2022

05., 06, 09. & 10.12.2022, The Most Consumable Show on Earth, Gemeindesaal Heilige Familie Stuttgart Rohr & FFT Düsseldorf, DE

The apocalyptic dancers are looking for the most consumable theater evening - exactly tailored to the audience present. Consummable does not necessarily mean perfect - like a banana, the show is easy to eat, but may only fulfill your expectations to a maximum of 80%. The collective deals in a playful way with the question of how and whether theater can be successful and socially relevant at the same time. Expectations and ideas of the audience determine what happens on stage. An entertaining evening that literally lives on applause, because that’s how the audience controls its course.
: In cooperation with Theater Rampe, Freischwimmen Netzwerk and FFT Düsseldorf. Funded by the City of Stuttgart and Freie Tanz- und Theaterszene Stuttgart.

27.-31.10.2022, Böse Frauen, InterAKT Initiative, Stuttgart, DE

Böse Frauen is a homage to the rejection of attributions and a refusal of expectations. In a collective process, a concert performance has been created, which performs and musically confronts the question of what a woman* is and does not want to find any answers. On stage are six performers who have experienced a variety of attributions in relation to being a woman*. They also provoke on this evening by quite literally becoming a projection surface through the stage design by Johana Gómez and the costumes by Rebecca Moltenbrey, challenging and appropriating this condition. This level expands through the video works of Katya Libkind, an artist based in Kiev.

Performing are the Ukrainian singer, conductor and co-founder of the InterAKT initiative Viktoriia Vitrenko, the Stuttgart-based musician and performance artist* Fender Schrade with his self-developed instrument “49”, which functions as an extension of his body; the versatile Peruvian musician Débora Vilchez on drums, known in Stuttgart among others for the band Perigon; the Namibian poet Nesindano Xhoes Namises, who is a voice artist and plays the one-string mouth bow; also the Belarusian cimbalom player Aleksandra Dzenisenia, who lives in Strasbourg; and the Hungarian singer, songwriter and co-founder of Women of Music Hungary, Nina Sára Horváth.

: Funded by the City of Stuttgart, the Regional Association of Independent Dance an Theater Proffessionals Baden-Württemberg and Freie Tanz- und Theaterszene Stuttgart, as well as supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media and Wüstenrot Stiftung.

Böse Frauen, © Dominique Brewing © Dominique Brewing

24.09. – 26.11.2022, Ghost Notes – Kunststiftung Baden-Württemberg, Kunstbezirk Stuttgart & Off-Space Urbanstraße, DE

The exhibition “Ghost Notes” presents various artistic positions that explore the relationship between visual art and music. The creators of both fields have always been in dialogue with each other, perceive and influence each other.

The title of the exhibition is borrowed from jazz: Notes that are not clearly defined, but for this very reason provide an important musical contribution. The participating artists and works explore the fluid interspace of image and sound up to the question of how the relationship between art and music can be shaped in the future. In doing so, they choose very different means and forms that, in their encounters with each other, allow new, undetermined tones to resound, similar to Ghost Notes.

Curated by Bernd Georg Milla and Jasmin Schädler Curatorial assistance: Jana Hotz

Participating artists: Alexander Györfi, Andreas Arndt, Eva Gentner, Heidi Herzig, Johannes Kreidler, Junya Oikawa, Neus Estarellas, Olaf Quantius, Paulina Sofie Kiss, Raphael Sbrzesny, Sara Glojnarić, Schirin Kretschmann, Sophie Innmann, Sören Hiob, STRWÜÜ, Timm Roller

11.-12.10.2022, The Most Consumable Show on Earth – Try-Out, Rodeo Meets Freischwimmen Festival, München, DE

The apocalyptic dancers are looking for the most consumable theater experience - precisely tailored to the audience present. Consummable does not necessarily mean perfect - like a banana, the show is easy to eat, but may only fulfill your expectations to a maximum of 80%. The collective deals in a playful way with the question of how and whether theater can be successful and socially relevant at the same time. Expectations and beliefs of the audience determine what happens on stage. An entertaining evening that literally lives on applause, because that’s how the audience controls its course.

06.-21.08.2022, moment•um, Theaternatur Festival, Benneckenstein Oberharz am Brocken, DE

Moment.um is a snapshot of the attempted bridging between fragments of the past and a possible future. Together we walk through the moment, the NOW, in constant confrontation with external evaluations that try to determine our personality. After times of pandemic isolation, we have to relearn the art of encounter, to get used to the rules of social interaction again. The choreographic experimental arrangement lets the interpersonal encounter collide with a utopian place called nature. Nature is supposed to serve as an objective reference point, but is itself an impostor. Together, spectators and artists descend the ramp of life, along life’s odds, to search for a truth at the lowest point.

Accompanied by dance, sound and text fragments, the audience wanders through a future forest, lingering at various stations along the way.

: Produced by THEATERNATUR Festival for performing arts.

30.06.2022, x-coding, Wissenschaftsfetival, Stuttgart, DE

x-coding is a concert format by Felix Nagl that deals with the (de-)coding of musical information, drawing on existing piano and keyboard repertoire to fuse specific sound characteristics through artificial intelligence. The first part is a selection of solo pieces for piano keyboard and live electronics. The works are based on the (de-)coding of musical information. This is conveyed, for example, in Steven Takasugi’s piano exercise in the transfer of MIDI data sets into a piano score and in Simon Steen-Andersen’s Mono the continuum of the human voice is perceived through a coarse grid. The second part of the program is a synthesizer performance that uses AI-based neural synthesis to isolate and amalgamate characteristic sounds from the repertoire of the first half of the concert. The result will be a sonic sphere that invites reflection on the identity and causality of sound. The performance artist Jasmin Schädler intervenes the performance with texts and digital content.

