sub_space
sub_space n. 1. A space that is wholly contained in another space, or whose points or elements are all in another space. 2. An improvisation structure for an ensemble of dancers, visual artists, and sound artists. v. 1. To cultivate
sub_space
sub_space n. 1. A space that is wholly contained in another space, or whose points or elements are all in another space. 2. An improvisation structure for an ensemble of dancers, visual artists, and sound artists. v. 1. To cultivate
duo—2012 (Grüntaler9)
Duo // movement + sound improvisation Stina Nilsson / movement William “Bilwa ” Costa / sound Monday, October 22, 2012 grüntaler9 – space towards the performative Grüntaler Str. 9 – 13357 Berlin S+U Gesundbrunnen This performance marks the debut of
duo—2012 (Grüntaler9)
Duo // movement + sound improvisation Stina Nilsson / movement William “Bilwa ” Costa / sound Monday, October 22, 2012 grüntaler9 – space towards the performative Grüntaler Str. 9 – 13357 Berlin S+U Gesundbrunnen This performance marks the debut of
sum+—2012 (Agora Berlin)
SUM+ is a structured improvisation evening that shares the control of its outcome through a game-like participative situation. The audience has the chance to compose the scenes, which they would like to see, through a palette of sound, movement, set
sum+—2012 (Agora Berlin)
SUM+ is a structured improvisation evening that shares the control of its outcome through a game-like participative situation. The audience has the chance to compose the scenes, which they would like to see, through a palette of sound, movement, set
sound/map
Bilwa: sound Aya Imamura: mapping sound/map is a collaboration between Bilwa and Aya Imamura. Bilwa produces 3-d sounds around Aya, using a sound system and raw materials. Aya maps the qualities and architectural coordinates of these sounds, using a system
sound/map
Bilwa: sound Aya Imamura: mapping sound/map is a collaboration between Bilwa and Aya Imamura. Bilwa produces 3-d sounds around Aya, using a sound system and raw materials. Aya maps the qualities and architectural coordinates of these sounds, using a system
imaginary is also real
A collaboration w/ Jil Stifel This project consists of my collaborator Jil and me performing various versions of the score below*. Jil and I are rarely in the same geographic place (perhaps once a year), but we “meet” in the
imaginary is also real
A collaboration w/ Jil Stifel This project consists of my collaborator Jil and me performing various versions of the score below*. Jil and I are rarely in the same geographic place (perhaps once a year), but we “meet” in the
Postwurf Logistikzentrum—2012 (Nürnberg)
Intercontinental Collaborations gathered for a laboratory hosted by Postwurf Logistikzentrum (a project of Chris Weiß) at the KREIS gallery (Nürnberg). The lab culminated in a performance/installation/environment on Wednesday, 15th of August at 20:00. Limited addition art works produced by Intercontinental
Postwurf Logistikzentrum—2012 (Nürnberg)
Intercontinental Collaborations gathered for a laboratory hosted by Postwurf Logistikzentrum (a project of Chris Weiß) at the KREIS gallery (Nürnberg). The lab culminated in a performance/installation/environment on Wednesday, 15th of August at 20:00. Limited addition art works produced by Intercontinental
how we deviate with
A dialogue between Emily Sweeney and Mariella Greil In the dialogue project How We Deviate With we will dance, talk and write about issues of relationality, choreographic practice and performance, and the immanent potentials inherent in these. We are both
how we deviate with
A dialogue between Emily Sweeney and Mariella Greil In the dialogue project How We Deviate With we will dance, talk and write about issues of relationality, choreographic practice and performance, and the immanent potentials inherent in these. We are both
resonancia—2012 (Mexico)
In May 2012, Bilwa and Emily were in Mexico collaborating with Martín Lanz Landázuri and Florian Tuercke, conducting research into movement, sound, space, and resonance, which culminated in three performances in different spaces. This work was conducted as part
resonancia—2012 (Mexico)
In May 2012, Bilwa and Emily were in Mexico collaborating with Martín Lanz Landázuri and Florian Tuercke, conducting research into movement, sound, space, and resonance, which culminated in three performances in different spaces. This work was conducted as part
relics—2012 (Berlin)
relics Installation and improvised performance Concept and performance: Bilwa and Emily Sweeney March 16, 2012 WerkStadt Kulturverein Berlin e.V. Berlin, Neukölln Perpetual Movement Sound inhabited the Werkstadt space for 3 hours each day for 5 days. During these
relics—2012 (Berlin)
relics Installation and improvised performance Concept and performance: Bilwa and Emily Sweeney March 16, 2012 WerkStadt Kulturverein Berlin e.V. Berlin, Neukölln Perpetual Movement Sound inhabited the Werkstadt space for 3 hours each day for 5 days. During these
resonance workshops
| resonance | is a workshop for movement, sound, theatre, and other performing artists. To reverberate mindfully with one another during duet and ensemble improvisation, we practice listening, observing, sensing, and acting from sound, movement, language, and memory impulses. By
resonance workshops
| resonance | is a workshop for movement, sound, theatre, and other performing artists. To reverberate mindfully with one another during duet and ensemble improvisation, we practice listening, observing, sensing, and acting from sound, movement, language, and memory impulses. By