(see videos on the YouTube channel Feigl300)
„Five minutes is the unit that I chose for this series of performance. An operation, a sequence, a situation that starts, is conducted and ends within 300 seconds. Five minutes of time one should be able to spare for literally everything. Five minutes cannot be asked too much. It is a unit that immediately makes sense to anyone and everyone – at the same time invites for individual experience. At times over when it just started. At times endless.“
300 is a 24 hour experimental video film in the making. It consists of a body of about 300 live performances – mostly studio work, sometimes presented infront of audiences but always performed for the camera. Each single performance lasts 300 seconds - five minutes. The performances included in 300 cover various and very different types of performance such as artistic, social, sculptural/iconographic, ethnological among others.
300 approaches the question "What is performance?" from the perspective of a performance artist. It confronts the massively increasing use of the word "performance" for and within a parallely increasing number of contexts and areas of knowledge, information and life. "Performance" appears more and more as a a valid description of ones behaviour and acting, in more and more areas and situations generally referred to as life – in other words that what commonly is perceived as reality. Is life becoming a series of performances? Is actually everything performance? If so is that a fact to be welcomed – or to be opposed?
TEOTWAWKI – The End Of The World As We Know It. An acronym coined by the prepper community. Survival specialists who prepare themselves with rigorous storage plans, prayers, bunkers, first aid training and target practice to survie the final catastrophe. Popular scenarios are among others the eruption of a mega volcano, the global crash of stockmarkets, climate change, terror attacks or the zombie apocalypse. Preppers take them all very, very serious. And they do prepare. Burmester & Feigl appropriate these paranoid views on the world to gain an understanding of the all encompassing fears and obsessions with security so characteristic for our contemporary western societies.
Premier: October 2014
Venues: Sophiensaele Berlin
The Uncanny Valley is a space that does not exist outside virtuality. Brought into existence through construction of two identical spaces in different parts of the the world and superimposing the live images from the two locations through video streaming in a way far removed from Skype calls and video conferencing a third space is created – the telematic space. This space allows performers and audiences in different parts of the world to merge and occupy each other, in a doubled space that is half there, half not there.
Entering telematic space, merging with remote beings, creating spatial situations and third performing entities – unstable in all aspects – pushes the limits of the common understanding of here and now, cause and effect – of what one usually likes to understand as reality. Starting with some few reduced conceptual questions apparently simple and mundane situations become a well of desaster and chaotic effects. The complex sequential dependencies make it literally impossible to execute and fulfill the carefully scripted and rehearsed theatrical reality. These performances provoke the well tuned theaterical machinery to collapse. Each performance becomes a manifestation of the contingency of being. A celebration of the beauty of the theatrical situation as something that happens against all odds, provoking chance and fate – something utterly unique.
Dissolved – The Uncanny Valley connected two venues, Beaconsfield in London and Sophiensaele in Berlin, in a collaboration between Julian Maynard Smith/Station House Opera (link: www.stationhouseopera.com/project/6194/) and Berlin-based artists Florian Feigl and Christopher Hewitt (link: www.liveartwork.com).
The Berlin production was funded by HKF – Haupstadtkulturfonds. The London production was developed through an AHRC Fellowship at Royal Central School of Speech and Drama and supported using public funding by the National Lottery through Arts Council England and British Council.
Premier: March 2014
Venues: Beaconsfield London & Sophiensaele Berlin
In autumn 2013 Jörn J. Burmester and Florian Feigl invited five performance artists from Germany, England and Denmark to join them in their Wunderkammer at Sophiensaele Berlin.
Burmester & Feigl's Hermetic Garden was installation, research extravaganza, conference of conjuroring artists and series of shows half-way between dark cabaret and punk academia. With performances, lectures and talks they illuminated and tested transitions between performance art and magic for five days.
Premier: October 2013
Venue: Sophiensaele Berlin
a performance series by Florian Feigl and Joern J. Burmester
Ten years ago: a bunch of students from Hamburg with small cutters in their hands are not afraid to die. A bearded prophet with warm eyes becomes the terror of the western world. President W. declares War against Evil.
Enter Joern J. Burmester and Florian Feigl. They interpret the new world order in a series of performance lectures. To understand they use the Hollywood movie "Rambo III" with Sylvester Stallone as backdrop. The "Ueber"-soldier - man-made by Colonel Trautman, not a creation of God - whose body is home to war became a reliable guide for the trip through the mountains of Afghanistan and many representations of Evil.
Ten years later. Everybody is ten years older. John Rambo went home - back to his fathers ranch. Years earlier George W. did the same. And Osama? A video shows an old man slightly twisted from the back watching TV - as proof of his death! The other proof that he's dead is a photo showing the US president also watching TV.
Burmester and Feigl ask: Is that how victory against Evil looks like? Everybody watching TV?? Did actually end anything at all???
Follow us in new chapters! Feigl and Burmester are back - with Rambo Revisionist, with new thoughts, new manifestos, new performances!
opening: March/2011, Samtalekøkken/Copenhagen
a gallery tour by Jochen Roller and Florian Feigl
In October 1960 Yves Klein jumped out of the window of an apartment in Paris. Klein's "Jump into the Void" documented on a photography by Harry Shunk soon becomes a key moment of art history and a myth of performance art. Klein set the jump up as a proof for the possibility to overcome the materiality of art. At the same time he never denied that the photography was the result of various and complicated processes of manipulation. Thus by its paradoxical double function as proof and fake the photography becomes the spectacular manifestation of a strategy that Klein employes to encounter the fetishised relation towards materiality as it is growing ever more in art market. The Berlin based performance artists Jochen Roller and Florian Feigl take the photography as starting point for the performance -VOID-. They take the audience on a guided tour through an exhibition of thoughts about the materiality of art. Longing to overcome that same materiality they try out various possibilities, invent stories, construct causalities and sketch out utopian scenarios. They argue to value aesthetic experience more than the material exploitation of art.
full catalogue available on demand (mail to: mail[at]florianfeigl.com)
opening: August/2010, sophiensæle/Berlin
produced by Jochen Roller and DepArtment
co-produced by sophiensaele, Berlin
funded by Hauptstadtkulturfonds
performance: Jochen Roller, Florian Feigl
light design: Henning Streck
set: Darryll Roller
production: DepArtment / Harriet Lesch, Katharina von Wilcke