TRANSFLEISCH
for amplified ensemble, electronics and video
Tilda Publishing
A production that experiments at the boundaries of acoustic and visual perception. What about consciousness and the experience of "reality"?
PRESS
"... a performance of almost hallucinatory effect and real expansion of consciousness, of nearly drug-like or almost spiritually soul-tearing effect. It takes you on a well-timed journey to the limits of perception, which one should fully open up to, until the inner and outer pain thresholds are reached. Then, one experiences oneself as changed and changeable, and if one can endure what is truly ear-, body-, and eye-entrancing or even -numbing, a truly great experience will be had, but even if one does not like it, the creators are admirably willing to engage in discussion. Definitely worth seeing, especially since the text and the whole work manage to provoke questions and even the biggest questions afterwards, causing a resonance of the effect and individual performance elements: life and death, brain and consciousness, what is real, what is truth, to what extent does the character of the streams in the synapses as a simulation determine the world, the truth or our consciousness of reality... End of the effect and end of consciousness open... very strong applause... but also skeptical side notes... I was thrilled, especially since this is a legal drug equal to the film masterpiece "Koyanisquatsi" that one can acquire for under 20 euros. And besides, art sometimes has to be a challenge. We have so much official, watered-down art, and who, if not the OFF sector, can achieve something like this and take such a risk." (namkoartist, Nov. 17, 2013)
"... Into this bizarre storm of acoustic and visual signals, actor Daniel Berger speaks texts about the development of thoughts that shatter all imaginable boundaries. The slimy mass shown in the image, comparable to the creation of an alien, remains as foreign as the stars. This cocktail of media-enhanced sensory impressions, following the shapeless states of the real, is very intense. However, there is no room left here for reflection on the construction of thought. The performance seems more like a blow to the forehead of its viewers than an invitation into the labyrinths of neuroscience." (Thomas Linden, K├Âlnische Rundschau, Nov. 15, 2013)
Artists
Made on
Tilda