»the flexible person cannot agree with one opinion, he will no longer have rest, he is where the wind drives him. we are drifting aimlessly today. (drift: to drive, to be driven) « (richard sennett)
»i am the unfinished, the imperfect person, i live in a vortex of change like in a white nebula, in the non-senses, and when my mind is full of restlessness, my soul cannot reflect the world. our fears are eating up the ropes of life, but i’m learning to be here. to become a person: this myself, a model of something that was never designed. the suffering, the unprotected, the sensually limited, the fearful, the planning, the weak, the destructive, the forgetful, the aging, the mortal person.« (toula limnaios on »drift«)
»… here, the media confusion is achieved completely without video, the spectator zaps from one room to another. one has to get used to curbing the greed of not being able to control everything visually. but this is absolutely intoxicating.« (berliner morgenpost, andrea philippi, 2002)
drift is a joint production of the cie. toula limnaios and the foundation bauhaus dessau. the performances at the bauhaus dessau were funded by the npn, from the federal means.
guest performances: berlin, dessau, dortmund
»a knot in time. what is a flexible person? /// with ›drift‹ the company is showing an impressive piece of work that was created in collaboration with the foundation bauhaus dessau. the piece responds formally to the architecture of this strange space and internalizes current media-theoretical approaches, without losing the artist’s soul poetry. the stage is divided into two worlds by large mirror walls.
passages of human existence overlap to the ralf r. ollertz` haunting music made of engine roars and everyday fragments. while chandana hörmann and ulrich huhn coexist in silent dialogues, cradle each other protectively in abstract waltz variations, or take off masks of their own emotions, the sinuous body of limnaios, distorted with shadows of distant gestures, is reflected on the other side. here, the media confusion is achieved completely without video, the spectator zaps from one room to another. one has to get used to curbing the greed of not being able to control everything visually. but this is absolutely intoxicating.« (berliner morgenpost, andrea philippi, 2002)
»… instead of touching someone else’s hand, they fan themselves, exhale compressed air, or wrap their arms around their own waist.
this results in tragicomic situations, such as attempting to fly in a state of dazzlement, or formulating a loss report in orthographic gestures. this intended impression is reinforced by ralf r. ollertz` congenial composition, which comes across as an alienated adaptation of a godard`s soundtrack, the music for an atomized movie.« (mitteldeutsche zeitung, andreas hillger, 2002)