld

This is the invitation Liz Rosenfeld sent out to invite people to DIRT in Berlin:
“It is the future. There is an energy crisis and humans have accepted the fact that foxes are the only mammals left on earth with the ability to reproduce. We can only create energy for our daily needs through the harnessing of sexuality. We are called to duty to devote our sexual energy to the non-procreative survival of humanity.——This is an anti desire desire. This is a need. For. To . Action.——Calling on the future hive mind, comrades, feminist gender cyborgs, hybrids, in-between body space time continuums, sub sequential resistant organisms, post-post human pirates, and all that are terraforming hi-fi down and dirty queer after qyeer after Kw-Ee-R renegade cyber punks.—— I invite / demand / request / question / challenge / wish / encourage / and /excite the people to cum and capture your hawt carnel fleshy generative amatory salacious force with me. We will work together to harness, save and re-distribute our sexual output in order to continue to exist in this multi-home-world Roberta Admantium energy in crisis.——We will figure the future out together.——Help me: Bottle orgasms. Preserve sonic moans. Decanter lust. Track and imprint tantric touch. Expand our cryostasis cunt-ries. Jack – into the fuckmention so we may maintain our crisis-mode.——We may not be able to save the world, but we have the juice to keep up the energy.——Desperate Times Call For Desperate Measures.——Cum be with me and preserve our energy for the auto erotic now future.”

Liz Rosenfeld spent six weeks inhabiting the future in the midst of an energy crisis where she invited the public to come and harness their sexual energy with her. She was researching, testing and understanding how we can save our sexual desire in order to maintain energy for living into the future. She also investigated how humans can continue to accept and live peacefully in the current climacteric landscape along side the foxes, the only mammals left on earth that are able to procreate. She gave a presentation on her findings and kept a daily video diary of her experiences. Over the period of six weeks there she created a video alongside of her meetings with people in the space of DRECK. We are happy to be able to present the Video in Rijeka.

Liz Rosenfeld is a Berlin-based artist who works within the disciplines of live performance, film / video in order to convey a sense of past and future histories. Rosenfeld is invested in concepts of how history can be queered and experienced through momentism and the ways in which it is lived and remembered. Her work has been screened and performed internationally.