A talk between Barbara Lubich and Christoph Winkler
Christoph Winkler and Barbara Lubich talk about East German dance history, which the choreographer experienced first hand and which the filmmaker portrays retrospectively in her works.
The thinking space (Denkraum) is an open and multi-perspective virtual space for negotiating and discussing the concept of the archive and archival practice in and for dance. Artistic, dance-related, academic and contemporary contributions that deal with dance and the archive from personal, discursive and sometimes contradictory perspectives are gathered here on an ongoing basis. How can dance, as an ephemeral and body-based art form, actually be archived? How does theory and artistic practice interact in the archive? How can an archive be set up so it is accessible and lively? How can conventional archival practices be disrupted and how to question the authority of the archive? And which stories have been told, which have not?
Christoph Winkler and Barbara Lubich talk about East German dance history, which the choreographer experienced first hand and which the filmmaker portrays retrospectively in her works.
Martin Nachbar and Pol Pi discuss their collaboration on Dore Hoyer’s dance cycle “Afectos Humanos“ (1962) and the archival practice of passing on dance through generations.
by Sasha Amaya // The dancer and choreographer Sasha Amaya reflects on her personal and artistic approach to the themes of canon and archive and writes about her work in which she explores European art history in a contemporary context.
by Olympia Bukkakis // Based on personal memories, performance artist and choreographer Olympia Bukkakis writes about stories of the past and subcultural memory.
by Isabel Raabe // Curator and cultural producer Isabel Raabe reports on the dance section of the pioneering project RomArchive – Digital Archive of the Roma, and wonders whether dance as a body-based and ephemeral art form can be archived at all.
by Julia Wehren // How can bodies be thought of as archives? Dance scholar Julia Wehren writes about embodied knowledge and about the archive as a figure of thought in which bodies are read in terms of their ‘deposits’.