Sandra Noeth | Universität der Künste Berlin / University of the Arts Berlin (original) (raw)

Books by Sandra Noeth

Breathe - Critical Research into the Inequalities of Life, 2023

Breathing is an unavoidable, vital act, yet it cannot be taken for granted, as the experience... more Breathing is an unavoidable, vital act, yet it cannot be taken for granted, as the experiences of the pandemic, profound changes in our environment, but also structural, racist discrimination make clear. In the physical act of breathing, we are symbolically, materially and radically thrown back to our own bodies and connected to the bodies of others.

In conversation with artists and theorists from different fields, the contributers to this volume explore different acts of suffocation and release. They show how the protection of bodies is unequally and ambivalently distributed and how it can be an act of resistance. It is an insistence on life, a demand for existential, political, symbolic and ethical recognition.

Editors: Sandra Noeth & Janez Janša

Published in the series "Corporeal Matters" at transcript publishers
Series Editors: Sandra Noeth, Janez Janša, Sandra Umathum

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What does it take to cross a border, and what does it take to belong? Sandra Noeth examines the e... more What does it take to cross a border, and what does it take to belong? Sandra Noeth examines the entangled experiences of borders and of collectivity through the perspective of bodies. By dramaturgical analyses of contemporary artistic work from Lebanon and Palestine, Noeth shows how borders and collectivity are constructed and negotiated through choreographic, corporeal, movement-based, and sensory strategies and processes. This interdisciplinary study is made urgent by social and political transformations across the Middle East and beyond around 2011. It puts to the fore the residual, body-bound structural effects of borders and of collectivity and proceeds to develop notions of agency and responsibility that are immanently bound to bodies in relation.

https://www.transcript-verlag.de/en/author/noeth-sandra-320003123/

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The concept of »worldmaking« is based on the idea that ›the world‹ is not given, but rather produ... more The concept of »worldmaking« is based on the idea that ›the world‹ is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing ›dance worlds‹: through artistic practice, discourse and media, choreographic form and dance material.
The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral – an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal »world of dance«, but rather a multitude of interrelated dance worlds with more emerging every day.

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This book focuses on the human body in, of, and as evidence. It illuminates how the body appears ... more This book focuses on the human body in, of, and as evidence. It illuminates how the body appears simultaneously as witness, document, and agent as it moves across borders drawn by vectors of power such as nationhood, sovereignty, and normalcy.
From multiple perspectives traversing the fields of visual and performing arts, social anthropology, political theory, critical journalism, and philosophy, this book interrogates the complex ways in which the body is implicated in contemporary “crises” and addresses its political and ethical repercussions. Contributions to the volume include commissioned articles, essays, interviews, dialogues and case studies that offer insights into corporeality as the often-neglected dimension that cuts through ethics, aesthetics, and politics.
The book is commissioned by tanzhaus nrw Düsseldorf.
With contributions by: Agri Ismail, Ayesha Hameed, Manuel Pelmus, Lina Majdalanie, Noémie Solomon, Banu Bargu, Tony Chakar, Kattrin Deufert, Thomas Plischke, Ferry Biedermann, Asli Erdogan, Ayse Arman, Nicola Perugini, Neve Gordon, Arno Böhler, Susanne Valerie Granzer, Sophie Nield, Will Rawls, Jaime Shearn Coan, Eike Wittrock, Leila Beanni, Patricius ShOOOmaker, Sylvia Wang, Hakan Topal

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Papers by Sandra Noeth

Emerging Bodies, 2011

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Moving (Across) Borders, 2017

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Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung, 2011

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The Performance of Worldmaking in Dance and Choreography, 2011

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Wissen und Wege der Tanzforschung, 2010

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Dance [and] Theory, 2012

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The Performance of Worldmaking in Dance and Choreography, 2011

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Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung, 2011

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What does it take to cross a border? A reader., 2019

"What does it take to cross a border? On borders, bodies and performance" was a four-day programm... more "What does it take to cross a border? On borders, bodies and performance" was a four-day programme that took place at ifa Gallery Berlin from February 21-24 2019 (www.ifa.de). It turned the exhibition space into a space of body- and movement-based encounters in which audiences were invited to address individually or collectively the experience of the border in an entangled series of performances, encounters and workshops. The present reader serves as a companion through this temporary set-up, gathering writings and visual materials, practice-based scores, poetic and theoretical voices by the participating team of artists, invited contributors and other sources.
With original contributions by QUARTO, deufert + plischke, Anne Juren, Farah Saleh, Diego Agullo, Sabina Holzer, Annika Niemann, and Sandra Noeth.

