PASSING PEAKS – A SERIES OF PERFORMATIVE INDIVIDUATIONS, 11th Performance Project at LISTE – Art Fair Basel, June 15 – 20, 2015, curated by Eva Birkenstock Jeremy Wade – Death Asshole Rave Video June 17, 7 PM Presented in cooperation with Kaserne Basel at junges theater basel ! PASSING PEAKS – A SERIES OF PERFORMATIVE INDIVIDUATIONS, 11th Performance Project at LISTE – Art Fair Basel, June 15 – 20, 2015, curated by Eva Birkenstock Jeremy Wade – Death Asshole Rave Video June 17, 7 PM → junges theater basel Kasernenstrasse 23 Admission CHF 15 (starticket.ch, or +41 61 666 6000) Jeremy Wade presents, “Death Asshole Rave Video,“ a one-man show. An asshole that interrogates death and the agreements we make as a society. In a gothic and queer-scape, Wade offers vehicles for experiencing different deaths – death of theatre, death of value, death of sense, and death of attachment. He demands for us to die before we die. He asks us if all of the social agreements that have been made are either breaking or already broken. What's next? It's time to die! Jeremy Wade’s work will be presented in cooperation with Kaserne Basel in the adjacent venue of junges theater basel. Directed and performed by Jeremy Wade Written by Ezra Green in collaboration with Jeremy Wade Video: Liz Rosenfeld Sound: Mika Risiko Costume: Minttu Vesala Lights: Andreas Harder Artistic Advisor: Thomas Schaupp + Jared Gradinger Production: björn & björn Aditional Music by: Diamanda Galas, Peter Greenaway, Tian Rottveel and God Speed You Black Emperor Jeremy Wade premiered his first evening length work titled “Glory” in February of 2006, for which he received a New York Bessie Award. Since then he has been living in Berlin, working closely with the Hebbel Theater. In 2013 Wade served as Guest Professor at the Akademie der Bildenden Kunste, Munich and embarked on a new collaboration titled “Dark Material” with sculptor Monika Grzymala and Musician Jamie Stewart aka Xiu Xiu. In February of 2014 Wade created “Together Forever” a three hour group experience / participatory project. He will premiere the new solo “Death Asshole Rave Video” at the American Realness, NYC in 2015 and shortly there after he will work on a new project centered on utopian critique titled “Drawn Onward” in collaboration with young Sci-Fi writer John Eric Jordan. Ezra Green is a poet from New York who is currently based in Berlin. He has made several collections of poetry, including most recently “Book of Vanishing” (The Quiet American Publishing Co.) and “Berlin Threshold Poems” (Kopierladen Presse). He has worked with a number of choreographers as dramaturge and writer, including Marysia Zimpel, Martin Hansen, Meg Stuart and Jeremy Wade. He is currently working on his first short film, “Helpless”, with George Lewis Jr. Thomas Schaupp, Berlin, laboratory scientist by profession, is now about to finish his master-studies in dance-theory at Freie Universität Berlin. He works as dramaturge, artistic collaborator and artist’s assistant for choreographers such as Kat Válastur, An Kaler, Margrét Sara Guðjónsdottir & Angela Schubot. He is resident critic for the season 2014/2015 at ada Studio Berlin. Based on his research he was invited with lecture-presentations and workshops to several conferences and festivals around Europe and Canada. Jared Gradinger is living in Berlin since 2002. Since 2009, he has been developing work and teaching with Angela Schubot. Together they have created a cycle of 5 full length works which are touring internationally. Their topic is the debordering of the body. He is a founding member of Constanza Macras/ Dorky Park. In 2006, he began his ongoing collaboration with Pictoplasma, creating stage works and interventions for their festivals and exhibitions. In 2008, he began his curatorial relationship with Les Grandes Traversées in Bordeuax; creating his 3 part festival “How Do You Are” for the region. In 2008, he also started his long time work relation with Jeremy Wade. Jared is a core member of “Social Muscle Club”. PASSING PEAKS – A SERIES OF PERFORMATIVE INDIVIDUATIONS, 11th Performance Project at LISTE – Art