Zuzana Ernst

[zuzanaernst]

BEISLGESCHICHTEN // Myth.Archive // work in progress von tangent.COLLABORATIONS

BEISLGESCHICHTEN ist ein mehrstufiges, sich ständig weiterentwickelndes Theaterprojekt, das sich der Hinterfragung von Alltagsmythen widmet. Der Rechercheausgangspunkt ist das Wiener Beisl, wie es in verschiedensten Narrativen heraufbeschworen wird: eine in Neonlicht getränkte, verrauchte,  männliche Gulaschwelt, in der jeder jeden kennt. Eine Welt der G’miatlichkeit, wie aus einer anderen Zeit. Das hier vorgestellte Projekt besteht aus zwei Komponenten. Zum einen wollen wir unser in Wien angelegtes Archiv öffnen, mit BürgerInnen anderer Städte in den Dialog treten für neue Kneipengeschichten, Eigenarten Lokalpatriotismus und deren KritikerInnen. Zum zweiten machen wir uns das Archivmaterial für unser Theaterstück „Temporalinsolvenz- Auf der Suche nach verlorener Zeit“ zu Nutze, welches sich mit der Anziehungskraft des Monstrums Nostalgie auseinandersetzt.

http://beislgeschichten.tumblr.com/  - Digitales Myth.Archive (Blog aus Phase 1 der Beislgeschichten) https://vimeo.com/141986594 - Dokumentation des Performance Temporalinsolvenz (Phase 2: erste szenische Skizze im Rahmen von der artists in residence 96amStück, Basel) http://www.tangent.at - offizielle Homepage des Kollektives

[zuzanaernst]

IN-BETWEEN                                                                                

by tangent.COLLABORATIONS, 2013

www.tangent.at

This piece investigates how movement reacts to space and respectively, how space can be influenced by the presence of a body. 

In-between is a collaboration between two scenographers, a musician and a dancer, through which image, sound and movement are created simultaneously, as action and reaction to each other.

This is a site-specific piece, recycling physical information of informal performance spaces, resulting in a performative installation that takes you on a psychological journey to the in-between. 

Dance: Natalie Fend

Sound: David Kammann

Scenography: Zuzana Ernst, Alina Rosalie Huber

fotos: © anja köhler | andereart.de , © jan ernst

[zuzanaernst]

VA Y VIENE

Songs of Spaces - a score of space and time, 2012

fans, plastic foil, projection, sound track (waves, wind)

www.songsofspaces.wordpress.com 

http://issuu.com/zuzuza/docs/songsofspaces_book

http://issuu.com/zuzuza/docs/songsofspace_catalogue

This work is part of the series Songs of Spaces exploring the temporal space of a voyage, a space perceived in motion, where sound forms the main structural element. Thus, space becomes a path and the path a composition - a composition following a score of sounds of places experienced on a journey. The recordings relate to objects and textures installed in the space. They tell a story, transporting you to a different place, part memory, part imagination. 

[zuzanaernst]

 SALAR

Songs of Spaces - a score of space and time, 2012

salt, blue pigment, water containers, sifting mechanism, laminate, sound track (salt lake, footsteps)

www.songsofspaces.wordpress.com 

http://issuu.com/zuzuza/docs/songsofspaces_book

http://issuu.com/zuzuza/docs/songsofspace_catalogue

This work is part of the series Songs of Spaces exploring the temporal space of a voyage, a space perceived in motion, where sound forms the main structural element. Thus, space becomes a path and the path a composition - a composition following a score of sounds of places experienced on a journey. The recordings relate to objects and textures installed in the space. They tell a story, transporting you to a different place, part memory, part imagination. 

[zuzanaernst]

TRAZOS

Songs of Spaces - a score of space and time, 2012

ceramic reliefs, shelf system, integrated piezzo speakers, sound track (engines)

www.songsofspaces.wordpress.com 

http://issuu.com/zuzuza/docs/songsofspaces_book

http://issuu.com/zuzuza/docs/songsofspace_catalogue

This work is part of the series Songs of Spaces exploring the temporal space of a voyage, a space perceived in motion, where sound forms the main structural element. Thus, space becomes a path and the path a composition - a composition following a score of sounds of places experienced on a journey. The recordings relate to objects and textures installed in the space. They tell a story, transporting you to a different place, part memory, part imagination. 

[zuzanaernst]

PASADIZO

Songs of Spaces - a score of space and time, 2012

folding camera shell, tripod, fish eye door lense, integrated piezzo speaker, back-projection on canvas, sound track (latino music, cars, street noice)

www.songsofspaces.wordpress.com 

http://issuu.com/zuzuza/docs/songsofspaces_book

http://issuu.com/zuzuza/docs/songsofspace_catalogue

This work is part of the series Songs of Spaces exploring the temporal space of a voyage, a space perceived in motion, where sound forms the main structural element. Thus, space becomes a path and the path a composition - a composition following a score of sounds of places experienced on a journey. The recordings relate to objects and textures installed in the space. They tell a story, transporting you to a different place, part memory, part imagination. 

