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. 
Stream is located at Tanzfabrik and will be live from September 1st 2020. The texts will be published in their original languages, mostly German and English. The current authors are: Angela Alves, Shelley Etkin, Inky Lee, Beatrix Joyce, Sandra Man, Lea Pischke, Felicitas Zeeden. Additional writers are welcome to join by interest and invitation.


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.
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?
This is a text about how to approach embodiment and surrendering as rebellious acts of self care.
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 ruminates on the impracticality of romance, while scurrying around NYC in the summer of 2015.

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.
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?
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?”
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.