You
Antonia and I met last year to do a work together, but also to draw a completely different picture.
And with this work, we have simply noticed that we deal similarly with our materials,
or with the idea of what a joint work is,
and how you treat the individual parts that should play a role.
And that is exactly what this work, Band Pro, was created for.
We then thought, how do we do that?
To work in the same picture room, how do we talk about what should be talked about?
Then we simply found a balance out of music.
Because music is also so that everyone brings his instrument, his material with it,
and then you decide what kind of piece you play.
And then everyone is responsible for getting the whole thing in one form,
namely a good one that transports what you want to transport.
Then we met a few times and talked about what is personally important to us.
And then we actually started pretty short and barely.
The first Band Pro was only 20 minutes long for me in the studio,
but it was a good start somehow.
So it was annoying that within 20 minutes the room was completely changed,
with just very little material.
The rehearsal rooms were in our studio twice, each with Antonia and me.
Then we were invited by Simone Fachele to take her bathroom in two hours.
Then we were still in the swimming pool, in Panko we did a work.
Then we had a little more time available.
Everyone shows what he has for the Band Pro,
and he says what the inspiration is for the room, for the place.
And then it's called keeping it flat.
And that's when the situation starts to change,
that you react very intuitively to what the other person is doing right now.
It's more about the trust that the other person wants to do the right thing first.
At the beginning Katja always had a metronome with her,
which somehow gave her the touch,
but also made sure that you really stay still and that the thing stays.
I work in the studio.
There are a lot of free spaces, an old university building,
which is pretty far out, almost on the motorway ring.
We could just have a room for a day, just like that.
We didn't really know the room.
We only knew that we had only three hours to build it up,
to discuss it and to dismantle it, that was clear.
That means we really worked together without words.
It wasn't discussed.
When you work like this, it's all very false,
so I tried to find a method of how to construct something quite big.
Then it comes apart in all the other works.
You can look through each angel,
the structure and see the other's works.
It's very flexible.
It's made of paper,
which can be projected on the wall,
which can also be connected to the other works.
It's always about working on each other.
Everyone takes their own approach,
material or the idea, the artistic background.
It's all about the process together.
When Antonia can put things down on the ceiling
and the light is projected on the wall,
there are new possibilities or spatial situations.
After that, I didn't really know about the picture,
it's painted or what it is.
There was a very high time factor,
because we only had the room for one time
and had to disappear after 3 or 4 hours.
It was very effective.
We had some rehearsals behind us.
The others got used to it and it worked amazingly.
I think they were all amazing.
The concert, I thought it would have to be called Bandprobe,
because it goes on.
But I put it together.
That's what we mean when we work together.
The concert is also right.
I had to be the first one,
because the other work is coming upon my work.
It's filling the whole space,
because when you enter the space,
you are immediately in the installation.
I collect things from the street.
The history of the materials is important.
The quality of the found material is important to me.
You can see where it comes from.
We enter a room that is taken in by us.
It's a very strange line.
The exact same situation.
It's not that difficult here,
because the artists are all in the same situation.
There is no such line.
This is something completely different.
The material work that we have always brought with us
is different from what we did before.
I underestimated the time factor.
It's much more intense now,
than when we enter the room with the finished material.
The ice cubes from today,
which are lying around here,
of course do something with the work.
With the decision and the acceleration,
we are always very fast,
and we are not that fast now.
My dream was to pull the wall back a bit.
Pull it completely up,
so that we can go through here.
I'll show you the material that I brought with me,
step by step,
to an object.
Every single layer is grounded and painted.
What you see are still the sides.
But you can see that the object moves
very precisely, so to speak,
so that the work inside is painted.
From band rehearsal to band rehearsal,
I tried to become clearer and easier,
and to add fewer different elements.
Because I see everyone as one person.
It's not about the fact that the work itself
is like you thought about it,
but that other works are created
and influence each other.
I saw a lot as a young girl,
and that's why I can knot the threads very well.
It's not that I like to knot,
but it's actually a coincidence
that this work just made me
catch and let the thread
go through the thread
and let the thread go through the thread.
I had thought that we would be faster
at the beginning,
but I wasn't finished at the beginning.
I painted my pictures first.
It took a while,
but I had thought that we would use the time more.
And as I said, I think that we subconsciously
created the same working situation
with which we used to work.
Here we have a lot more time to think.
I like this more spontaneously and more playful.
And then comes the sound of mine.
I wanted to work with voices
and fragments from the conversation.
The things developed at the same time,
but separately.
And then what was nice for me
is that, as you had your rehearsals,
I had my rehearsals with the six women
that I used,
where I got my building material.
Then it was a bit more
for me a collaborative process
like Antonia and Katja
and the others did in their rehearsals.
But there are two different things
that can be found here at some point.
In order to improvise these two hours at the same time,
I didn't find a way,
and I hope for the next collaboration
I'd like to want to work with this
as it coat with the background.
I feel like a very funny person
is the one behind this type of work.
I think it's great
that we're working these hours
You
