A MUST SEE (2015)
This tour performance started from KW Berlin, and formed a part of the series ‘THE PERFORMATIVE MINUTE’, curated by Adela Yawitz. ‘A MUST SEE’ suggested new frames for KW’s immediate surroundings. Showing and using natural stages she sees, the artist led this “situational choreography” loosely and directed the group’s attention to selected moments around them and to their own movement through them.
A MUST SEE (version A) and (version B) were both performed twice on September 3th 2015. Each tour took about 45 minutes.
Some reactions from visitors:
– I enjoyed looking at her in the way she made it bodily, physical but explicitly not-sexual and avoiding display of physical achievement. We were allowed to look in a specific way, not peeping or admiring, the set-up of body in relation to surrounding makes it an object in a way we are not accustomed to see it.
– We live in mitte and didn’t know where we were in most of the back areas. We were amazed to find new corners in our own area and see them in this special view.
– On the day of the performance and for a little while after, when I was walking wherever I had a feeling like I might see something running around the corner, or on the other hand like someone would be following me and my movements on the street were less random. During the performance itself this feeling was intensified from being in a group.
– The feeling that we, as a group of public, became one body moving together really tied us to each other for that hour. The silence was very effective, and everyone was relieved to move silently and be told where to go. The group was protective in the sense that if you were doing something strange with a bunch of people it was less strange. It created an automatic separation from the bustle of the street. These two simple differences, moving in a group and the silence, separated walking in the performance than any other walking. Being led created a freedom even in the middle of the city which was very peaceful.
– A thing that came up was your presence, which was very “everyday” on the one hand but then again it built up to become something you followed, imagined, and gained additional value in every time we discovered you.
– More than about the surroundings I had to think about the ambivalence of observing and
being observed. In some performances the artist is acting “weird” (or at least this is what people think who are not part of the audience and don’t know what is happening). But in this case the performer did rather normal things, like running and stretching and the weird thing was the audience who watched her. This made me feel a little awkward as it made me somekind of a caught voyeur.
– I liked the moments when we as the public were positioned in groups, looking at each other! Those were very powerful moments.