Fair Basel, June 15 – 20, 2015, curated by Eva Birkenstock Liz Rosenfeld (born1979, New York, NY) is a Berlin-based artist working in performance, film and video. Rosenfeld is part of the Berlin based film production collective NowMomentNow, and is also one of the founding members of the food- performance group Foodgasm. She has collaborated with Swedish Feminist Film Director Marit Östberg and the Swedish electro-pop band, ‘The Knife’. Her work has been screened and performed internationally at venues including the Tate Modern, Hayward Gallery, C/O Gallery, Kunsthaus Dresden, HAU Hebbel am Ufer Theater, British Film Institute, Victoria & Albert Museum, Hammer Museum, The Kitchen and Rivington Place. Rosenfeld has most recently collaborated on a performance piece with director and performer Jeremy Wade, and presented one of the opening performances at the Donau Festival in Austria. She has been profiled in publications such as: Camera Obscura, Art Review, Little Joe, and Missy Magazine. She gained a BA in New Media and received her MFA from the school of the Art Institute of Chicago in 2005 followed by a Masters in Performance Studies from Tisch School of The Arts at New York University in 2007. Mika Risiko is a Berlin based musician, producer and performer. Her work spans film scores, theatre projects and art as well as creating the soundtrack for short clips, like for the well-known Berlin party Gegen. Her current music projects are Ziúr and Crime, with which she’s played throughout the city and beyond, including support for Peaches and Austra. Apart from that, she’s been cast in a Swedish theatre performance, Wild Minds by Marcus Lindeen, which premiered at the Museum of Modern Art in Stockholm. Minttu Vesala is a stylist based in Helsinki working in the fields of performance, fashion and advertising throughout Scandinavia. She worked for several years as a fashion buyer for the Finnish multi-label store Helsinki10 creating a dark avant-garde mix of Rick Owens, Ann Demeulemeester, Haider Ackermann, Maison Martin Margiela and the Scandinavian new wave. Minttu has styled high profile advertisement campaigns for brands such as Finlandia Vodka, Nokia and Marimekko. She has collaborated with photographers on different exhibitions, designed costumes for contemporary dance performances and worked as production designer on several short films. Minttu is fascinated and empowered by nightlife, witchcraft and the endless darkness of North. FUNDING CREDITS Death Asshole Rave Video is co-presented with the Goethe-Institut New York with additional support from the NATIONALE PERFORMANCE NETZ as part of the Gastspielförderung Tanz International from funds of the commission of the Bundesregierung für Kultur und Medien and the culture and arts ministries of the federal states and by the Berlin Senate Chancellery – Cultural Affairs Department. Co-production: Zodiak – Center for New Dance, Jeremy Wade. SPECIAL THANKS Special thanks to Zodiak Helsinki, Tomi Paasonen, Fritz Welch, Keith Hennessy, Larry Arrington, Ruairí Donovan, Kai Ehrhardt, Volker Moritz, Hostellerie Pontempeyrat, Yvonne Meier, Laura Gottwald, Tian Rotteveel, Luca Hein, Gerard Reyes, Alessio Castellacci, Marc Streit, Tanz Haus Zurich as well as the West Germany aka Stephan and Grinni. Jeremy Wade Death Asshole Rave Video Jeremy Wade Death Asshole Rave Video Januar / Februar 2015 New York City (USA), Berlin (Deutschland) b Uferstr. 8/23 13357 Berlin +49 )0)30 53 79 61 79 [email protected] b Jeremy Wade Death Asshole Rave Video Inhaltsverzeichnis I. Kultur- / Tagestipps Datum Januar 2015 Januar / Februar 2015 Medium www.iheartberlin.de tanzraumberlin II. Rezensionen Datum 13.01.15 20.01.15 25.01.15 b Medium The New York Times ARTFCITY (online) Der Tagesspiegel Jeremy Wade Death Asshole Rave Video Kultur& Tagestipps b Jeremy Wade Death Asshole Rave Video Death Asshole Rave Video – Queer English Dance Theater I have heard about the work of Berlin-New York nomadic dancer Jeremy Wade quite a lot in the last years and never made it to any of his shows. The new dance theater piece he is performing at HAU Theater is an