Curator Performance Program and Editor: Sandra Noeth
Curator Education Lab: Annika Niemann
With the support of the Federal Agency of Civic Education.

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See full program and schedule on: http://www.tanzkongress.de/en/home.html Migration, decentrali... more See full program and schedule on: http://www.tanzkongress.de/en/home.html

Migration, decentralization, and decolonization, conflicts, crisis and newly ordered structures, experiences of exclusion and inclusion, of neglect and carelessness: the programme focus Border Effects dedicates itself to overall as well as everyday borders and the role, status, and agency of the body in the process. What are the conditions of our being-in-time, as dancers, choreographers, researchers, pedagogues, and as a public? How can we use our specific practices in order to act within material and immaterial bordering processes and at the same time contribute to shaping them? How can we take a position and critically question the dynamics between arts, society and the public? Border Effects is conceived as a working format, taking its starting point in choreographic, physical, and movement-based concepts, aiming at bringing up questions related to processes of producing and representing borders. Following two introductory lectures situating the discussion in the field of border studies as well as in an ethical and political perspective, it unfolds around four dialogical encounters whose respective themes are then dealt with in subsequent workshops between artists, scholars, and experts from related fields. It questions how dance and choreography might provide knowledge, experience, and physical as well as imaginary space in order to address borders and bordering processes. Border Effects is concluded by a discussion round in which the gained insights are exchanged.

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Artistic-theoretical conference on Bodies, Borders, and Movement 14.-17. January 2016 at Stockho... more Artistic-theoretical conference on Bodies, Borders, and Movement
14.-17. January 2016 at Stockholm University of the Arts

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Breathe - Critical Research into the Inequalities of Life, 2023

Editors: Sandra Noeth & Janez Janša

Published in the series "Corporeal Matters" at transcript publishers
Series Editors: Sandra Noeth, Janez Janša, Sandra Umathum

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https://www.transcript-verlag.de/en/author/noeth-sandra-320003123/

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Emerging Bodies, 2011

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Moving (Across) Borders, 2017

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Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung, 2011

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The Performance of Worldmaking in Dance and Choreography, 2011

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Wissen und Wege der Tanzforschung, 2010

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Dance [and] Theory, 2012

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The Performance of Worldmaking in Dance and Choreography, 2011

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Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung, 2011

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What does it take to cross a border? A reader., 2019

Curator Performance Program and Editor: Sandra Noeth
Curator Education Lab: Annika Niemann
With the support of the Federal Agency of Civic Education.

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See full program and schedule on: http://www.tanzkongress.de/en/home.html Migration, decentrali... more See full program and schedule on: http://www.tanzkongress.de/en/home.html

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co-edited by Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth, Tanzquartier W... more co-edited by Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth, Tanzquartier Wien

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Co-edited by Arno Böhler, Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth, T... more Co-edited by Arno Böhler, Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth, Tanzquartier Wien

The body—physicality—is accorded great significance in al- most all religions. In all its individuality and difference, the body always reveals itself here as a link: as one that opens up spaces for participation and sharing, as the connecting link between religion, society and politics, between the individual and the community.
In the exercise of belief, the religious takes place in physicality—and vice versa: in the body postures of the appeal and the prayer, in the gestures of worship or in meditative states, during religious rituals in public space, processions or danc- ers, or when extreme experiences of suffering or rapture are expressed through the body.
From 14–19 January 2013, the artistic-theoretical parcours SCORES placed the (dancing) in the centre of the thinking of the religious and its acts. In a physical and discursive act of addressing, in performances, lectures, films, installations and artistic work formats, it was dedicated to the bodies of religion: in the attempt to understand how the bodies of religion are formulated, projected and negotiated, it was an invitation that, precisely in the knowledge of the difficulty of making religious experience, belief and reflection shareable between the public and the private, seeks to combine the simultaneity of our experiences. Like the bodies, which—uncompleted, un- finished, beyond, projected, classified and disciplined, multi faceted, surprising, and in the process of change—are always also different.
The artistic-theoretical parcours as well as the current issue of the Tanzquartier Wien’s periodical SCORES have been realized in collaboration with the Research-Project TRP12-G21, sponsored by the Austrian Science Fund (FWF).

