born 1969 in Andernach, Germany. Lives in Norway
“Anyone can make the simple complicated. Creativity is making the complicated simple.”
To present complex contents, situations and moments in a simple and elementary way is a signature of the art of BBB Johannes Deimling: the term ‘Performance Art Povera’ describes his works. These are the intersections that inspire and provoke his approaches to the perception of aesthetics, concept and content of his work. The ‘acted images [agierteBilder]’ of the artist are initially created purely visual, but gradually access to all the senses to create a holistic view on the banalities of everyday life with all its changes.
With a deep interest in the aesthetics and transformational potential of materials and objects, BBB Johannes Deimling enters the performative field with a purely visual approach. Deimling suggests “it is not the action that makes the performance, but the quality of an image created in combination with materials, objects and action in correspondence with space and time”. To begin the creative process Deimling forms single images. The so called ‘acted images’ consist of reduced, simple actions often with only one object, one material or one gesture. With a passion for details, a visual alphabet of acted images accrues, allowing Deimling to literally and visually write his art that is performance. Using the technique of Collage he combines several acted images that allow Deimling to play in a cinematic way with all of the visual elements by deconstructing the course of actions and putting the parts anew together. The pureness of his artistic language causes the images to interlock. During this process various intersections appear in which unpredictable new images emerge. The material and objects begin to perform as Deimling treats them more like puppets. ‘What’s in my head’, ‘Leaking memories’, ‘Around the World’ and ‘A rolling stone gathers no moss’ are just a few titles of cycles in which BBB Johannes Deimling includes several performative Collages. From a simple single image the artist offers a complex and holistic universe of visual imagery.
The ephemeral Collages appear more poetic than descriptive and rather metaphoric than symbolic. The metaphor is an image which falls apart at any attempt of approaching it and invites the viewer to read the action in order to stop searching for words of explanation and to look for attributions. Deimling creates ephemeral images, not made to be interpreted and drowned out with the logic of language. The balance of the metaphoric, surrealist image and transformation of the artist into a unique readable sign, is what makes the works of Deimling so fascinating. The precision of his movements, the possibility of failure, and the presence of coincidence, achieve an uncontaminated visual sensation where simplicity generates a humorous magic moment that is imminent in all of Deimling’s performance art.
The artist continuously invites a dialogue between other art forms including poetry, sculpture, architecture, dance, sound, and drawing. Deimling’s performative Collages are a forum for interdisciplinary discourses where performance is used as tool for communication where viewers are invited to take part in the performative process.
The absence of rehearsal plays a distinct role and manifests the value of the creative act. Imagination and forethought are important tools that bring the artist’s concepts to life. This working method includes the possibility of ‘failure’ as to sharpen the focus and increase the artists’ concentration on absolute being within the moment. By removing the process of rehearsal, the sensation of a shared space is highlighted as the action unfolds in front of the viewer. Based on these experiences Deimling creates a visual knowledge that touches the base of memory, strokes the desire of tomorrow, and manifests the beauty of now.
For over 15 years BBB Johannes Deimling invests much of his artistic research into the teaching and learning of performative processes. In 2008 he founded the independent educational and artistic project PAS | Performance Art Studies, holding festivals, studies and events on performance globally. Since 2012 he holds the position associate Professor for Performance Art at NTA – Norwegian Theatre Academy at the Østfold University College.
Jürgen Fritz was born 1958 in the Black Forest in Germany. He studied theatre and the science of music.
1982 – 1990 he worked as a theater director, curator and actor, since 1984 as performance artist. He is co-founder of Black Market International, since the beginning of this international Cooperation of Performance Artists with whom he works since 1985. He showed his performances in all countries of Europe, the USA, Canada, Mexico Asia and Australia. Since 2005 he lives as free lance artist in Hildesheim. Here he is co- founder of the International Performance Association (IPAH, registered association).
He is the artistic director of the annual festival of performance art ZOOM!, co-founder and co-organizer of the Platform for Young Performance Artists and the IPA Summer.
Since 1995 he is a lecturer in performance art at different Universities in Germany.
He develops his work mostly site specific. His conceptual approach is characterized by an impressive concentration and precision. For that he uses simple materials such as bamboo sticks, a bell or marbles with which he creates inspiring pictures.
Performances with simple musical instruments have become an essential component of his work in recent years. His performance of “ringing a bell in dialogue with …” he performs since 2008 with traditional musicians from Europe and Asia.
About my work
I often start from traditional music, fairytales, (contemporary) myths, the people surrounding me and those I meet while travelling.I am looking for a moment where reality merges with imagination.For me reality starts with the other. I am looking for the other.Therefor I like to work in projects in which I need others helping me to fulfill them. Preparing, composing and directing moments in the finest detail –> and then time goes on. With me on the side the work grows, by the people around it, the participants, the time or even the flood rising. The work goes beyond me, it becomes reality.
