SAVE THE DATE: Body and Fiction at KuB - Kultur und Bildungszentrum Bad Oldesloe
11 November 2022
- Link → https://www.kub-badoldesloe.de
- Place → upcoming
- About project → Body and Fiction
11 November 2022
20-30 July 2022
Text about Waterdances / Yes Poems a film by Maria Zimpel “Queering the Picturesque with Difference” by Jadwiga Zimpel published in Muzeum Susch Magazine MS#3
Swiss premiere of Waterdances/ Yes Poems in MUZEUM SUSCH after the screening artists talk together with director and choreographer Maria Zimpel and director of photography: Claudio von Planta, moderated by Joanna Leśnierowska
18-19 November, 2021, 7:00 p.m.
Film by Maria Zimpel together with Claudio von Planta.
26 August, 2021
Giving performance of Space Gives Place in Hamburg, during Hauptsache Frein Festival.
Taking part in choreographic residency at Museum Susch in Switzerland.
26-28 March, 2021
Taking part at the GYROKINESIS® Supervised Apprentice Hours Course in Berlin with Master Trainer Anke Hauerstein at the Studio Anke Hauerstein.
19-28 March, 2021
‘Space Gives Place’ is a part of the TanzHochDrei Digital Festival in Hamburg, Germany.
5-19 February, 2021
Maria Zimpel takes research residency in Museum Susch in Susch, Switzerland, for the project Waterdances/Yes poems, a dance video series. Choreographer Maria Zimpel together with the film maker Claudio von Planta, will research towards their upcoming project of a dance video to be shot in the Mountains of Engadin. Waterdances/Yes poems is an intermedial choreographic project dedicated to the process of emboding nature and to the exploration of the idea of a body as a transmitter.
Urszula Pysyk x Review of Space Gives Place
“(…)The performance begins as the performer slowly enters the gradually illuminating dance floor. She stops in mid-step and begins to gradually probe the space around her. Small and slow swings of the body, resulting from the transfer of weight from leg to leg, are accompanied by slight movements of the hands. The intensity of the performer's movement increases with every moment, and each change introduced into the choreography is preceded by a short pause. Several choreographic sequences developed in this way are repeated - at a changed tempo or range. Thus, the field in which the artist moves is enlarged or reduced, making the issues of space and place increasingly intriguing. Does 'space' as a theme of the performance refer to the entire stage area, to the building, or only to the area delimited by the artist's body?”
Article × Maria Zimpel
‘(…) The body is given and at the same time it is not given at all, because it is being (de)constructed every time anew, depending on how it is being awoken and structured by attention on a given day of a practice. Rather than trying to capture and describe the body that appears as a characteristic for Crisp’s work, I propose to see it as multiplicity or emergent through its many becomings. There are many potential and real bodies, to be experienced and to create from, as there are, in this practice, many modes of attention. To understand that, one must choose to work with one at a time, and >>choosing - as Crisp says - is already choreographic in a sense.<< (…)’
Essay × Maria Zimpel
‘When two years ago I heard Boris Charmaz talk about the idea of opening the Dance Museum, an image of a space resembling something between the Musée d'Orsay and Mies van der Rohe's family home appeared in my head - a spacious room with a balustrade, wooden floor, set on elevations, figurative white marble sculptures, the sun shining through large modern windows, and a feeling that suggests I don't know what it is, but it is definitely not a dance museum. Hmm ... the dance museum has to be different. The image next to the word museum suggested that my cultural habits had influenced or temporarily damaged my imagination. Boris Charmatz, a radical dance artist, author of the project ‘the Bocal or Glass Jar project’ – a nomadic group that bases its activities on working through the idea of the school; when he became head of the Center Chorégraphique National de Rennes et de Bretagne two years ago, he came up with the idea of decentralizing the National Choreographic Center in the Rhine, the capital of Brittany, and in collaboration with Martina Hochmuth (former curator of the important contemporary dance institution MuseumsQuartier in Vienna), he opened the Dance Museum, or rather the Dancing Museum (...).’