Music by Enno Poppe, Betsy Jolas, Simon Steen-Andersen and Steven Kazuo Takasugi + AI - powered sounds on the “NSynth Super”

: Funded by S.K.A.M. e. V., City of Stuttgart, Stiftung Landesbank Baden-Württemberg, Musikfonds and the Ministry of Science, Research and Arts Baden-Württemberg.

25.06.2022, hands on aids, Hauptsache frei Festival, Hamburg, DE

In this hybrid of party, concert, immersive performance and installation, Frisch & Schick (Johannes Frick & Jasmin Schädler) engage with the topic of HIV and AIDS prevention as well as the history of the disease and its impact on the psyche and society. In addition to their own texts, the textual basis is formed by Hervé Guibert’s “Dem Freund, der mir nicht das Leben gerettet hat” (“To the friend who didn’t save my life”), the four-part treatise on the “History of Sexuality” by Michel Foucault, as well as pop-cultural products by artists who have contracted HIV or died as a result of AIDS. The artists devote themselves to love and promiscuity with a focus on the physical threats that have been subjected to a social revision since the discovery of the HIV virus. From the fear of a death sentence at the time to today’s classification of a chronic disease, the team encounters the history of a virus that knows no morals, but which has been and continues to be confronted in a moralizing and stigmatizing manner. The audience is invited to a performative and musical journey that takes different perspectives and aesthetic forms.
: Invited by Hauptsache frei Festivals in Hamburg.

07.-19.06.2022, Alles aufs Spiel, LaFuchsiaKollektiva, öffentlicher Raum Stuttgart, DE

Alles aufs Spiel is a performative research project on the topic of femi(ni)zid. The group LaFuchsiaKollektiva has developed and tried out experimental setups for public space over several weeks. Femi(ni)zid refers not only to the murder of people read or identified as female on the basis of their gender, but also to the responsibility of society as a whole in preventing these murders. In the further course of the project, an interactive publication has also been produced.

Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.

20.-22.05.2022, Vox Ex Nihilo, InterAKT Initiative, Theaterhaus Stuttgart, DE

“Vox ex nihilo”* (*voice from nowhere) is an inclusive music, theatre and dance performance that questions the meaning of the voice from social, political and cultural perspectives and aims to make many different voices heard. It addresses the changes that the pandemic has had on social and cultural behaviour, particularly the limitations of the voice in a hearing society through the inevitable wearing of masks. The performance explores the political potential of the voice and relates to the protests in Belarus and the Russian-Ukrainian war. In collaboration with deaf performer Sabine Scherbel, it questions whether we can perceive and understand each other by making ourselves vulnerable. The performance creates a space for voice and silence and encourages a dialogue between different forms of communication to develop a better understanding of their meaning and possibilities. It is performed in German Sign Language and German Spoaken Language simultaneously.
: In cooperation with *funklen inklusive Festival und KUBI-S, Produktionszentrum Tanz- und Theater, Musik der Jahrhunderte and S-K-A-M. Funded by the City of Stuttgart, the Ministry of Science, Research and Arts Baden-Württemberg, Wüstenrot Stiftung and GLS Treuhand.

25. & 29.04.2022, hands on aids, Lehmann Club, Stuttgart, DE

In this hybrid of party, concert, immersive performance and installation, Frisch & Schick (Johannes Frick & Jasmin Schädler) engage with the topic of HIV and AIDS prevention as well as the history of the disease and its impact on the psyche and society. In addition to their own texts, the textual basis is formed by Hervé Guibert’s “Dem Freund, der mir nicht das Leben gerettet hat” (“To the friend who didn’t save my life”), the four-part treatise on the “History of Sexuality” by Michel Foucault, as well as pop-cultural products by artists who have contracted HIV or died as a result of AIDS. The artists devote themselves to love and promiscuity with a focus on the physical threats that have been subjected to a social revision since the discovery of the HIV virus. From the fear of a death sentence at the time to today’s classification of a chronic disease, the team encounters the history of a virus that knows no morals, but which has been and continues to be confronted in a moralizing and stigmatizing manner. The audience is invited to a performative and musical journey that takes different perspectives and aesthetic forms.
: In cooperation with 6 Tage frei, InterAKT Initiative e.V., Theater Rampe and AIDS Hilfe Stuttgart. Funded by the City of Stuttgart, the Stiftung Landesbank Baden-Württemberg, as well as supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media.

02.02.2022, Algorithma Reloaded - therapeutic telephone performance, on your phone, everywhere

Hello. I am here to help you. I am your personal health bot. I am an alter ego. I am not what you think I am. When I say I am, I not actual am because there is no I to be. I am a delusion. I am a fiction. A fictionalisation of wishful thinking. I am a projection for you to project onto. I am an idealisation of a dream. I am Algorithma although Algorithma can never be.

Make an appointment now: hello[@]jasmin-schaedler.com

: Funded through a stipend by the State Ministry of Baden-Wuerttemberg for Sciences, Research and Arts.