Online work SCORES OF MATTERS by Eva Meyer-Keller was created as a contribution to The Dynamic Archive in cooperation with the Schwankhalle Bremen, as part of the Artist-in-Residence program of The Dynamic Archive.
SCORES OF MATTERS choreographs a game in and with the principles of the artistic practice of Eva Meyer-Keller without defining or fixing them. The user enters a densely populated ‘No-things-land’ of/from/in between 100 objects—everyday things, technical equipment, stuff. The things refuse to be ‘simply’ at hand. They flirt with the promise of functionality or practical use and at the same time resist, actively and passively. They constantly get in the way in a productive manner. This is precisely why they have been such important performing and co-choreographing partners in Eva's work over the last 20 years. And this is why they are also the navigation system in SCORES OF MATTERS.
IDEA / CONCEPT / TEXT / DEVELOPMENT
Eva Meyer-Keller, Ilya Noé, Emilia Schlosser, Constanze Schellow, Jules Urban
PHOTOGRAPHY
Eva Meyer-Keller, Adam Blaufarb
DESIGN & DEVELOPMENT
Liebermann Kiepe Reddemann
INITIATED AND SUPPORTED BY
The Dynamic Archive, Prof. Andrea Sick , Irena Kukric
Schwankhalle Bremen, Pirkko Husemann
As part of the process of SCORES OF MATTERS Eva and her collaborators gave two lecture-performances: SCORES OF MATTERS and ON THE LONG LASTING INTIMACY OF STRANGERS
SCORES OF MATTERS / Lecture Performance by Eva Meyer Keller, Ilya Noé & Emilia Schlosser / December 12th 2019, Schwankhalle, Bremen
The Schwankhalle is the partner of the interdisciplinary research project ›Das Dynamische Archiv‹ of the University of the Arts Bremen. The online platform based on ›open source‹ logic brings together tools and methods of selected artists willing to share them with others. Upon the invitation of the Schwankhalle, the choreographer Eva Meyer-Keller feeds a speculative and subjective glossary of 100 objects into ›Das Dynamische Archiv‹. The objects play a pivotal role in her performances: everyday things like apples, adhesive tape or tampons. As individual ›entries‹, they encapsulate historical as well as hallucinatory, mundane as well as philosophical narrations that branch out to form a complex system of references. As an archive within the archive, ›Scores of Matters‹ plays with unsuspected possibilities of (dis-/re-)orders of things whose status we believe to know.
DE/
Die Schwankhalle ist Partner*in des interdisziplinären Forschungsprojekts Das Dynamische Archiv der Hochschule für Künste Bremen. Die Online-Plattform mit „Open Source“-Logik versammelt Tools und Methoden ausgewählter Künstler*innen, die sich bereit erklärt haben, sie mit anderen zu teilen.
Die Choreografin Eva Meyer-Keller speist als Antwort auf die Frage, wie man eine aktive künstlerische Praxis in die Logik des Archivs überführt, ein spekulatives und subjektives Glossar aus ca. 100 Objekten in Das Dynamische Archiv ein. Es sind Dinge, die in ihren Performances eine zentrale Rolle spielen: Alltagsgegenstände wie Äpfel, Klebeband oder Tampons. Als einzelne „Einträge“ bündeln sie historische wie halluzinatorische, banale wie philosophische Erzählungen, die sich zu einem komplexen Verweissystem verästeln. Als Archiv im Archiv spielt scores of matters - wie Meyer-Kellers Arbeit und auch der heutige Einblick in die Erarbeitung der Archivstruktur zeigt - mit ungeahnten Möglichkeiten der (Un-/Um-)Ordnungen von Dingen, deren Status wir zu kennen glauben.
Biography
Eva Meyer-Keller works at the interface of performance and visual art. Before graduating from the School for New Dance Development (SNDO) in Amsterdam she studied photography and visual art in Berlin (HdK) and London (Central St. Martins and Kings College). Her artwork is distinctive due to its meticulous attention to detail. Eva often uses everyday objects from her immediate surroundings, things that she finds at home, in the supermarket or in the tool shed. This inevitably lends the work an obsessive, domestic aesthetic. Her working method is marked by a constructive disregard for the imposition of any boundary between visual and performing arts. Her works include the performances DEATH IS CERTAIN (from 2002 and performed in more than 200 venues around the world since), PULLING STRINGS (KunstenFestivaldesArts, Brussels, 2013), the installations VOLKSBALLONS (2004 Palast der Republik, 2013 Centre Pompidou-Metz) und HANDMADE (NGBK Berlin, Bonniers Konsthall Stockholm, Palais de Tokyo Paris). Currently she is working on a trilogy of performance works in dialogue with natural scientists focusing on how models do not just describe reality, but rather they create their own. The first part titled SOME SIGNIFICANCE premiered in November 2017, while LIVING MATTERS, the second part, will open in November 2019 in Pact Zollverein in Essen. Eva develops projects alone and in collaboration with other artists, such as Uta Eisenreich, Sybille Müller Kate McIntosh and Ilya Noé. She also lends herself as a devisor and performer to other choreographers and works as a dramaturgical advisor/mentor. She has worked with Baktruppen, Jérôme Bel, Christine De Smedt/ les Ballets C de la B (9x9), Juan Dominguez and Agnes Meyer-Brandis. Since 2010 she has ongoing teaching positions at several degree programs across Europe amongst others at the HZT/UdK and Bard College in Berlin, DOCH and the MA course 'The Autonomous Actor' in Stockholm, ZHdk in Zürich and the University of Hildesheim.