aggressive/sexy/disturbing (choose you adjective) monologue about the different aspects of death. In a dark, American-Horror-Story-like queer setting Wade experiments with vehicles for experiencing different deaths – death of theater, value, sense, and attachment. Jeremy Wade uses death as a metaphor to give the audience a wake-up call projecting his research on the death of our Western society into the future. The dates, pictures and a video after the jump. Death Asshole Rave Video by Jeremy Wade Sa 24.01.2015, 20:00 / HAU3 So 25.01.2015, 17:00 / HAU3 HAU3: Tempelhofer Ufer 10 / 10963 Berlin iheartberlin.de http://www.iheartberlin.de/2015/01/24/death-asshole-rave-video-queer-english-dance-theater/ Januar 2015 b Jeremy Wade Death Asshole Rave Video Tanzraum Berlin Januar / Februar 2015 b Jeremy Wade Death Asshole Rave Video Rezensionen b Jeremy Wade Death Asshole Rave Video Preparing for a Life Without the Male Gaze Michelle Ellsworth and Jeremy Wade at American Realness By Siobhan Burke If you wanted to spend some time contemplating death — your own, other peopleʼs — Abrons Arts Center on the Lower East Side was a good place to be on Monday night. As part of the American Realness festival, two very different shows — Michelle Ellsworthʼs cheerfully wacky “Preparation for the Obsolescence of the Y Chromosome” and a much darker work by Jeremy Wade with an obscenity in its title — grappled with disappearance, decline and the thin line between being here and being gone. For Ms. Ellsworth, a jittery performer who expertly folds nervousness into her character, the disappearance in question is both hypothetical and very real. She starts “Preparation,” a 50-minute hybrid of PowerPoint presentation and science experiment, by explaining that “in 2003, two things happened.” First, she read a column by Maureen Dowd (in The New York Times) titled“Incredible Shrinking Y,” about the depletion of the Y chromosomeʼs genetic material over millenniums, and the possibility of its vanishing altogether. (To account for subsequent research suggesting that the Y actually isnʼt going anywhere, Ms. Ellsworth offers an alternate title, replacing “Obsolescence” with “Evolution.”) Second, a friendʼs father died. And so she set out to prepare for life after men, for the absence of a dad or of half the species. “What will be missed when they go?” Ms. Ellsworth asks. In “Preparation,” which can also be enjoyed at PreparationY.com, she takes us through the inventory of male-replacement apparatuses sheʼs been developing, homespun contraptions including a toilet seat that lifts and lowers at unpredictable intervals and a “male gazer,” a towering eyeball that keeps watch over her every move. “Itʼs not like I love it,” she says of the male gaze, “but if it were gone, I might miss it.” She also discusses her conservation efforts, like collecting “man smells” — a door-to-door process of stuffing T-shirts in jars — and archiving “man dances,” fancying herself the Alan Lomax of masculine ephemera. But while “Preparation” is very funny, it doesnʼt evade sadness. What begins as a lighthearted “motivational video,” with Ms. Ellsworth speaking into an onstage camera, subtly transforms into a dialogue with herself, in which we can sense her own experience of loss and grief. If Ms. Ellsworth peers into that void, responding with so many coping mechanisms and machines, Mr. Wade thrusts us uncompromisingly into it, using humor of a much more sinister kind, or no humor at all, as if to say, “Thereʼs no way around it: Youʼre going to die.” His work, also a solo, begins with a kind of commercial for death, as Mr. Wade, in a babyblue tuxedo and clown makeup, calls for “total liquidation” over the roar of Mika Risikoʼs pulsating sound and the red-and-yellow flash of Liz Rosenfeldʼs videos. “!!!Suicide!!!” these images advertise, and “No Space! No Time!” Of all the workʼs disturbing layers — including a visual montage of clenching sphincters and what appear to be rotting intestines — these b Jeremy Wade Death Asshole Rave Video evocations of the industry around life and death, around survival and its opposite, are the most