Part 02 - A Crack In The Tank
Part 03 - Elements Of The Future
The AQUADOME trilogy whishes to put to the test the disciplined character of human perception.
Through an experimental set of audiovisual stimuli, WK enables an audio-visual experience which is generated from within the spectators themselves.
WK attempts to push sensory information to its limit, in order for supersensual information to sneak in and take control.
photos credit Dor Kedmi
“The human condition is to turn away and run for cover in the face of tumult and terror; but that is where Wackelkontakt come alive... The record is an accomplished and bold debut… Wackelkontakt are staring, screaming and spitting into the void, but forever will the void be too afraid to spit back”
Link to review on The Quietus
Wackelkontakt delve into a fractured psyche in ‘Papamummy’ and ‘Progress’
SAYA
Commissioned for ZER01NE Festival | 2021
WACKELKONTAKT’s research on the power structures between artist, space
and audience; and between each spectator and their own self.
The work draws from the tradition of ‘Ganzfeld’ Experiments with the
Excessive approach, that attempts to push the sensory information
to its limits in order for supersensual information to sneak in and take control.
In SEEGUIN SAYA, WACKELKONTAKT test the disciplinary character of the
senses on human consciousness and enable an audio-visual experience
which is generated from within the spectators themselves.
Commissioned for Acco Festival of Alternative Theater | 2019
This performance confronts the audience with a brutal audiovisual flood that acts on all senses. The light and images steals the spectator's awareness, as the thicket of smoke and sound moves the viscera and proves the existence of the body.
CHANGE THE PROCESS / CHANGE THE OUTCOME
A long-term research project that starts with a question: ‘What are the ideal conditions for the psychological and physical state of viewing a performance? and can we create an intensified identification that paves the way for an active engagement with the act of watching?’
The camera, with which we have become so intimate, is an agent and generator of intensified self-awareness, not just a spectator. It is a cause of our current liminal state of consciousness and hyper-self-awareness, not just its witness.
In CtP-CtO, we’re facing this old frenemy, and the way it splits our life. This work is not a doomsday prophecy, but a poetic observation of a troubled humanity that strives to heal - and be seen healing. It is an exercise in consensual manipulation resulting, we hope, in an audiovisual poem which collapses back onto itself.