Performance as Publishing

The work examines the connections and similarities between the construction of language and the making of things. Hush Now Ha Part Two revisited the first performance and pushed the idea of language as material by breaking up the text, deconstructing it, building it back up and finding rhythm and sound within it.

Performed by actor Anna Tierney.

in collaboration with vocalist Natalie Galpern

A text is a code is a pattern is a score. This new work uses the strategy of translation and interpretation as a creative process, interweaving language and musical composition into a multi-layered performance.

Bachmann’s installation is a vocalisation of an internal dialogue spoken out aloud yet still remaining within the boundaries of the mind. It is an imaginary conversation between two people, a woman and a man, and raises the questions about our capacity to communicate thoughts, and if communication really happens.

Nicole Bachmann’s live work An Experiential Treaty on Words and Other Things is inspired by texts of three thinkers: Giorgio Agamben, Walter Benjamin and Kate Love. The script, which circles around the question whether experience is located in language or outside of it, is read by actors, whilst at the same time the artist interferes with the volume levels, creating a sonic layer that both obscures and accentuates the content of the text.

Blue is the colour.
The colour is blue.
She said.

The words are  notes for a composition,  raw material for a musical notation.

Her voice falls into a rhythm and out of it, incessantly, travels through the room.

Blocked only when wearing the headphones. A multitude of voices, words, sounds, hissing.

Nicole Bachmann’s multi-channel audio installation Repeat Again. Repeat. features intertwining spoken word accompanied by choreographed stage lights. Voices direct the listener, so that they become the actor, playing out the work while at the same time remaining outside of it. In doing so, the distinction between the audience and the artwork as the object to be consumed is blurred and constantly swapped around.

In the Clore Room, Come in, a series of three silk banners spanning the full height of the window, with the sea as backdrop, feature a text performative in its writing and content.

Grey Brown Your Hair Like Sand is new site-specific work that plays with the geographical location of Het Veem Theater. It tells the story of three people spending a day together. While watching out over the water, time and distance are getting intertwined in a poetical mist of memory and recollection. Two imaginary places, geographically and time wise distanced from one another, are brought back to the present. Two live voices speak while a recorded third mediates between that particular day in the past and the present moment.