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co-edited by Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth Contemporar... more co-edited by Walter Heun, Krassimira Kruschkova, Lejla Mehanovic and Sandra Noeth

Contemporary dance and performance art frequently takes place on the margins of the economies of utility, exploitability and classifiability. As a cultural practice, it not only reproduces existing agency and thought and the their immanent structures and strategies of deciding, of sharing and transmission, but makes visible precisely these arrangements and obligations to the Other. By discussing, exhibiting or shifting these relationships into new contexts, or critically reworking them and making them discursive, artists bring our individual and collective arrangements into play and turn a directive concept of responsibility into a dialogic, a dynamic and shared space of response. In this way they assume the Other, the alien not as something different confronting us, but take advantage of the resonances of this unknown – which has always been within ourselves – for their artistic work. The artists and theoreticians who have been invited in the framework of SCORES No3: uneasy going from April 5th to April 9th 2011 encounter this disquietude, which formulates itself in the moment of encounter, in the most varied ways. Their subjects range from questions of interculturality and migration, from our approach to our own as well as the history of others, to discussions of the body of the sort that are, among others, being conducted in medicine and neuroscience, but also in ethical research. If in their artistic as well as discursive work they also raise the question of how designed and real spaces, roles and ideas can be distributed and developed, this does not just concern the specific relationship between the actors on stage and the audience. Far more, they draw up (counter-) models to existing economic and social distribution processes, to the prevailing drafts of society and call on us to jointly work on taking responsibility that is not restricted to the question of signature and authorship. In the fourth issue of the Tanzquartier Wien’s periodical SCORES the inscribing gesture of the choreographic in reference to a body that in our communications society has long been held to be dumb becomes discursively and sensually tangible as a challenge and area of experimentation.

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what escapes...what is lodged at the corners of our eyes, in the wrinkles of the body and on the mar- gins of movement and eludes the first glance. When coincidence, dilettantism and the desire to experiment come into play, improvisation challenges the structures of composition, when gestures or movements overpaint what has already existed and outline what has not yet been achieved, when formats and disciplines flow into one another, then in the opening up, roughened spaces the choreographic develops another potential: more a fictive outline of potentials than a codifying act, it throws our perception and certainties into turmoil and shows itself as a mode of encounter that develops its artistic but also social and communal possibilities beyond plans, projects, controls and archiving – and, precisely in that, it repeatedly creates new worlds.
From the radical idea of rupture and break with old habits, institutions and modes to a more cautious dream of slipping through barriers established to mediate our encounters with art, the idea of escape – breaching, drifting past or otherwise surpassing limits – offers a unique glance on questions of contemporary dance, performance and art. The artists struggle to locate work in a meaningful context (escaping or resisting institutional frames or limits), alongside their attempt to make work that escapes or critiques the strictures and habits of representation and consumption, all point towards the dynamic possibilities of breach. In different formats – performances, dialogues, research and work-in-progress presentations, lectures and a mini-marathon of
statements, questions & events – and in different medias, the third edition of the artistic theoretical parcours SCORES that Tanzquartier Wien organized in collaboration with Tim Etchells from November 30th to December 4th 2010 brought together different artists, writers and thinkers. From artists seeking to work outside the tradi- tional institutional frames and structures to those who seek to slip the bounds of their chosen media, breaking, cracking or expanding their work in art, performance and dance until the forms yield to new possibilities and expressions. What Escapes also pointed to processes of involuntary expression: to the kinds of signs which escape in- voluntarily from artists and their work, or to the processes of slippage by which intentions and desires – of artists, institutions and audiences – are made manifest.
These different approaches towards what escapes provide the basic material and im- pulses for the periodical publication SCORES, enriched by other texts that arose from or inspired our main emphases. As a distinct medium, it takes the concept of the choreographic as practiced at Tanzquartier Wien further, artistically and theoretically, and facilitates sustainable discourse as well as inviting dialogue.