Over mijn werk
Ik begin vaak vanuit volksmuziek, sprookjes en (hedendaagse) legendes die ik combineer met mijn eigen verhalen over de mensen om mij heen en hen die ik ontmoet op reis. Ik zoek een moment waar de fantasie en de werkelijkheid samenvloeien. De werkelijkheid begint voor mij bij de ander. Ik ben opzoek naar de ander. Daardoor werk ik het liefst in projecten waarbij ik anderen nodig heb om ze te volbrengen. Waar ik momenten tot in de puntjes voorbereid, samenstel en regisseer –> en dan gaat de tijd verder.
Met mij aan de zijlijn groeit het werk verder, door de mensen eromheen, de deelnemers, de tijd of de vloed die opkomt. Het werk niet meer alleen van mij het wordt groter dan mij, realiteit.
“Forgetting/L’oubli” is a performance, a micro-scale socio-political laboratory. We seek to interact
around this progressive process that increasingly characterizes the evolution of our society and
the world around us.
Is “forgetfulness” an unconsciously collective ritual, a sharing out of time, a transition to “here
and now”? It is perhaps, simply a temporal experience, in a given space, that impacts a whole
life, beliefs, and ideologies. “Forgetting” implies our gaze towards oneself and towards others; it
amplifies the sensation of absence or presence in an instant.
We want to share with others (the public / visitors) an obscure (black) space, to explore the
sensations that link time and body, memories and presence, memories and society, memories
Sonja Berg is a French-German performer, living and working in Toulouse, France as well as in
other European countries.
She has been working in physical theatre, films and creates poetic performances, sound
installations and experimental films.
She is doing research on voice, body expression and the life of humans. Most of her work is
based on poetic images, poetry and the flow of subconscious worlds.
While working on social interactions for the new social and ecological paradigms she loves to
collaborate in intercultural contexts and enjoys creating for new spaces.
Ilias Liosatos is a Greek – French sound designer, musician and compositor.
He has been working on several multi-media projects, collaborating with artists of all kind and
exploring the social possibilities of sound art. He lives in Toulouse and works in France and in
Topp & Dubio is a multidisciplinary artist duo who live and work in The Hague, The Netherlands.
Topp & Dubio study and scrutinize reality from a conceptual starting point, often arising from sudden moments of curiosity and a desire to explore parallel worlds. Their projects flawlessly deal with fact and fiction, the concept of art and daily life, the personal and the public, observation and participation, authenticity, history and documentation, the romance of imagination and the absurdity of reality.
Since the start of their collaboration in 1995, Topp & Dubio have shown their work in The Netherlands, Belgium, United Kingdom, Germany, France, Italy, Spain, Portugal, Brazil, Indonesia, Cambodia, United States, Canada, Poland, Latvia, Romania, Russia and Ukraine.
Compositie met zwart en wit nr. 2a / Composition with Black and White no. 2a
Compositie met zwart en wit nr. 2b / Composition with Black and White no. 2b
In ‘Compositie met zwart en wit nr. 2a’ Somer Meijer sits opposite each other at a small table.
One has white chess pieces, the other has the black pieces. One by one every piece will be
exchanged in slow motion. Directly after that ‘Compositie met zwart en wit nr. 2b’ will be
performed in which the pieces will be exchanged back in the same manner.
Time endurance: Approximately 1 hour.
It is an ongoing performance in which it is not explicitly necessary to watch it from beginning to end.
About the performances of Somer Meijer
As an artist duo we attempt to disclose an essence that emerges from the interplay of subjective
and objective contact in minimalistic performances. The apparent contrasts between opposites,
such as ratio and emotion are fascinating, because the way each person deals with them differs
and yet is similar at the same time. We try – try, because we too are just human beings – to omit
every distraction, for external factors already exist in the spectator’s perception.
Performance “Eldorado”, Performance Art Event, (NON_)Locations, Twente Biennale, Enschede, The Netherlands.
Roos Hoffmann is born in The Netherlands (1978). She is a multidisciplinary performance artist, working primarily with performances, public interventions, performance-videos, installations and artist books. Roos Hoffmann often invites people at a location in public space or art venues to join her performances. The performances are durational, and they mostly have an open ending. Communication and interaction are of main importance in her work.
Roos Hoffmann was born in Harlingen, in the north of The Netherlands, and currently lives in The Hague. She graduated at the Royal Academy of Art, KABK, in The Hague (2008). Also she holds a MA degree in Philosophy of Arts and Culture, from the University of Maastricht (2003). Her work is shown in several venues, including in The Netherlands, The U.S.A., Germany, Poland, Italy and Thailand. Roos Hoffmann is a guest lecturer, teaching Performance Art at The Royal Academy The Hague, KABK, and she was curator of several exhibitions.
Phillip Peters on the work of Roos Hoffmann:
“How can we relate to the given context, whether urban or natural-organic? The work is in fact about the question that is always recurring in art; who am I, what is my position, how do I discover and formulate my place in this world?” 
