Interview: Hella Rass

Interview: Hella RassImage courtesy of Hella Rass

Interview: Hella Rass
Luca Curci talks with Hella Rass during THE BODY LANGUAGE 2019 at Misericordia Archives.

Hella Rass was born in Germany, she is a performance artist with focus on contemporary art dance creations. She started with academical dance, techniques such as Graham, Cunningham, Humphrey-Limon, she developed her work as master student Laban/Barrtenieff with Fe Reichelt, a German expressionist dancer formed by Mary Wigman, Jacques Lecoq for drama art, mime corporel with Maximilien Decroux, Yoshi Oida, Yoshito Ohno and No theater, Kabuki theater, Butoh, “Les Barres Flexibles” by Wilfride Piollet & Jean Guizerix in movement studies and ballet work. She is author of numerous art performances: 1991 Totentanz (DanceScreen) 1992 sans issue/ausschnitt (milanoltre festival) 1994 desenchant-mass ohne mass- drippings – disappointment (DanceScreen) 1995 Till Eulenspiegel– la grille c’est le moment terrible pour la sensibilité: la matière (Bagnolet) 2001 Parfum de France(Beaux-Arts) 2002 Colors ou toutes les couleurs du monde (Cave Saint Sabin) 2002 La Robe (Beaux-Arts) 2004 Analyse de la ligne libre 2005 Liaison(s) covalente (Beaux-Arts) 2016 Mon Mouvement dansé (its liquid). She collaborated with Davide Ballula for the performance “The Endless Pace” (Centre Pompidou 2011), Anne Collod “Blank Placard Dance” (Centre Pompidou 2016). She worked within the construction of an Eco quartier with the experimental architects of Bellastock (2012/15), and PlastiqueFloreDanse in the garden of Versailles (2010/12). She lives in Paris, France.

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Interview: Hella RassImage courtesy of Hella Rass

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Luca Curci – What’s your background? What is the experience that has influenced your work the most?
Hella Rass – “Mon mouvement dansé” is an experimental art work, a dialogue between a moving camera to interact with dance, movement, body language and voiceless action in an architectural environment seen through motion, emotion into dance. It is dedicated to my friend and teacher Wilfride Piollet, who died from cancer three years ago.
“Desenchant- massohnemass-drippings-disppointment” was made in 1994 when I was living in Berlin and I met the japanese dancer Masaki Iwana. It is a view into the unknown and also an experiment of changes, breaks in time and space, a primary conscience based on the rhytm of the breath, our embodied ability to negociate our lived world without the explicit awareness of that lived world.

LC – What are you currently working on?
HR – A ballet-film inspired by Pier Paolo Pasolini’s ballet project “vivid and conscience”. A postclassical argument.

LC – Where do you find your inspiration?
HR – In the working process itself. I am an intuitive caracter with an aethestic mind.

LC – What is your creative process like?
HR – It is the reality which moves me, the inner self which has the vision of what needs to be said.

LC – How is being an artist nowadays?
HR – A challenge, a neccessity.

LC – What is the message linked to the artwork you have shown in this exhibition? How is it connected to the theme of the entire festival?
HR – Art in terms of which creatures like us perceive and interact with their environments. The embodied consciousness that a living sentient body directs at the world.

LC – Do you agree with our vision of art and what do you think about the theme of the festival?
HR – I love it

LC – What do you think about the organization of our event?
HR – The organization is responsive and respectful and not too complicated to be with.

LC – Would you suggest a collaboration with us? What do you think about our services?
HR – Yes, I would. I love the international flair, the openness.

LC – What are your suggestions about our services? Is there something more we can provide to artists?
HR – I am very happy with the work out. Your services keep with the rhytm of an artist. I am very grateful for that.

 

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