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touché: touching and being touched – affected, challenged, made to respond, questioned. In the context of the (stage) body, the concept of touching summons
up various technical and historical dance concepts of expression, contact or kinaesthetics and recalls the questioning of the body as a medium of communication that is negotiated in them and in the present simultaneity and mediality and continually updated by life.
In the framework of the artistic-theoretical parcours SCORES°1: touché, from 16 to 25 April 2010 at the Tanzquartier Wien we dedicated ourselves to the question of touching and being touched in the context of dance and performance. Not understood as a separating caesura nor as an intersubjective connection, our interest was more in the distance that every touching marks, and which precisely in its inner and outer difference is the condition of each and every encounter, of each and
every exchange. Following this conception of touching as a figure of mobilisation – gesture of calling up, of reacting to and of the desire for the other – the invited artists and theoreticians concerned themselves in different formats with questions of closeness and distance, of recognition and responsibility, of (their own) life stories and influences, of the fictional and the documentary, of personal inscription and extrapolation of the body in the choreographies and beyond. The choreographic shows itself as the punctuation of an in between, in which the separate individual constructs him or herself in the material and immaterial, active and passive, medial or unmediated contaminations and infections of the encounter with the other.
The second issue of the Tanzquartier Wien’s periodical SCORES pursues an attack and taking up of this artistic and discursive touching, continues it and reformulates it in its media transmission. Intervening in the texture of the instable, constantly moving exchange relations of art and life, of society and politics, the choreographic marks touching as an act and action of our shared participation.

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As a translation from one medium into another, » scores « mark a figure of our interest in the correspondences and interferences between discursive and performative practice, respectively for the irritation potential of their incompatibility. Scores open up a performative space within the discursive and vice versa. Thus with its own periodical – SCORES – the Tanzquartier Wien is dedicating itself to the current artistic and political status of scores that read and continue to write choreograp- hed hi/stories by the breaks in their notation and beyond.
Thus during the 2009/10 season, and in a more intensive way from 2 to 6 December 2009 (in a series entitled The skin of movement), the Tanzquartier Wien analysed the thinking and doing of the choreographic. It concerned choreography in dance and performance, in sound, film, video and theory, in the social and the political.

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The Coronavirus pandemic has once again placed the body at the center of political and social deb... more The Coronavirus pandemic has once again placed the body at the center of political and social debate. However, questions about its status were already relevant before the virus and remain key issues in many conflicts that continue to have a decisive influence on the world. However, what does it mean for an individual body, for the body of a collective, to be safe or unharmed? How is the idea of the integrity of a body linked to how we imagine, experience, represent or define a body? To what extent is it also a matter of aesthetics, of performance? And, what is our responsibility when it comes to create visibility and agency for bodies that are under physical or symbolic attack? Here the question also arises of which bodies we deem worthy of ethical recognition and legal protection.
The online-series Unversehrtheit: Conversations on the Integrities of the Body, initiated by curator and scholar Sandra Noeth brings together international artists and researchers across different disciplines and fields of practice to take a close look at the body and its possible integrities. Discussion-based encounters between experts (In Conversation #1-#7) are combined with dramaturgical sessions (Dramaturgical Perspectives #1-#4) focusing on strategies and practices that artists develop in response to their specific experiences.

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Hållning A body-based platform for collective learning June Encounters: June 10-13, 2021 Detail... more Hållning A body-based platform for collective learning
June Encounters: June 10-13, 2021
Detailed Programme & Biographies on: hallning.se

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Mousonturm, 2022

'The Golden Cage' is a poetic examination of non-human artifacts, animals, ruins, water bodies, a... more 'The Golden Cage' is a poetic examination of non-human artifacts, animals, ruins, water bodies, and organisms spread across a highly nationalized terrain. It refers to a set of confinements amidst never-ending catastrophes in the region known as the Fertile Crescent. It explores interconnected political geographies, fragile ecologies, and the question of civilization by thinking about neolithic archaeological sites in the area. Since 2018, artist Hakan Topal has developed the project by focusing on the Northern Bald Ibis – the most threatened migratory bird in the Middle East: surviving examples are kept confined in cages to protect them from the ongoing Syrian War. In 'The Golden Cage,' as the embodied symbol of the state, the cage is enacted through a fictional administrative text full of cracks and breakages. It is an epic story to create new associations around history, borders, migrations, and untranslatability.

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