Gedichte von Durs Grünbein, gelesen zur Musik und den Klängen von Ulrike Haage, und gleich mit den ersten Sätzen erledigt die Stimme von Meret Becker jeden Kunstgalerieverdacht: Neugierig und aufmüpfig gibt sie den Texten den Tonfall vom Tisch
nebenan. 

Ein Sarkastisches Lied

Thea Dorn unfolds, as a monodrama, the psychogram of a female suicide bomber. Repelled by the luxury in which she grows up, disgusted by the untroubled, pampered life she leads in her parent's house, yearning for a meaningful and heroic life, a germ of resistance takes root within a woman whose life appears so inconspicuous on the outside. Armed with the bomb or the biscuits, with the pyjamas kept in a little red children's valise, the protagonist strives to make contact with reality. In her music Ulrike Haage plays with inner sounds. She explores the musical tensions between electronics and acoustic instruments, between traditional song genres and flowing sounds, words and concrete moods. The central character is placed in a musical context. The lyrics of the Bombsong were written in August 2001, and the composition was completed by the end of September 2001.

Ich war eine glückliche Kindheit

Her images reflect on identity, sometimes with wry wit or an angry fatalism. She never wanted to see her work smugly categorized as 'women's art.' Quite the contrary; Hesse wanted it to join the general discourse of modern images, uncramped by niches of gender or race. 'The best way to beat discrimination in art is by art,' she brusquely replied to a list of questions a journalist sent her. 'Excellence has no sex.' 

... of a different kind

Pilgrims’ trails leading you on through woodland and thicket towards ancient temples. The softness of the temple mosses and a thousand hues of green. Osaka: the hustle and bustle of a Japanese city offering an overwhelming abundance. For all my walking is the title of the Kyoto sound diaries, with music and words composed by pianist Ulrike Haage and percussionist Eric Schaefer during their three-month stay in Japan. The work is named after, indeed inspired by, a Santoka Taneda haiku with its reference to the search for meaning through pilgrimage. 

For All My Walking KODOU

"My emotions are inappropriate to my size. So they bother me! And I really have to get rid of them," reflected Louise Bourgeois when interviewed in 1999.

Born in 1911, the sculptress has only achieved major international recognition for her work in old age. In the nineteen-eighties she was elevated to the ranks of our best-known contemporary artists. Like ancient sites that were deserted many centuries ago, her sculptures and installations evoke the transitory nature of things, but at the same time seem familiar, like the recalling of a dream. There is hardly any material the artist has not worked with and mastered for her art: bread and saliva, feathers and cloths, steel and bronze, marble and stone, latex, plaster, wood and glue.


Schlaflosigkeit. Kein

"My emotions are inappropriate to my size. So they bother me! And I really have to get rid of them,"

Sans Soleil

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