{"id":55169,"date":"2017-08-14T17:02:21","date_gmt":"2017-08-14T15:02:21","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=55169"},"modified":"2017-08-14T17:02:21","modified_gmt":"2017-08-14T15:02:21","slug":"israel-berlin-political-dance","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/israel-berlin-political-dance\/","title":{"rendered":"Israel Meets Berlin In This Political Dance Performance"},"content":{"rendered":"<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-55168\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/08\/nbk_CoPC_FishofZuk3.jpg\" alt=\"\" width=\"1500\" height=\"844\" \/> Ohad Fishof \/ Noa Zuk, <em>The Burnt Room<\/em> (2016), dance performance, Center for Contemporary Art, Tel Aviv, 2016 \u00a9 Asaf Saban<\/p>\n<p class=\"p2\"><span class=\"s1\">\u00a0\u201cMy teacher told me never go to Germany,\u201d a man says into a microphone. And yet here we are, both of us, performer and audience, the Israelis and the Berliners, though one person seems to be missing. <\/span><span class=\"s1\">It\u2019s burning, and yet the performance begins on time, completing its full rotation as if on a programmed, militant schedule. A performer comes up to you, dwindling her thumbs as if to ridicule herself\u2014and you as well.<\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">&#8220;The Burnt Room&#8221;, the title of a performance by Noa Zuk and Ohad Fishof begins in the middle with no perceivable beginning, just intensity and chaos, and a distinct absence of darkness. As one descends into this monochromatic grey, one enters into a realm of video game music and action. Consisting of two dancers, Carmel Ben Asher and Kalvin Vu, and the choreographers Zuk and Fishof, the piece immediately reads as a page out of Kafka, that is, full of hysterical laughter with bureaucratic resonances. Using a simple rectangular space to orchestrate the dance, which the audience sits around, a dialogue of four unfolds. This dialogue is of course not traditional but consisting of bodily gesticulation, altered vocal readings of Allan Kaprow\u2019s manifesto on happenings, and gestures that hint towards militarised violence of corporate industries. Since this violence isn\u2019t particular to a certain conflict or region, the performance\u2019s implicit question is: how do you make a long durational occurrence that reflects multiple deadlocks?<\/span><\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-55166\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/08\/nbk_CoPC_FishofZuk1.jpg\" alt=\"\" width=\"1500\" height=\"844\" \/> Ohad Fishof \/ Noa Zuk, <em>The Burnt Room<\/em> (2016), dance performance, Center for Contemporary Art, Tel Aviv, 2016 \u00a9 Asaf Saban<\/p>\n<p class=\"p3\"><span class=\"s1\">&#8220;The Burnt Room&#8221;, part of Neuer Berlin Kunstverein\u2019s programme &#8220;<a href=\"https:\/\/www.conditionsofpoliticalchoreography.org\/home\"><span class=\"s2\">Conditions of Political Choreography<\/span><\/a><span class=\"s2\">\u201c<\/span> was commissioned as part of a program to commemorate the anniversary of the liberation of Auschwitz. Sophie Goltz, one curator of the program, explains how the exhibition took its starting point from the granting of funds to commission work about Israeli\/Germany relations using art as a conduit to talk about diplomacy. Thus, the NBK took up an exchange with the Center for Contemporary Art (CCA) in Tel Aviv. Of course, this binary immediately brings to fore the Israeli\/Palestinian dualism, to which the exhibition dance, at times, around, creating a large looming polemic: why is it that it is easier to talk today, in the here and now, in Germany, about the eradication of European Jewry, when it is almost impossible to visualise in a dignified manner of other casualties? Nothing in art is abstract, every gesture is political and so it was when Poland <a href=\"https:\/\/news.artnet.com\/art-world\/director-polish-culture-institute-berlin-fired-jewish-content-771281\"><span class=\"s2\">fired its director<\/span><\/a> of its Berlin Culture Institute for \u201ctoo much Jew content\u201d last December for showing the film Ida, it was clear that the damages of the past had not been put to bed. Yet, in Germany, talking about the eradication of the European Jewry will not get censored but any criticism against the Israeli state will be swiftly redacted, as is detailed by <a href=\"https:\/\/jewishantifaberlin.wordpress.com\/\"><span class=\"s2\">Jewish Antifa<\/span><\/a> in Berlin. What gets censored or talked about always has a mechanism of power, or statehood behind it. This is important to remember in an exhibition that is devoted to an exchange of art between countries in the name of casualty and reparations, difficult and bold subjects to take on.