BANKing
With Cyril Baldy (dance), Malcolm-x Betts (dance), Doris Dziersk (scenography), Moriah Evans (choreography), Lizzie Feidelson (dance), Judith Hamann (music), Kaspar Kleinhenz (assistance scenography), Catherine Lamb (music composition), Dina Maccabee (music), João dos Santos Martins (dance), Sarah Beth Percival (dance)


In an artistic dialogue between choreographer Moriah Evans, composer Catherine Lamb and scenographer Doris Dziersk, BANKing places various forms of physical and social exchange within a series of evolving states of internal and external perception. Loosely inspired by the phenomenon of biobanking – the extraction, storage and administration necessary for the exchange and donation of biological matter – BANKing engages conditions that govern, extract, and transfer physical and immaterial matter between bodies. Set in a postmodern building of a former Sparkasse, it poses questions of relationality—giving, taking, receiving, buying, selling, laboring, listening, caring. Structured as an ongoing rotation cycle of singular and collective situations, dancers, instrumentalists and scenic interventions create an oscillating composition of constantly cascading interdependencies between body parts and beings. BANKing explores the transformative potential of what happens when our spatial, physical, sensorial, and biological resources are made available for collaboration. A choreography evolves that is as physical and musical as spatial and ethical. Over time, the performance space transforms from a passive environment – a container for bodies and sound – into an active reflection of the mysterious, wondrous, and abysmal aspects of the human condition.
Moriah Evans is a choreographer based in New York. She understands choreography as a speculative and socio-cultural process that transcends traditional genre boundaries. Drawing on somatic choreographic practices and feminist critiques of visuality, her work expands the relationship to dance beyond the visible, to the various ways we perceive ourselves and our relationships to one another. By developing movement from the invisible yet felt worlds of a body’s material and affective interior, Evans’ projects question hierarchies between flesh, body, self and subject. Evans pursues a multi-layered approach in her artistic practice: she creates site-specific performances, theater productions, participatory installations in museums, symposia, theoretical texts and curatorial projects.




SENSORIC INFORMATION
Location & Surroundings
The venue is a former bank, with some of the original interior still in place. The ground floor is spacious and filled with natural light from many windows. Outside sounds—such as street noise and the still-operational ATMs—can be heard. The ATMs are separated from the former office area by a glass door. The first floor is a maze of concrete rooms with slanted ceilings. The space is expansive and does not feel claustrophobic. It can be reached via two staircases.
Duration
Approx. 3 hours
Recording
Video, audio, and photo recordings
Sensory Stimuli
Interaction: Dancers and musicians perform, sometimes close to the audience. Visitors are invited to move freely through the space.
Visual: The sound installation uses natural light and a site-specific stage design that continuously transforms the space.
Sound: The performance includes both electronic and instrumental music, as well as amplified ambient sounds from outside the building.
Themes: Collective bodily experience, embodied connection, swarm bodies, biopolitics, organ donation
Seating
There are various seating and reclining options, including beanbags, mats, and benches.
Contact
If you need assistance or have any questions, please speak to a member of our team on site.