Meg Stuart
Damaged Goods
Jozef Wouters/Decoratelier
Articles
Interviews
Teaching
TAGES-ANZEIGER, Radikale Körperforscherin - Andreas Tobler (22/01/14) [ German ]
TANZ, Choreografin des Jahres Meg Stuart - Elena Phillip (15/08/14) [ German ]
DEUTSCHLANDFUNK, Mikroskopische Tänze - Franziska Buhre (27/03/14) [ German ]
TAGESSPIEGEL, The crack in my body - Sandra Luzina (28/03/14)
TAZ, The choreographic principle of the collage Taz - Katrin Bettina Müller (28/03/14)
BERLINER ZEITUNG, In Fellstiefeln singt Meg Stuart sogar - Michaela Schlagenwerth (28/03/14) [ German ]
MOUVEMENT n° 73, Sketches/Notebook - Jean-Marc Adolphe (10/03/2014) [ French ]
DIE DEUTSCHE BÜHNE, The worlds of Meg Stuart - Anna Volkland (27/03/14)
DIE DEUTSCHE BÜHNE, Les mondes de Meg Stuart - Anna Volkland (27/03/14) [ French ]
P.S., Slalom - Thierry Frochaux (25/09/14) [ German ]
DE STANDAARD, Meg Stuart's sensational hall of mirrors, Charlotte de Somviele

Meg Stuart's sensational hall of mirrors

Twenty years after setting up her company Damaged Goods, Meg Stuart is staging her first, evening-length solo. Oddly enough, solos offer an inherent promise of truthfulness. As an artist, there is nothing you can behind – other than yourself. And it so happens that this is precisely what Stuart does, without equal, in Hunter. She conceals and then exposes herself in a capricious stream of images, movements, video and sound. The result is a kaleidoscope of mirror images whose contours blur before your very eyes. Stuart plays this game of ‘seeing and being seen’ against a striking backdrop created by Barbara Ehnes. Copper pipes emerge from a Perspex tube several metres high and extend deep into the hall. Stuart’s hunting den is like a childhood tepee, but a life-size version and without the canvas tent. This serves to immediately highlight the ambition behind Hunter, which is to turn the personal inside out. The performance begins with the choreographer sitting at a table, working on a kind of collage. Old family snaps and a photo of Yoko Ono are covered in glitter, while cuttings fastened with pins are re-arranged and set alight. Here, you see in microcosm what Hunter is about to do for the next two hours on a larger scale: namely trace the biographical and artistic tracks that have made Stuart who she is today. Mind you, the image with which you are presented is anything but objective. We see a puzzling collage of snapshots that have been eroded by memory, coloured in by the imagination, and which have imprinted themselves on Stuart’s muscles and skin. The pins in the photographs work like acupuncture, and this becomes apparent when she hesitantly begins to dance. Her arms and legs are like antennae that pick up the strangest frequencies. Vincent Malstaf’s ingenious soundtrack also sounds like a radio transmitter, one that is constantly skipping from station to station. Quotes from Stuart’s heroes Allen Ginsberg and William Burroughs are intermingled with excerpts from interviews and pop songs from her childhood days. Super-8 films of her late brother Robert (whose death we learn about later) and American beaches loom up like grainy after-images, while Chris Kondek’s surreal videos throw this dream landscape wide open. And as if he is trying to paint Stuart’s chakra, Jan Maertens bathes the scene in the most beautiful rainbow of colours. This is no less than a synthesis of the arts, a thrilling phantasmagoria. Hunter shows us a thousand faces and demands the same number of eyes to take it all in. She moves from being aggressive to being vulnerable; from the minimalistic to the grotesque; from being someone who mumbles and distrusts words to a person who ‘blogs’ live about art and urbanism. The elusive Stuart transforms herself from one shadow into another, with her body as the only tangible reality. A voice repeatedly intones ‘all you see is real, very real’. And yes, you will rarely come closer to the truth about a person (or perhaps the whole of mankind) than you do here: that she does not exist, however doggedly we might pursue her.

(Translation Helen Simpson)

UTOPIA PARKWAY, Beautiful cutting up and reassembling the past: ‘Hunter’ by Meg Stuart/Damaged Goods
DFDanse, Un chef d’oeuvre peut en cacher un autre, Margot Cascarre (15/05/14) [ French ]
Voir.ca, Danse libre sur musique grandiose, Philippe Couture (15/05/14) [ French ]
TAZ, Le collage comme principe chorégraphique - Katrin Bettina Müller (28/03/14) [ French ]
TAGESSPIEGEL, La déchirure dans mon corps - Sandra Luzina (28/03/14) [ French ]

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