Review of ‘Body and Fiction’ × Monika Žmijewska
‘(…) Zimpel - against a white background, dressed in white, with a mane of dark hair covering her face, seemed to escape her human shell and transform into an animal thirsty for sun and movement. Feet, hips, arms, neck ... neck, shoulders, hips, feet ... - here is one of the creatures (caterpillar) with pulsating rhythms trying to move forward, in a moment backward. There is a louder noise and nervous movement changes the pulsation of the body, but there is also a curiosity about the world in this nervousness. The constant study of space, the study of oneself, each tip turns into a dance of evolving organisms towards ever higher and higher forms. (...)’
Review of „Body and Fiction”× Katarzyna Słoboda
‚(…) The symmetry of movement in Body and Fiction, drawn from the internal symmetry of the body (in particular the circulatory system), dictates a sort of fluid motion that responds to the imaginary, organic, and fluid environment. We are gradually introduced to the physical and the imaginary narratives of the body(…) ‘(…)the hands softly touch the air, the feet move attentively. The forms and the transitions between them are multidimensional, differing in quality, dynamics, an intensity, while the flows between the respective qualities and shapes are organic. (…)’
Review of „Body and Fiction”× Teresa Fazan
‘(…) Zimpel's creative discipline draws special attention as it played two roles in the process of creating the performance: she was both its choreographer and performer. The resulting choreography is truly impressive: when Zimpel appears on the stage, dressed in a tight-fitting, white suit, he hypnotizes with his movement, introducing the viewer to the reality that is forming before his eyes. (…)’
Review of „Body and Fiction”× JUS
‘(…) The space designed by We Design for physical culture was created in dialogue with choreographic geometry and dance qualities. In the choreography "Body and Fiction", space - concrete and felt - is defined by movement, its directions and the mechanics of a living organism. At the same time, dance draws from the possibilities offered by the resulting spatial object. Body and space fictionally merge into one. (...)’
Review of ‘What do you ...’ × Alicja Mueller
‘(…) Dialogical understanding of movement and body implies sensitivity to the Other, while otherness does not have to be human or even material - space, to use a metaphor, also wants to be heard. Importantly, in Zimpel's dialogicality is both extra- and introverted. That is why activities related to listening, observing as well as activating and straining the senses are so important in her works. (...)’
Review of ‘What do you...’ × Tabea Xenia Magyar
Book × Gallery of. J. Tarasin
Chapter devoted to the choreography ‘What do you really miss’ (Solo) and ‘noish~’ in the book ‘Return (to) Future’ edited by Mateusz Szymanówka and Katarzyna Koślacz, which was created on the occasion of the series of choreographic events ‘Return (to) the Future’, in the Gallery of Jan Tarasin in Kalisz in 2016. pages 66-73 → dedicated to ‘What do you really miss?’ Solo pages 194-197 → dedicated to ‘noish~’
Review od ‘Noish ~’ × Hanna Raszewska-Kursa
‘(...) Vitality vibrated to the point of painfulness also appeared in another performance - noish~ by Maria Zimpel. (…) Initially minimalist, later stronger and stronger streams of movement flow through a very slim and strong body that remains in one place for a long time. The pace accelerates, the range of motion increases, the music increases - in this conversation the truth of the body has the last word. (...)’
Report from ‘noish~’ × Stanisław Godlewski
‘(…) The slightest gesture or the direction of gaze that leads to subsequent movements of other parts of the body is important here. (...) Her body becomes a membrane through which a wave of sound flows - the performer simultaneously reacts to noise and does not go beyond the defined structure.’ ‘Can contemporary choreography change the world?" - report from the review "Stary Browar New Dance in Malta 2016’
Review of ‘noish~’ × Katarzyna Słoboda
‘In noish~ Maria Zimpel, the body is a membrane, a resonant sound that fills the space gradually, very slowly and evenly. The body responds to actual and sensually imagined vibrations (both inside and outside) by reflecting them off the skin's surface, throwing them out into space so that they return in an unexpected place. The performer's mindfulness reacts to every small event, determining it, but at the same time following it. The air around Zimpel seems to spring and intensify, her body determines various vectors in space, but one can get the impression that it works constantly around a vertical axis. (...)’ Fragment of the text: ‘Vibration. Carnality, sound and voice in contemporary dance’.
Book × Museum of Art in Łódź
Excerpt about the performance ‘What do you really miss’ during the exhibition ‘Moved Bodies. Choreographies of Modernity’, which took place at the ms1 Art Museum in Łódź on November 18, 2016 - March 5, 2017.