> what is it? /
performance history
con • sens • ushappens as a collaborative dialogue between the performer(s) and the environment.
the practice researches possible ways of sensory-based agreement in the widest sense.
drawing © 2006 by Thomas Körtvélyessy.
this can happen in many ways and different (public) spaces, outdoors or even indoors. the accent lies on working together to reach a common goal. this will only happen by relating involved energy.
it cannot be faked or copied in form.
by allowing silence and receptiveness, all actions that come to happen produce the final composition of meeting sensitivities and sensibilities.
>> originally...
... the central theme was to explore the crossing between art and daily life.
gradually and with a (collective) memory building up from the several realisations, it is more and more becoming a practice that could be applied to any interesting situation.
Kronenburg Shopping Centre,
Arnhem Netherlands, July 2004
photo © 2004 by Ingrun Schnitzler
reproduced by kind permission
con • sens • us
was started in Rotterdam, the Netherlands in 2002
by Thomas Körtvélyessy and Eva Tremel.
performances have been organised and produced in
- Arnhem, Netherlands (2002, 2004 Kronenburg Shopping Center),
- Rotterdam, Netherlands (2002, 2004 ZiM , 2005 Perambulação /2nd Architecture Biennial, 2006 ZiM closing celebration)
- New York City (2005 Kinetic Awareness® Center),
- Düsseldorf, Germany (2005 "der schiefe Blick" repeated in Krefeld 2006)
- Budapest, Hungary (2006 "les enfants du paradis")
Eva Tremel
Kronenburg shopping center
October 2004
photo © 2004 by Eva Karczag.
Thomas Körtvélyessy
ZiM Rotterdam, migrant neighbourhood
October 2004.
photo © 2004 by Şule Attems.
both photos reproduced by kind permission
> guest artists -
different people who perform this concept will find a different focus each time and with each setting. as long as the basic givens are maintained, each one can enrich the notion of consensus and develop it further.
thanks to:
performers - Andreas Simon, Meredith Nadler, Aharona Israel, Janine Brall, Ingrun Schnitzler, Claudia Heu, Amanda Rouse, Andreas Schmidt, Rolande Beugré, Karin Böszer, Shinsaku, evnodm (Don Springer)
musician & costume designer - Pierre Verbeek †
co-choreographers - Elaine Summers, Christine de Smedt, Andreas Simon, Meredith Nadler
photographers - Şule Attems, Ingrun Schnitzler, Eva Karczag, Doron Hanoch, Ludger F.J. Schneider
video-documenters - Corien van der Poll, Lina (ZiM), Geeske Kanters
advisors - Luz da Camara, Eva Karczag, Meg Chang, Mary O'Donnell-Fulkerson
supporting organisations -
Epicentrum Arnhem
Akasha Arnhem
ZiM Rotterdam
Kinetic Awareness® Center New York City
Mirta Demare gallery
tuzrakter independent cultural center Budapest
posted by Thomas Körtvélyessy at 2:37 PM
4 Comments:
a thought:
consensus is always there and present. animals have it completely, in their ways. so do we.
vocally expressed language merely helps specify and focus on specific aspects.
i could also imagine consensus in a theatre as an evenings performance.
also in a political context, or as a way of practical counselling.
in 'available tension' which has also become a practice from starting as a series of pieces/performances, I most often work solo.
'con.sens.us' however clearly links me to others and now that it starts to spread, i believe it provides very valuable learning experiences to all involved.
it's been a long way since i've started working outdoors because of the freedom i found as a creator, as well as seeking contact with the world around me.
my next step is actually to try and apply this to larger and larger groups getting into unimote actions, professionals, then amateurs...
it is something I want to do this coming season.
whenever I practice con·sens·us and I co-create with my environment, I follow the realization that no one can escape from 'the others'/my environment and that any kind of exploitation leaving 'the others' behind, eventually will get ME down and endanger ALL survival.
I couldn't have developed this practice on my own, I needed others to work with. each one of us contributed and helped everyone else to grow by it. no one can pull out and claim all benefits for themselves without loosing the core thing.
by doing con·sens·us we are finding possibilities where productive co-existence and co-operation IS very possible and practical.
to me this is also a political activity and very much of this moment in time, when more and more people realize that the tradtional ways of exploitation in the above sense have reached proportions that one can no longer continue at this global scale, that I NEED the other to live, even if that other is no longer from my immediate community. the minimum of that person is now clearly influencing my lifestyle.
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