Alex Baczyński-Jenkins:
Unending love, or love dies, on repeat like it's endless
Unending love, or love dies, on repeat like it's endless
No language
Unending love, or love dies, on repeat like it’s endless is a choreography that reflects on the relations of desire, dance, love (as communality), loss and time. The work dwells in the states of perception at the threshold of mourning, hope and celebration. A radiant listening that stems from grief and contends with witnessing the state of transit from life to death. Meanings and perceptions, swell, undo and fragment while the choreography undertakes the invention of micro-grammars of connection. The piece manifests relational forms of being-with and for one another, in spite of and in resistance to overwhelming architectures of violence. The work is performed in various constellations, between one to four performers. The choreography lasts two hours and audiences can enter and leave at their will.
If any questions remain from the following information, please feel free to contact us at barrierefreiheit@sophiensaele.com or 030 27 89 00 35. Please note that details may change by the day of the event. Therefore, if you find out after you have purchased your ticket that the performance is no longer accessible to you, you can contact us for a ticket return at ticketing@sophiensaele.com or 030 27 89 00 45 until 5 business days after the event (Monday through Friday between 10am and 6pm).
Duration
- 120 minutes
Language
- Little spoken and written English will be used.
- Some short poems will be spoken in English and short printed texts will be shared in English.
Stage
- The stage area is surrounded on four sides by the audience area.
Light
- The lighting situation is rather dark.
- Abrupt light changes are used.
- A spotlight sometimes moves across the audience area.
Sound
- Loud sounds are used.
Audience area
- The audience is seated on four sides around the stage (chairs on platforms and on the floor, seat cushions in the first rows on the floor).
- 2 beanbag seats bookable according to availability
- 2 wheelchair seats bookable according to availability
- The audience can leave and return to the room at their own leisure.
Early boarding
If, for artistic reasons, the door to the auditorium does not open until very shortly before the performance begins, there is the option of early boarding.
Tickets
- Reservations can be made via the ticket telephone at 030 283 52 66, Monday to Friday from 4pm-6pm
- Via the online ticket shop
- At the box office
You can also find more information about accessibility here.
Choreography: Alex Baczyński-Jenkins
The iteration at Sophiensæle is performed by: Aaa Biczysko and Nancy Naser Al Deen.
Developed in collaboration with: Aaa Biczysko, Arad Inbar, Beverly D. Renekouzou, Thomias Radin, also performed by Samuel F. Pereira
Sound design and artistic advisor: Krzysztof Bagiński
Sound contributions: Zoi Michailova
Light design: Jacqueline Sobiszewski
Set design assistance: Anna Posch
Dramaturgy: Andrea Rodrigo
Poem: Ezra Green
Thanks to: Dareen Abbas, Thibault Lac
Executive producer: Holly Shuttleworth
Studio director: Andrea Rodrigo
Studio manager: Sarie Nijboer
Management consultant: Rui Silveira
Distribution: Something Great
A production by Alex Baczyński-Jenkins Studio, co-produced by De Singel – International Arts Centre, Arsenic – Centre d’art scénique contemporain, Kiasma Museum of Contemporary Art, ANTI – Contemporary Art Festival, Kunstverein Düsseldorf, Ludwig Forum for International Art, Kölnischer Kunstverein, Klosterruine Berlin, Disappearing Berlin – Schinkel Pavillon. Developed with the generous support of a residency at Callie’s. Supported by Nationales Performance Netz (NPN) - Coproduction Fund for Dance, which is funded by the German Federal Government Commissioner for Culture and the Media. The iteration at the Sophiensaele is funded by the Berlin Senate Department for Culture and Social Cohesion.
Alex Baczyński-Jenkins is an artist and choreographer engaging with queer affect, embodiment and relationality. Through gesture, collectivity, touch and sensuality, his practice unfolds structures and politics of desire. Relationality is present in the dialogical ways in which the work is developed and performed, as well as in the materials and poetics it invokes. This includes tracing relations between sensation and sociality, embodied expression and alienation, the textures of everyday experience, the utopian and latent queer histories. Baczyński-Jenkins approaches choreography as a way of reflecting on the matter of feeling, perception and collective emergence, while indulging in other ways of experiencing memory, time and change. He is co-founder of Kem, a Warsaw based queer feminist collective focused on choreography, performance and sound at the interface with social practice.