profoundly unsettling. Over 75 minutes and multiple costume changes, Mr. Wade passes through various incarnations: a stand-up comic telling jokes about dead babies and defecation; a spectral figure in white spinning through what he calls “the last dance, a.k.a. the nurse”; a voice humming in the dark as gorgeous, delicate strands of light, designed by Andreas Harder, thread through the audience. (Weʼve been asked to imagine that we died in our seats, and this, presumably, is the afterlife.) Occasionally, his monologues break down into episodes of grunting and sputtering, judders and twitches overtaking his compact frame. Is it holding on or letting go, this feverishly living, breathing body? A version of this review appears in print on January 14, 2015, on page C2 of the New York edition with the headline: Preparing for a Life Without the Male Gaze. The New York Times http://nyti.ms/1C5D2IT 13. Januar 2015 b Jeremy Wade Death Asshole Rave Video At American Realness, the Nervous Wreckage of Jeremy Wade and Jibz Cameron By Whitney Kimball Is there any anxiety worse than that of the liberal empowered self-aware non co-depending politically correct BFAʼed? Last year, it provided the basis for Jayson Musson and Alex Da Corteʼs Eastern Sports; once again, in last weekʼs American Realness festival, classconscious fears of the educated artist featured prominently. Namely, it manifested in two characters: a terrifying zombie clown played by Jeremy Wade and the frumpy, fannypacked, aggro-lesbian parody Dynasty Handbag, created by Jibz Cameron. In Death Asshole Rave Video, Wade embodies a dead-clown version of working-class despair, with the tyrannical tone of a car-salesman-slash-stand-up-comedian and all the physical ticks of Heath Ledgerʼs Joker. A rotating wardrobe includes a blue velour tux-track suit from the 1980s; a Statue of Liberty skull hat with Black Swan-like coat and matching platform boots; and, quite simply, a nurseʼs uniform. With berating and intense glares, Wadeʼs terrifying basket-case persona had the audience glued to their chairs. This is a clown with whom you do not want to fuck. The performance opens with projected video of contracting butt-holes and clearance-style ads announcing “!!SUICIDE!!”– thus establishing the thesis: everything must go, including us. This especially applies to the soulful artist. “The thing Iʼve dedicated my life to, it is killing me,” Wade declares bitterly. “These aspirations I had for the good life, it is changing too fucking fast for me to catch up.” (Incidentally, this is the thesis of practically every show at American Realness.) “You are dead,” Wade repeats over and over, in between metaphors about the working class getting fucked over, brains being blown out, and sucking dick in a Financial District alleyway. The only moment of relief arrives at the end of the performance, when Wade shrouds the audience in fog and beams of light while calmly describing to us all the details of a dead bodyʼs breakdown from morgue slab to crematorium. There is no hope. Dynasty Handbagʼs Soggy Glasses: A Homoʼs Odyssey, on the other hand, offers the flipside of Wadeʼs nervous wreck: a benevolent, hardcore lesbian, smeary make-upped nude body-suited character with underpants lines, generously sprinkling her journey with jokes about political correctness and self-deprecation. Handbag is propelled on a metaphorical mission to find her way through her own depression, entering a human-shaped island through a butt-hole/vagina cavern/orifice, traveling up through the digestive tract, and eventually to the mind. Her animated journey, guided by animal and monster friends, is illustrated by a projection behind her, while Cameron faces the audience. Personal revelations arrive along the way; at an artistʼs colon-y, she realizes, “I was free to leave all along, and I just built a prison in my mind?” Meanwhile she intersperses dialogue with subconscious mumblings like why donʼt you text me anymore….Highlights include: a tribute to her vagina set to Aretha Franklinʼs “Natural Woman” (You work so hard, and no one thanks you); a characterʼs b Jeremy Wade