Live Art Writing
Stream is a platform for texts motivated by live art. Stream is open to an expansive understanding of “Live Art”. There will be texts that are inspired by a specific piece or body of art – the writer’s own artistic work or someone else’s, texts that are unfolding notions of live art, texts that are dealing with developments and transformations by the art form as such.

We understand writing as a movement practice and see our texts as autonomous pieces. We write and publish experimental, literary, poetic, theoretical, and critical texts, stemming from performances and live art practised and presented across Berlin and beyond.

Stream is not intended as a publication for reviews. Rather, we come together as an open group of people sharing the desire to write; we commit to a regular frequency in which texts are published according to our needs and capacities. We keep everything as simple and as open as possible: the core is writing live art. No further concept, no pre-given formats or limits, but the creation of a channel, serving the stream.

We have initiated Stream in these times when live art is not as accessible as it usually is – “live” in this present situation sparks questions of absence, memory and the future, and writing is being rediscovered as a medium that carries over distance.

Here you can read a two-part article about the project in the TanzRaumBerlin magazine (part 1:german, part 2: german/english): part 1, part 2
Stream is located at Tanzfabrik and went live on September 1st 2020. The platform does not have an editorial board and the responsibility for the articles is with the writers. All texts are published in their original languages, mostly German and English.  The current authors are: Angela Alves, Sasha Amaya, Shelley Etkin, Beatrix Joyce, Inky Lee, Sandra Man, Jared Onyango, Lea Pischke, Nicola van Straaten, Susanna Ylikoski, Felicitas Zeeden. Additional writers are welcome to join by interest and invitation.
Contact: stream@tanzfabrik-berlin.de


Inky Lee: Halmoni, part 8

This is the last piece of writing in this series of Puppy talking with its grandma (who is 89 years old and lives in Seoul) about and around performances taking place in Berlin. There is no triumphant resolution or grand exit.
Inky Lee: Halmoni, interlude

In celebration of its grandma’s 89th birthday, Puppy writes about fantasies and memories after watching a private performance, Dirty Non-Dancing, by Marga Alfeirão (‘Marky’), as a part of the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’).

Inky Lee: Halmoni, part 7

After its performance at the Club for Performance Art Gallery hosted by Camila Malenchini (‘Party’), Puppy talks about love with its grandma who is 88 years old (Puppy has mistaken its grandma's age this entire time. Its grandma was born in the Year of Rooster, meaning that she’s 88 years old now, and will turn 89 this year) and lives in Seoul.
Susanna Ylikoski: Live-between-Stream. Livers, masters, Veils

The author reflects on live- and streamed performance art through drawing parallels from David Foster Wallace’s essay ‘E Unibus Pluram: Television and U.S Fiction’.
Susanna Ylikoski / Beatrix Joyce: Three Questions

During the third lockdown we came up with the idea of asking each other three questions about writing and live art. In an ongoing series we publish one duet each time. In this text, Beatrix Joyce and Susanna Ylikoski explore their writing practices. 
Inky Lee: Halmoni, part 6

On Lunar New Year’s Day, Puppy watches a performance, “Searching for Home (In Berlin)”, created and performed by South Korean artist, Hanuel Kang, as part of Unfinished Fridays Vol.73 hosted by Lake Studios Berlin. Afterwards, Puppy speaks with its grandma (who is 87 years old and lives in Seoul) about the performance.
Lea Pischke: Dancer's Diary

It has once been stated that working as an artist is "serious fun". It has also been stated that the work of a dancer is "to be in the moment". This poem has it all: the seriousness, the fun and the immediacy. Such are the pre-requisites to ride through the five stages of despair: 1. confusion   2. anger   3. nervous anticipation   4. hilarity   5. intense delusion. The poem stopped at stage 4.
Inky Lee / Lea Pischke: Three Questions

During the third lockdown we came up with the idea of asking each other three questions about writing and live art. 
In this text, Lea Pischke and Inky Lee ask each other questions and answer them.
Inky Lee: Halmoni, part 5

Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about a video, all the delights of the earth, made by Max Puorro (‘Poppy’), where the artist interviews their grandma after she is diagnosed with leukaemia.
Sandra Man / Nicola van Straaten: Three Questions
During the third lockdown we came up with the idea of asking each other three questions about art. In an ongoing series we publish one duet each time.
Sandra Man: Chora. Moving Space

In a text based on her artistic experience she made during the piece called Chora, Sandra Man reflects on a third genre situated in-between time and space, performance and installation.
Inky Lee:  Halmoni, part 4

Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about performing at "Wir sind die Friedensstatue" (We are the Statue of Peace), a demonstration that happened on 25 Nov 2020, on the International Day for the Elimination of Violence against Women.
Nicola van Straaten: Some Kind of Spell is Read Out Loud, after which a Seeker Seeks a Frequency and then We Talk

The writer takes an indulgently long meander through a recent work entitled, mASCUliN(I)TY, created and performed by Namibian dramaturge, actor and voice & performance artist, Ndinomholo Ndilula.
Susanna Ylikoski: Reading as Performance / Performance as Reading

Where do we speak from? Upon reading our sensory receptors receive information which is then trans-mutated into symbols of meaning in our brain. And to whatever we perceive we respond to.
Sandra Man & Laura Siegmund: Körper, Raum, Text, Publikum, Bewegung

Die Künstlerin Sandra Man und die Tänzerin Laura Siegmund denken aus ihrer Zusammenarbeit heraus über die Bezüge zwischen Körper, Raum, Sprache und Publikum nach. Sie beschreiben eine autonome Bewegungskunst, die von Choreographie, Improvisation und Scores losgelöst ist.
Felicitas Zeeden: zu Aeon. Spur der Ewigkeit

The author reflects on the work Aeon as a network of relationships between bodies, surfaces, urban noise and industrial wilderness. Time levels merge, chronologies dissolve, the future leaves traces.
Inky Lee: Halmoni, Part 3 

Puppy speaks to its grandma (who is 87 years old and lives in Seoul) about "Healers," a work by Jasna L. Vinovrški, presented on 31 October 2020 at Uferstudios, as a part of Open Spaces, organised by Tanzfabrik.
Inky Lee: Halmoni

Its grandma, halmoni in Korean, is 87 years old and lives in Seoul. The writer (who, in this text, will be called ‘Puppy’, as its grandma often called it gang-a-ji, which means ‘puppy’ in Korean. It is a commonly used Korean term for expressing affection) speaks to its grandma about it’s all love, blue spectres, an HZT BA graduation work by Camille Jemelen.
Lea Pischke: The next Plateau

This essay deals with the concepts of physicality in opposition to exertion and exhaustion and includes several more or less fruitful attempts at explaining 
why an audience seems to insistingly crave the sweat on a dancer’s skin.
Beatrix Joyce: Dissolutions

For his work The Quality of Being in Colour, choreographer Niels Weijer conducted research into the perception of colour. This text is based on his initial references, an interview with the artists (Niels Weijer & Michael Tuttle) and the writer’s own wanderings into the realms of colour, utopias, environment and the void. 
Sandra Man & Marita Tatari: What Forms the Present?

In an inverse artist talk the artist Sandra Man asks questions to the philosopher Marita Tatari. The main topic of their conversation is the contemporary „we“ that we are when we are the public of a piece: Who is addressed when art speaks to all of us?
Beatrix Joyce: AEON

Beatrix responds to Moritz Majce’s and Sandra Man’s latest work “AEON”. Based on the relationship between audience and performer and using the artists’ original texts as source material, an imaginary encounter between a SPACE INVADER and a SPACE WALKER unfolds.
Angela Alves: Selbstfürsorge als Rebellion

This is a text about how to approach embodiment and surrendering as rebellious acts of self care.
Shelly Etkin: Curtains

This text is about curtains; tangible and imagined, material and immaterial. It is also about gardens and invisible realities. The text digs into the story of the Wizard of Oz to reflect on these topics and how they might be relevant for performance.
Inky Lee: Impractical reality, romance

Inky ruminates on the impracticality of romance, while scurrying around NYC in the summer of 2015.
Sandra Man: A New Sensualism

What does it mean to be „present“ on a fundamentally – technologically and ecologically – transforming planet? Inspired by various body related contemporary art works the text unfolds a new context and value of sensing as aesthetically relating to the world.
Lea Pischke: Hitler's Death Day

Things that happen when a group of politically minded and rather motion-starved artists get together in front of the former Reichstag
to celebrate someone‘s death, in April 2020. Considering the very intriguing coincidence of other politically minded people‘s desire
to storm aforementioned building in August the same year, a fun question pops up: who was crazier?
Inky Lee: Mirage in the Desert

Mirage in the Desert is a playful contemplation on failed flirtations and romance, in relation to the art of caring. The text constantly questions: “Is that real water or a mirage?”
Beatrix Joyce: Chora

In what ways can we engage with, reflect on and document hybrid modes of performance? Following their invitation, I responded to Moritz Majce's and Sandra Man’s space choreography “CHORA” in writing and experimented with my ideas on how to put my experience of the work into words.