In July 2013, Jasmin Schaitl and William “Bilwa” Costa began a collaborative duo. Since then they have performed, led workshops, and have been artists in residence in Vienna, Berlin, Helsinki, Tallinn, Tartu, Oslo, Poznań, Nürnberg, Bristol, and Istanbul.

Their work is a continuous process of: practice, assessment, reflection, accumulation, and reduction. The two artists have an ongoing series of performative actions, as well as interest in further research through leading workshops.

Their performances address the physical relationship between two performers while exploring the correlation between, and potentials of: duration – ephemerality, proximity – distance, transformation – alteration, and duality – unison.

Their goal is to reduce, minimize, and find the essence of each action.

group projects

In addition to their duo, Jasmin and Bilwa collaborate with Akemi Nagao as Collective 三 (3) . They also work in larger groups, as part of ongoing projects titled Co- and sub_space, which focus on concept and time-based scores.

collaboration w/ William "Bilwa" Costa

Collective 三 (3) is the multi-disciplinary trio of Akemi Nagao, Jasmin Schaitl, and William “Bilwa” Costa.

They have worked together, in different combinations, since February 2013. As a trio, they began research in March 2014 at Tanzfabrik, Berlin and debuted their first piece, movement-sound-action at EchoBücher. In October 2014, while in residency at workspacebrussels/KAAI Theater Living, they developed and had a first showing of their new piece III (1).

In January 2015, the collective will be in residence in Tanzfabrik, Berlin where they will further develop III (1). 
In March 2015, the collective will premiere their new piece III (1) at PERFORMATIK at KAAI Theater, Brussels.

Collective 三 (3)

Intimacy is instrumentalized for commercials and turned into passive commodities behind shopping windows. This resembles powerlessness and people are reduced into mute objects. Jasmin Schaitl‘s performance positioned itself between active provocation and passive reticence. It triggered a dialectic examination between the object of performance and the audience.

Within the original performance, she put plaster around her whole body and then painted it gold. The meditative way of doing this was underlined through a lit candle. A mirror was placed between her spread legs in order to provoke. This female sculpture might be seen as a product of our society.

Comment #12

Archive, Document, Artpiece,...?

Performance documents, performance photography or photography...
All these definitions and materials together can be seen as a means to archive actions, situations and objects. the photography deceives the act of performance and is transforming the ephemeral action into something steady. Often the photographic document is becoming more importance than the live act and is replacing the performance itself.
in this series, the topic of representation of performance art is challenged. it is not clear if the setting of the pictures are staged or if it is a result of a performance.

http://jasminschaitl.com/jasminschaitl/files/gimgs/27_dsc0127klll.jpg http://jasminschaitl.com/jasminschaitl/files/gimgs/27_badewanneklein.jpg

Dokument -Series

The performance aims to allegorize the process of acquiring and releasing material possessions. The black tape is a symbolic connection to our roots (e.g. country of origin, family, culture). They affect how far we come in life in terms of acquiring physical and social capital.

Therefore the white radiuses depict the reach of our potential paths in life. On one hand the black tape places us in an interdependent responsibility with our roots. On the other the white tape defines our range of motion affected by the growing physical and social capital.

Through the release of these (im)material possessions, we reclaim our natural scope for development. What remains is our skin – the last which we can always call our own.
http://vimeo.com/27668300

Tape-Loop

The video projection of my person, the torso formed after my body, and my real me create the space and offer the format for the performance. The torso is the static connection and the interface which permits the communication, where space and time is coordinated between the projection and the real me.

During the performance, the projection of my person disrobes itself stage by stage and puts the shirts behind the torso. The real me takes the materialised fabrics from behind the torso and dresses itself with it.

Within these movement cycles, the three levels of representation develop a certain relation. In the one hand it seems as a coordinated order, and on the other one there you can follow a discontinuity in the communication. The repeated but diversified interaction reflects visual forms of representation and perception of a staged-self.

As an antipole to the digital video, there is the use of the mirror as an analogical support.
My observation of my projected me in the mirror intensifies my presence and implicates another level of reflection. A reflection of coordination and dependence. The mirrored actions navigate me in through the real space.

My body and the performance present my offered field of artistic interaction, which broach the issue of replaceability, reproducibility and the woman as an object of exposure.
Through my entering in the digital space (beamerframe), the projection and the real are meeting temporarily.
The three levels of representation of myself in the performance, come together in the manner of reflection, poetry and present the,self in a perishable act.

http://vimeo.com/19062142

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