<\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">The strongest points of the programme are this visualisation of the connection of corporate tactics to fascism, to gestures that speak to the wider instrumentalisation of Nazi tactics beyond WWII. One can see this in Christian Falsnae\u2019s &#8220;The Lead&#8221; where Falsnae, himself, acts under the guise of a fascistic, corporate white business leader. In a series of videos that resemble a type of corporate, cult training with a crazed Falsnae in the lead, the artist uses a metal chair as armour against his colleagues, who he is meant to discipline. <\/span><\/p>\n<p class=\"size--small\"><img decoding=\"async\" class=\"size-full wp-image-55165\" src=\"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2017\/08\/nbk_CoPC_EnbarLevy.jpg\" alt=\"\" width=\"1500\" height=\"987\" \/> Noam Enbar \/ Yonatan Levy, <em>Antigone<\/em> (2016), performance, Center for Contemporary Art, Tel Aviv, 2016 \u00a9 Asaf Saban<\/p>\n<p class=\"p2\"><span class=\"s1\">Other performative works that took place during the almost month-long duration of &#8220;Conditions of Political Choreography&#8221; are Noam Enbar and Yonatan Levy\u2019s performance &#8220;Antigone&#8221;, which takes its form as a Jewish ritual that compels the audience into a series of tasks, such as singing and elongated cries. The audience is asked to read a scene from Antigone when she is condemned to death and stands judgment. Anje Majewski\u2019s &#8220;Landscape Painting&#8221; performance consists of an Old Testament verses sung in German operatic style, which intended to show the networks behind agriculture, naming, and geology within the Israeli area. <\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">As the media shows us more and more violence that become conversely illegible and nonsensical, it is important to remember that the mechanic system of mediation and organising of information is part of the activity of fascism itself. In order to talk about these types of organisation, it doesn\u2019t help to speak out loud\u2014one would have more luck in stretching the gestures of authority out piece by piece.<span class=\"Apple-converted-space\">\u00a0 <\/span>Perhaps the best tactic to mime the persistent systems of Nazism today is to turn back to the language of pure gesture, as in the case of Noa Zuk and Ohad Fishof\u2019s &#8220;The Burnt Room&#8221;. As the dancers quickly and obsessively stared into the audience\u2019s eyes dwindling their thumbs as if the act would cause a self-combustion, I was reminded of the title of Thomas Hirshorn\u2019s 2011 installation &#8220;It&#8217;s Burning Everywhere&#8221;. It\u2019s Burning Everywhere, and yet only certain conflicts will get mentioned in official art spaces. It\u2019s Burning Everywhere and yet within the art world, in certain nations, some traumas are easier to talk about than others. In Berlin, we enjoy the free reign of being able to speak, yet it has never been more difficult to find solutions to structural, corporate violence than ever. <\/span><\/p>","protected":false},"excerpt":{"rendered":"<p>&#8220;The Burnt Room&#8221; is the dance performance by Noa Zuk and Ohad Fishof commemorating the anniversary of the liberation of Auschwitz<\/p>","protected":false},"author":16,"featured_media":55170,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[8,10172],"tags":[9128,9129,1616,9130,9131,9132,9133,1673,1196,9134,9135],"class_list":["post-55169","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-berlin","category-film","tag-anje-majewski","tag-auschwitz","tag-dance","tag-israel","tag-nazism","tag-noa-zuk","tag-ohad-fishof","tag-performance-art","tag-tel-aviv","tag-the-burnt-room","tag-thomas-hirshorn"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Israel Meets Berlin In This Political Dance Performance<\/title>\n<meta name=\"description\" content=\"&quot;The Burnt Room&quot; is the dance performance by Noa Zuk and Ohad Fishof commemorating the anniversary of the liberation of Auschwitz.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/israel-berlin-political-dance\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Israel Meets Berlin In This Political Dance Performance\" \/>\n<meta property=\"og:description\" content=\"&quot;The Burnt Room&quot; is the dance performance by Noa Zuk and Ohad Fishof commemorating the anniversary of the liberation of Auschwitz.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/israel-berlin-political-dance\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-08-14T15:02:21+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Vanessa Gravenor\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"5\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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