SHE HELD UP A MIRROR2022
She Held up a Mirror explores society’s perception of women and their relationship with gender expectations and beauty standards. The film uses found footage, analog film, 3D animation, poetry and prosthetics to ask questions about gender performativity, monstrous women and the cult of youth.
Text: Sylvia Plath, Jemima Foxtrot
Direction, Concept : Jemima Foxtrot, Maja Zagórska
Performer: Madeline Shann
Soundtrack: Joe Ackroyd
Animation, Edit: Maja Zagórska
Prosthetics: Una Ryu
Camera: Charlotte Jacoby
1AD: Milena Bühring
Costume w/ Tin Wang
Milena Bühring, Klara Kirsch, Lisa Kaschubat
@ fff-filmproductions, Berlin
THE CUTEST CRITICISM
Knit, jersey, modeling clay, glass beads
Collab w/ Almitra Pyritidis, jpeg.love
@ Napoleon Komplex Gallery, Berlin
Curated by Constantin Hartenstein, Jimmy Robert
“We are queer because we refuse to take a fixed form.” (Antke Engel).
The costume is entirely handmade, thematizing the process of production. Hand-knitted pieces show how a person felt while knitting: In a relaxed state, the stitches are loose and soft. Being physically tense creates a tight, rigid pattern. When we are daydreaming, small bumps or holes show. A knitted piece thus works like a diary of mental health. The details of the costume also feature nostalgic elements such as glass beads or Fimo, referring to childhood moments within the safer space of play. Costume, body and installation merge into one sculpture.
A QUEER GLIMPSE
Costume collab w/ Jule Posadowsky, Louise-Fee Nitschke via critical.costume
Concept, Direction: Josefina Valdovinos, Elias Dehnen
With: Elliot Douglas, Lucas Ngo, Josefina Valdovinos, Luca Zimmer, Alexandros Popis, Anna Krieger, Nadja Moulin
Photos: Muriel Weinmann, Elin Laut
@ Schönholzer Heide, Berlin
(site-specific open-air performance)
Which relationship can a garment and a body enter into? Today's everyday clothing often functions like an elastic tube to which the body gives a specific shape. The garment adapts to the shape of the body. In our imagined utopia, queer bodies and garments should instead stand independently for themselves, coexist equally, and at points enter into a relationship of tension. Not allowing a clear allocation of gender or time, the costumes oscillate between sculpture and clothing, between futurism and historical references. In active contact with the body, reinforcing the wearer’s gestures.This overall ambiguity positions itself outside the binary system: The costumes create a space in which a queer utopia can be imagined without culturally defined boundaries of gender and sexuality.
Choreography: Saida Makhmudzade
With: Clara Conza, Manon Greiner, Eddy Levin, Sabina Moe
Dramaturgy: Johann-Heinrich Rabe
Sound: Abel Kroon
Stage: Malte Knipping
@ bat studiotheater, Berlin
DEINE MACHT MIR NICHTS2020
Text: Lena Reißner
With: Nina Bruns, Alina Fluck, Sarah Schmidt
Stage: Stella Lennert
Makeup: Sarah Seini
Sound: Ilkyaz Yagmur Ozkoroglu, Helena Niederstraßer
@ bat Studiotheater, Berlin
Virgin Mary appears in her typical robe, which usually covers her body and makes her silhouette appear childlike. Now, her naked body remains visible. We see human traits like pubic hair. This reverses the dehumanization of Virgin Mary originating from the idealization of the immaculate conception. The Mermaid’s claustrophobic confinement of her legs symbolizes the negation of feminine lust – which has been mystified as a male fantasy in the form of a fish tail. The latex refers to the fetishization of the missing vulva. Through typical fish features – gills, feelers, scales – this fetishization is taken to absurdity. Cassandra’s costume addresses objectification and agency: Reminiscent of a Greek statue, she is chained into her costume, which has the rigid form of a female-read body. Her face is frozen in white clay. In the course of the play, she breaks out of her costume – regaining agency over her formerly objectified body.
Costume and makeup
Exploring instagrams beauty ideals
b my quarantine2020
Experimental costume design
Costume and stage concept
For the play “Paradies Spielen” by Thomas Köck
The play’s characters represent groups of people who suffer the same fate, who are trapped in the same system. Visually, they are therefore not individualized, but uniformed. Each figure wears the same gender and age neutral wig, as well as a transparent mask, both faces are vivible at the same time. The costume surrounds the body like a shell, and the identity of the performers is blurred by the mask. Binary categorizations become irrelevant. The costumes are stylized to go with the artificiality and interchangability of the characters.
Ein Kind Unserer Zeit2019
Directed by Max Schimmelpfennig, Tim Freudensprung
Photos by Elin Laut, Leo Wolters
All the play’s characters exist in memory fragments of the narrator. Each person is remembered by one characteristic garment. On stage, the remembered person’s garment becomes a luminous, transparent shell that surrounds the narrator. For the duration of a memory, they become part of the narrator – as he tells their story, interweaving it with his own. The underlying uniformity symbolizes the loss of visual identity in the military; It also makes the military itself ever present on stage. The uniform itself is stylized and not historically locatable, as the message of the play is not fixed in space or time and is equally relevant in today’s world.
On binary opposites
Wearable sculptures for stage