“The work of Roos Hoffmann offers a simple and modest possibility to (re-)realize your own place and therefore your own identity in this complex world” 
 “Hoe willen en kunnen we ons verhouden met de aangeboden orde, of die nu stedelijk of organisch-natuurlijk is? Dan gaat het werk in feite over de eeuwige vraag die kunst altijd weer in de meest verschillende gedaantes stelt: wie ben ik, wat is mijn positie, hoe ontdek en formuleer ik mijn plek in de wereld?” p.8 * Phillip Peters: Roos Hoffmann, Performances: Existentiële choreografieën. 2012
 Roos Hoffmanns werk biedt op een in wezen eenvoudige en bescheiden manier mogelijkheden tot het (her)overwegen van de eigen positie en daarmee de eigen identiteit in een steeds complexere wereld. p.23 * Phillip Peters: Roos Hoffmann, Performances: Existentiële choreografieën. 2012
Concept – Regarding gender and generational constructs within the workplace, house-hold, and family structure. Includes a discussion with the audience, spoken word, singing, story-telling.
After serving a tour in the U.S. Marine Corps, receiving a collegiate athletic scholarship, and surviving a battle with testicular cancer, Michael Barrett challenges masculinity as a historical construct through a feminist post-humanistic lens.
For over fifteen years, Barrett has immersed himself in a grueling effort at developing masculine narratives that interrogate key areas of gender. As an A/R/Tographer, Barrett reinterprets how masculinity empowers and disempowers through influential theories and concepts of scholars and authors, such as Susan Sontag (feminine as masculine/masculine as feminine), Stephanie Springgay (skin and cloth), and Donna Harraway (Cyborg Manifesto). With the body, space, and time, Barrett’s work ruptures five areas of masculinity and questions cycles of physicality, gender, and identity by unveiling previously missed, invisible, and silenced perspectives on how society could broaden what it means to be masculine and what function masculinity serves. 1. physical force and control 2. work and occupational achievement 3. patriarchy 4. outdoorsman 5. heterosexual
Barrett currently enjoys his position as a Ph.D. student and assistant instructor in the Art and Visual Culture Education Department, at the University of Arizona. He holds an M.F.A. in contemporary sculpture and has performed extensively around the world, including Austria, Czech Republic, England, France, Germany, Italy, Mexico, Netherlands, Poland and across the United States. Barrett’s selected solo and group exhibitions include the Lincoln Center for the Performing Arts – New York City, the San Francisco Arts Commission Gallery, Berkeley Art Center, Scope International – Basel, Switzerland, Psi 19 – Stanford University, Galeria Michaela Stock, DOPUST 2016 – Vienna, Surface Gallery – U.K., SOMArts – San Francisco, Las Vegas Contemporary Arts Center, Krowswork – Oakland, Raczej Galeria – Poznan, Poland, Hole of Fame Gallery – Dresden, Germany, and the Tucson Museum of Art.
Las Vegas Weekly describes Barrett’s work as:
“A brilliant manifestation for the former college football player and U.S. Marine who spent his entire life amid alpha males until cancer challenged his proverbial superman complex and forced him to reexamine life.”
Body as Form
A vessel of silence & sound
Voice explosion of life-power
coming from the 3D-cross of the spatial body
Micro & Macro
Vivid body connected through breath and being
with the silent-after-movements of the Big Bang
coverd bij the silent shelter-roof of the Universe
Al mijn verschillende kunstwerken vormen een zoektocht naar het Zijn der dingen, om dat aan te raken en intenser voelbaar te maken voor de toeschouwer. Het werk vormt een intense_subtiele focus naar binnen toe, opdat je opnieuw contact krijgt met de kern in jezelf of de kern van iets buiten je. Er zit in die zin altijd een beweging in van buiten naar binnen toe en andersom; een doorzichtig worden, een verschijnen, een zich tonen. Het gaat me er om mensen opnieuw te laten her-verbinden met: jezelf, de ander, het moment, je lichaam, de laag onder de dingen, (alledaagse) schoonheid, (subtielere)communicatievormen, etc.
In mijn werk zijn een aantal sleutelbegrippen te noemen die telkens terugkomen zoals de gelaagdheid van de dingen, openen / openingen (poorten tot), diverse vormen van communicatie, het aspect van betrokkenheid & publieksparticipatie en tot slot lichamelijkheid (fysieke sensitiviteit).
The poetics of thoughts – facilitated by the Mythological Institute
Ever wondered what thoughts would look like if they would leave our heads and materialize on
paper? The Mythological Institute warmly invites you to join the one on one performance “the
poetics of thoughts”, and offers you an opportunity to make a blueprint out of your thoughts. Come
and share your thoughts and stories with the Mythological Institute representative: Jolijn de Wolf.
The Mythological Institute is a processual art project, aiming to facilitate a non-hierarchical platform
for meeting, creation and knowledge exchange, using the institutional mechanisms in a slightly ironic
way to construct a bottom-up structure. The mythological Institute is a research platform shared
with the audience, to explore the meaning of present day myth-making and story-sharing.
Jolijn de Wolf (b. 1984) is an artist from the Netherlands. De Wolf makes performances, videos and
photographic etchings. In her work she examines the multipolar experience of being human. She
believes that myths and stories can have an emancipating function, empowering us to find our own
way in life. She is a BFA in 2009 at the Hogeschool van de Kunsten Utrecht, and has been working as
an independent artist.
Currently she is a student at the MA Live Art and Performance Studies in the Theatre Acadamy
Helsinki, Finland. In 2016 she founded the Mythological Institute.