Tiina Sööt und Dorothea Zeyringer got to know each other in Vienna when they both studied at the Academy of Fine Arts. In 2012 they showed their first performance Never Name the Shelf at Raw Matters performance event at Schikaneder in Vienna. In this performance the precise translation of movement into spoken language makes an poetical rhythm. The collective puts everyday movement in a new contexts and questions normative acts.
Dorothea Julia Zeyringer
born 1989 in Vienna.
Several choreographic works, performances, videos, installations and collaborative works.
2005 „unAngenehm“ Dschungel Wien, offspring prize at the Szene Bunte Wähne choreography competition, Schäxpir Festival Linz, 2007 Soho in Ottakring, Odeon Theater.
Since 2006 weekly dance training and performance class of Doris Uhlich. 2008-2011 studies of theatre, film and media science at the University of Vienna. 2009 Creative Writing und Theatre Studies in Malmö, Sweden. She performed and was co-author in „komA“ (Nestroy-Prize), „Fight Night“ by Tanztheater Homunculus, „Black Market by Mobile Academy, Sarah Pierces´s performance at Mumok, Vienna...
Since 2010 Dorothea studies Performance Art at the Academy of Fine Arts Vienna in the class of Carola Dertnig.
born 1986 in Tartu, Estonia.
Currently studying performance art in MA program of Estonian Academy of Arts;
2010 - 2011 Akademie der Bildenden Künste Wien - performative art.
Have performed with group and solo performances since 2009 in Estonia, Latvia, Lithuania, Austria and Germany, including events like NU Performance Festival IV (Tallinn; 2011), Global Container XXI (Tallinn; 2011), Performance Laboratorium 3 (Linz; 2011) and Seanahk II (Haapsalu, 2010).
Participated in organising performance events „Silence, please!“ (Riga, Vilnius, Kaunas; 2010) and How to Properly Love/Destroy Something (Vienna, Dresden, Berlin, Tallinn; 2011).
Solo exhibitions „Pu-pu-pu-puudutus“ in Tartu (Y-gallery; 2010) and Tallinn (Gallery Mäsu; 2010), Estonia.
Sööt and Zeyringer perform with objects and language in gallery spaces, on stages, in public space or virtual space. Their working process contains conceptual research as well as many physical rehearsals.
WHAT DO YOU HOPE TO GAIN FROM THIS EXPERIENCE
As I know Misa and Stephen I know I will gain a lot, becuase they are puting a lot of love in their works and festivals and I am very grateful for knowing and meeting hem again.
"It seems for us, that the (performing) art scene in Central Europe is quite homogeneous with trends repeating from work to work. It would be valuable to get a different input from the artists who participate at ADaPT festival. We hope to gain broader overview on contemporary performing art.
Also we are highly interested in showing our piece in a new cultural context and receiving feedback from professionals who look at our work from another perspective.
In general we are very interested in the format of the festival itself.
Organizing art events is a considerable part of our practice therefore the structure and the way of communication between artists, organizers and audience is a field that we like to explore and discuss."
HAVE YOU PARTICIPATED IN FESTIVALS BEFORE? IF SO, WHAT WORKED AND WHAT DIDN'T WORK FOR YOU? WHAT WOULD YOU LIKE TO SEE MORE OR LESS OF?
We both have participated in several festivals. For us the biggest advantage of festivals is the possibility to communicate and exchange, to get and give feedback, communication. The biggest disadvantage we have experienced is organisational chaos.
VERBAL DESCRIPTION OF THE WORK YOU WILL BE BRINGING TO THE FESTIVAL
Title: Never Name the Shelf
Two performers in working overalls enter the stage carrying pieces of a white shelf and describing verbally their every movement. Leaving and entering the stage for several times they carry all elements of a shelf on the stage and put them together. Describing the movements continues simultaneously with the movements being named. Then they finish screwing the shelf together, they lift the shelf up for a moment, place it back down and take a silent break sitting on the shelf. They start unscrewing the shelf, but then leave suddenly without the verbal description continuing.