Death Asshole Rave Video declaration about not being a cyclops, “I just present that way”; Handbag chasing an imaginary mate with a strap-on, grumbling, “Donʼt run away, Iʼm gonna get you….” Eventually her journey leads to the mind, presented as the pivotal death scene from The Perfect Storm. A pack of dolphins warn her that she was in a reactive state and should take their help: “Fight-or-flight…itʼs a useful mechanism, but you really abuse this feature,” one tells her. She agrees, but nonetheless, Handbag swims on alone and perishes against the giant wave—until we realize sheʼs washed up on an island filled with all the characters sheʼs met along the way. “You saved me?” she asks them, legs splayed out in front of her. “Yes,” a rat replies. “It was clear you didnʼt know what you were doing.” What remains unclear is how exactly Dynasty Handbag managed to find the light. Was it through friends? Or a newfound self-awareness, like a journey through a therapy couch? It seems like a little bit of both. Wadeʼs clown could benefit personally from hanging out with Handbag, but both characters provide deep and unavoidable truths about different facets of anxiety. Depending on where you are in your head, both embody a spot-on depiction of the experience of forging a creative life in a crazy world. Tellingly, both seemed to resonate with their audiences. ARTFCITY http://artfcity.com/2015/01/20/at-american-realness-the-nervous-wreckage-of-jeremy-wade-and-jibz-cameron/ 20. Januar 2015 b Jeremy Wade Death Asshole Rave Video Choreografierter Totentanz von Sandra Luzina Zombieperformer: Bei "Death Asshole Rave Video" führt Jeremy Wade den Zuschauern ihre Vergänglichkeit vor Augen. Die One-Man-Show gerät zum danse macabre. Ein Theaterbesuch kann gefährlich sein. Lebensgefährlich. Das führt der amerikanische Choreograf Jeremy Wade in seinem neuen Stück „Death Asshole Rave Video“ vor Augen. Wade liegt schon am Boden, wenn die Zuschauer das HAU3 betreten. Wie bei einer Beerdigungsprozession müssen sie an ihm vorbeidefilieren. Der putzmuntere Performer grüßt sie mit „Hi“ oder wirft ihnen spöttische Bemerkungen an den Kopf. Dann rappelt er sich auf: weißgeschminktes Gesicht mit roter Nase und kohlschwarzen Augen. Ein Zombie im himmelblauen Show-Anzug – mit irrem Grinsen. Wade wackelt mit dem Kopf, schlenkert wild mit den Gliedern. Die Entertainer-Reflexe zucken noch nach, doch der Körper scheint zu zerfallen. Jeremy Wade mit Rundumschlag „Death Asshole Rave Video“ ist eine furiose One-Man-Show und ein danse macabre. Wade holt zu einem Rundumschlag aus: Es geht um Themen wie das Zerbrechen gesellschaftlicher Übereinkünfte, den Werteverfall, die Umwelt. Um den Zusammenbruch der Ökonomie und um die prekäre Künstlerexistenz. Zu TechnoKlängen flackert in Neonschrift auf: „Total Liquidation“. Doch „Death Asshole Rave Video“ hat auch etwas von einer versauten Stand-upComedy. Der Tod trägt hier schon mal Fetisch-Outfit. „Das sind schwule Insiderwitze“, raunt Wade einem jungen Mann zu und lässt sich über die Verwendung des Wortes bottom aus. Nicht nur um sexuelle Obsessionen geht es; auf drastische Weise legt er dar, wie sich der Neoliberalismus auf die Körper auswirkt. Und er rät, die eigenen Ängste und Sorgen nicht persönlich zu nehmen. „2015 bist du nicht länger einzigartig, wenn du ein Wrack bist.“ Todeserfahrung im HAU Gegen Ende flüstert Wade den Zuschauern zu: „Du bist tot.“ Was folgt, ist eine imaginäre Todeserfahrung – mit Wade als Führer durch die Unterwelt. Akribisch schildert er den Exitus: Wie ein Zuschauer im Theater zusammenbricht und stirbt, wie er in einem Plastiksack ins Leichenschauhaus verfrachtet wird. Was bei der Verbrennung der Leiche im Krematorium passiert. Der rabenschwarze Humor gründet in existenziellem Ernst. Die Konfrontation mit der eigenen Sterblichkeit, so hofft Wade wohl, führt zu einem bewussteren Leben. In dem angekündigten „letzten Tanz“ geht es jedenfalls um Transformation. Der Tagesspiegel http://www.tagesspiegel.de/kultur/jeremy-wade-im-hau3-choreografierter-totentanz/11276642.html 25. Januar 2015 b
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