[zuzanaernst]

MOVING MOUNTAIN

Parcours II: Impulstanz, Aspern Flugfeld, Vienna, 2011

 Pebbles dug from within the heart of the city, forming an inside out view of the lake.  What once was beneath is now above… a scaling mountain of restless pebbles, holding within the memory of history… the history of Aspern soon to become the rings and roads hoping to form a new history.  A resurrected history emerging from the rocks creating a waterfall of pebbles.  A large shadow crane performed its slow rhythm, reminding one of the large yellow crane digging up the rocks to form the lake, before knocking loose a figure at the bottom and then scraping one down from the top. Rhythmic sounds of falling stones moved through bodies. Sliding, skimming, rolling… making a pathway to the bottom before the two figures meet… a consoling moment after the disturbance.  The two spiral and support and embrace… picking up the pace as they reach the ground below.  Falling into a pendulum run as if to long for the waves of the lake, running in search for their home.

Dance & Choreography: Emily Morgen, Renée Kurz

Scenography: Zuzana Ernst

[zuzanaernst]

LEJOS

a collaboration with Galo Moncayo, 2011

An old piece of furniture inhabited by an artificial landscape. Out of the drawer peak three little fans that let the grass sway in the wind, sometimes in focus, sometimes blurred.

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ABSENTLY IN PLACE

performance, exhibition, 2011

http://einekleistroskopie.blogspot.com/

https://vimeo.com/55970302 

Who is the puppet and who the puppeteer? Who leads and who follows? Or is it about the space in-between, which results in the process?

By manipulating space and body, the kleistian center of gravity is shifted deliberately and provokes a reaction. The borders between puppeteer and puppet dissolve. The question who leads and who follows turns obsolete.

The space, full of memories and objects, perceived as obstacles, imposing limited paths and obstructing free movement, serves as inspiration and reference – audio-visually as well as physically.

Sound recordings and projections communicate with the movement of the dancer, processing the memory of the space, in ab-/presence of the objects, which – in a sense - still pull the strings from afar.

Dance: Valerie Bosse

Sound: David Kammann

Scenography: Zuzana Ernst, Alina Rosalie Huber

[zuzanaernst]

LOS DOS ESCELETOS

A collaboration with Galo Moncayo and Julia Reichert

Stückwerk: Neue bewegte Sachen. Kabinetttheater, Wien, 2011

Die beiden Skelette A und B, die Knochen von der Sonne gebleicht, unterhalten sich im Schutz der Friedhofsmauer sitzend.

...

Schweigen. Skelett B bläst durch sein eigenes Schienbein, und eine sanfte Melodie entsteht, die kaum merklich die Spitzen der Brennnesseln in Schwingungen versetzt.

Vergeblich versuchen, die vor hundert Jahren gestorbenen Schlangen- gerade nur ein Rosenkranz kleiner Knochenplättchen-, der beschwörenden Musik zu folgen und sich wie in alten Zeiten des fulminantes Giftes aufzurichten.

[zuzanaernst]

CROSSOVER EXHIBITION

a collaboration with Mirta Bilos 

Design for Sliver Gallery, University of Applied Arts, Vienna, 2009

[zuzanaernst]

DISSOLVED BY LIGHT

Pavilion for Sigmund-Freud Park, Wien, 2009

Crossover Studio. Digital Project. Architecture.

The pavilion acts as cultural attractor, drawing people in from three major axis coming together in a center courtyard. Simple geometrical rules determine shape and rooms of the three surrounding spaces. The pavilion becomes a collage of different functions, materiality and hence light conditions, creating always changing atmospheres.

[zuzanaernst]

REFLECTIONS

C-prints on archival paper, 200 x 30 cm, 2009

[zuzanaernst]

SHADOW HUNT

Video montage 3'14", a collaboration with Galo Moncayo, 2009

[zuzanaernst]

29000 DUCKS AT SEA

Interdisciplinary collaboration.

Workshop at Scenofest, Prague Quadrennial, 2007

https://www.youtube.com/watch?v=M0nSHcJBjVU

Trapped in a tightly enclosed space feeling the breath of the surrounding bodies. It is dark but for a small flashlight suspended from the ceiling slowly swinging back and forth. Distant metallic sounds are heard through the walls. Meanwhile performers speak at random telling the story of 29000 rubber ducks floating in their grand salty bathtub. With a loud bang the doors open and the performance begins...  

Eleven years ago, a container crossing the Pacific Ocean, filled with 29000 rubber ducks, unexpectedly shipwrecked. Suddenly, the ducks [made in China] destined to supermarkets and personal bathtubs, found themselves floating in the vast cosmos of water. We were interested in our reaction to the contrast of extreme confinement inside the container versus the infinite expansion of the ocean. Zealous to reach a highly international audience by drawing from our diverse design backgrounds, our play turned the spoken word into light, shadow, and sound. 

The story was conveyed visually creating multiple levels of performance: the actor, the projected image, the shadow. Choreographed to instrumental pieces of music, the actors and their shadows interacted and became one with the manually manipulated projection on the wall. Consequently, the audience’s experience entailed three layers: actual performance in the space, simple manipulation of the projection, and the resulting shadow play on the wall.