http://vimeo.com/10089465

A film about a pufferfish, a peacock on a journey - exploring different fragments of identity in five rooms.

IDEA | DIRECTION | CHOREOGRAPHY | EDITING | COSTUMES > Miriam Welk

DIRECTION | CAMERA | LIGHT > Alexander Katzmann

DANCE | TEXT > Thomas Hart, Tim Olcay

MUSIC > Abriged too far "retreat to fade" and "the doody waltz", Alva noto "prototype n", Casino versus Japan "whole number play the basic", Freeform "spandoe", Housemeister REMIX Siriusmo "who is that noise", Martin Trétreault & Otomo Yoshihide "sputnik", Rob Ellis "six pieces for instruments: ii jirky"

LOCATION
FriedrichstadtZentral, Dresden

Dresden 2009


peacock pufferfish express

http://vimeo.com/10285585

CHOROEGRAPHY | EDITING >
Miriam Welk

CAMERA | LIGHT >
Alexander Katzmann

DANCE >
Zohar Ren Karni

MUSIC >
Aqua "Barbie Girl"
Sabrina "Boys"
Rotator "DAM12.001 b1"

Berlin 2008


the inside is out

BEEP! BEEP! HOLY SHIT! was developed together with Anne Hubert, Violeta Wulff Mena, Xenja Füger and Clemens Wegener. It was my semesterwork of the MA program in choreography at Palucca Hochschule für Tanz Dresden.
BEEP! BEEP! HOLY SHIT! is a performance for three young dancers, where taboos embodied through thoughts, feelings and situations are explored and brought to abstracts levels like dance, music and language. We didn't want to show actual taboos, rather than dealing with the personal aspects of that topic in a sensitive way.

Click here http://vimeo.com/36912630 to see a short video of the survey, which was a part of the rehearsal process.

PREMIERE >
January 25, 2012 Theaterhaus Rudi, Dresden

FURTHER PERFORMANCES >
January 26, 2012 Theaterhaus Rudi, Dresden

Foto: Timo Gmeiner

BEEP! BEEP! HOLY SHIT!

http://vimeo.com/39828492
Disgust doesn't only relate to biological decomposition processes but also to social groups and behavior. In Pasolini's work disgust manifests itself as moral and sexual squalidness, which he associate with fascism. Sartre conceives disgust rather as senselessness and randomness of existence. After all disgust is an important topic of groundbreaking philosophical reflections and concepts of the 20th century.

The connection between the human-existential and soical disgust can be seen, for example, in the viewing figures of TV-Shows like Das Dschungelcamp on RTL - the market share was at 40 percent, meaning 7.28 milion viewers – in which celebrities of Germany eat maggots and get showered in cockroaches. Mass-media shows such as Gnadenlos Gerecht (Sat.1) and Das Messie-Team (RTL2), feign to be debates on a socially-specified dimension. Yet hey point their finger at distorted social images without, however, identifying and analysing the underlying social pathologies.

The insights of science are always lesser than the pool of man's experience. Every scientific interest in insight is always confronted with certain leftovers, realities that are methodically elusive. In so far as disgust is the eruption of the negative and the carnally-unknown, science is constantly faced with its limitations. The present with its complexity of diverse indexes can only be captured, simulated and experienced by and through art.

With die made im speck we attempt to collectively approach the dimensions of social disgust from different angles and to further deconstruct it. This deconstruction will touch on and confront us with our own boundaries in relation to our moral, our mentality and our patience. In this respect, the different artistic fields shall converge to a total work of art. The installation, which encompasses the stage, creates a space of perception that touches on the viewers senses. Images – projected and on screens – examine symbols of social classification and rejection along with the fetisch. The soundinstallation amends the installation and sets a dramaturgical composition for the performance. In the performance the dancers' range of movement is constrained. Via dance boundaries of tolerance shall be experienced and overcome. The constriction of movement is attributed to the maggot-costume. Further, the dance is accompanied by three monologues of the dancers in which they express their thoughts on their existence as a maggot, bweildered and sometimes schocked about themselves ans their surroundings. Finally, in a lecture and succeeding debates thesis which have been developed in the work process shall be presented and discussed.

TEAM >
Choreography: Miriam Welk / Installation: Shuah Brotherton, Josefine Lindner / Performance: Julia Metzger-Traber, Marielle Kleyn Winkel, Vasso Polymeni /  Music: Loretta Meyer / Soundinstallation: Laurentx Etxemendi / Costumes: Bergit Faßl / Lectures: Harald Pittel, Feray Halil

PREMIERE >
may 15, 2012 / PANKE Berlin DE

lecture > 18.30 hrs
 performance > 20.00 hrs



FURTHER PERFORMANCES >
may 16 - 18, 2012 / PANKE Berlin DE

more infos:
http://miriamwelk.de/index.php?/projects/die-made-im-speck/

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die made im speck | an installation and performance project about the dimensions of social disgust

wilde pferde are wild!
wilde pferde are many!
wilde pferde are idealistic!
wilde pferde wish for miracles!

wilde pferde is an artist collective initiated by Miriam Welk in summer 2010. The first production PhRasen der Dressur - Eine Herde findet ihren Weg is based on the performance PhRasen der Dressur from 2009 and was devoloped in the frame of the artist camp at OSTRALE'010 in Dresden DE.

wilde pferde approach these questions in ways of vision, acoustics, dancing, throughout the borders of individual genres. Their performances unify contemporary dance with acting, sound art, stage and costume design and creates multilayered aesthetics. Wild they are, free and sometimes disruptive. "The wildness forces you to change perspective, to broaden your horizon." And why horses? "Horses are sensitive gregarious animals but still have individual characters. They symbolize freedom and autonomy. Human culture is unthinkable without them. But - wild horses are an endangered species." 

http://vimeo.com/10061117
http://vimeo.com/18678739
http://vimeo.com/26483270
http://vimeo.com/31892520


wilde pferde

http://vimeo.com/8377994

Treasure Factory is an improvised dance and music project by Meyrick Kaminski (Australia/UK) and Miriam Welk (Germany). Kaminski comes from a background in fine art and electronic music, while Welk is involved in performance and choreography.

In our process and performances we employ chance operations and improvisation to transcend everyday, verbal communication. Every performance is a unique sound, movement and costume composition. We use elements of chance to define the title (of every piece). This informs the samples that are used, and the movement employed. Through performance, we arrive in a new space, where sound, structure, space, words and movement are sensitised, and narrative is a destination for the audience to reach in their own minds. By revealing the gaps between thought and narrative, we create space for a game with the fragments of daily life.
With freedom comes restriction. As much as every performance is an improvisation, it occurs within a defined structure. It is this confrontation with the edges and boundaries of stability that create momentum. The performance frames a question - addressed towards ourselves and the audience. Easy answers are not always forthcoming. Easy answers don't always satisfy either. Through the exploration of freedom against restraint, we seek new answers beyond language. 



treasure factory

wror is an attempt to describe the sound you hear and feel, when you have high pressure on your ears. And an attempt to describe the way you see, when your eyes are unable to focus. It is a tautological attempt to define a state of being in between. Being stuffed in the border between outside and inside. The wideness of the compressed perception leaves you feeling numb and deluded.

this project inlcludes a dance film, a solo performance and a duet.

 http://vimeo.com/23095181
 http://vimeo.com/25862768
http://vimeo.com/39391848

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Miriam Welk