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Yoann Trellu

2000 2010

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Ueckermuender Str. 710439 BerlinGermany

+49 (0) 178 184 32 19yoann@keyframed.orgwww.keyframed.org

Yoann Trellu

34 years old.Lives and works in Berlin since 2003

Yoann Trellu is a multi-disciplinary video artist active in the fields of visual arts, video production, dance production and VJing.

Since 10 years he worked with numerous musicians and performers in France, Germany and USA.His work is an accurate mix of new technologies, digital imagery and poetry.

“I like the idea of a graphical narration and I think it’s possible to communicate feelings and emotions via abstract movements.I am mainly interested in “moments” ; brief every day events/situations. Then I process them to give them a very digital look and move closer to abstraction.My other topic is to build “creative machines” (software), because I believe that through automated, randomized processes we can see / experiment things we could never imagine without the intervention of the machine. I like the idea of using the computer as a creative partner not just as a tool.”

Since 2003 he worked with 10 different directors on more than 20 stage productions.

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Professional stage / dance experience.

2010 -”Express Fight Club” p6 -”Super Gravity / No Gravity” p72009 -”.de/konstrukt/ion” p8 -”Heavently Bento” p9 -”Etranger” p10 -”Postcard from Berlin” p112008 -”Fight Club: A Chorus” p12 -”Japan Festival Berlin” p13 -”Nô-Butô-Video” p14 -”Napoleon D” p152007 -”The Trial of Howard Katzz” p16 -”Madara” p17 -”Bildern” p182006 -”SU-i” p19 -”Ophelia’s Children” p20 -”Zwischen Dingen & Zwischen Stuhlen” p21 -”Skandal” p22 -”FAQ” p232005 -”This is what it was like to dance for him” p24 -“Precarious” p252006 -”Schwebezustand” p26 -“As If Life” p27 -“Arctic Triangle” p282000-2004 -Other Performances works p29

Notes: On most of the pages, the title contain an internet link for video excerpts and/or additional informations. For an easier navigation through the document, use the bookmark tab in Adobe Reader.

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Exhibitions, installations.

2008 -”Color is sound” p302007 -”La Navale” p31 -Derapages #7, Uquam, Montreal, Quebec, april 2007 -Artopi, Ales, ,France, march 2007 -Rencontres Internationales, FIPA, Biarritz, France, january 20072006 -”Virtual links”, video installation, Berlin, Germany, june 2-4 20062005 -”Everest” p32 -Broadcasting of 2 videos on TV Nantes and GIE Grand Ouest Television, France, september-october 20052004 -Video installation with Natalie Bosko, april 24-25 2004, Milastr. 4, Berlin -Three one minute videos in Scopitone festival, jully 2004, Nantes -One minute video in “festival du court metrage d’Angers”, february 20042003 -In-out festival, jully 2003, Prague.2002 -merh release party, february 2 2002, Nantes. p33

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Teaching.

Max/Msp/Jitter Teaching.It seems to me that one of the most interesting future of the performance lives in working with media. One can see it as more and more dance company, choreographers and directors have the desire to include media in their work.Max/Msp/Jitter is a real-time programming environment (software) for audio, visual and graphical processing that allow cross-interaction between media.It is extensively used in the fields of visual art, dance and theater, music, installations...Using this software one can replace many hardware items (such as light-board, video mixer, dvd players, audio mixer, cd player…) by a single computer and thus simplify and make the production and rehearsal processes much more time-efficient.Nowadays, most of the people I meet have a computer powerful enough to run a complete multimedia show: the technology has become accessible.Although I know that the first steps in learning these technics are very hard, I am convinced that, in the long term, it is a necessary step for every choreographer and director willing to work with media. Because the biggest issue for directors is not knowing what is possible or not, what is easy or not.

2010 -”Strange Attractors II” p342009 -”Tools for media integration in performance, an introduction to Pure-Data” p352008 -”Strange Attractors I” p342008 -Introduction to Max/Msp/Jitter. POOL08 festival, Dock11, Berlin.

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Express Fight Club, 11/2008, Berlin, 04/2009, Salamanca, 11/2009, Taiwan, 02/2010, Berlin.

“Express Fight Club” is a performance on the question how and by what identity is generated. The novel and movie “Fight Club” (by Chuck Palahniuk / David Fincher) are not important for the project - the sources’ idea of forming a subversive group is. post theater has created a “Fight Club: A Chorus” with 48 performers in Singapore and Berlin (National Museum of Singapore, 2007, State Opera Berlin, 2008). “Express Fight Club” is a further development of these performances. Groups of 15 audience members (version I, Berlin) or 21 (version II, Salamanca) were transformed into performers , performing in front of themselves. This “Express Fight Club” had originally been commissioned by the Tanznacht Berlin Festival 2008. The International Festival of the Arts in Castillia and Leon commissioned the second version in 2009 (in Spanish language). In Taiwan will be the third version of the project in November 2009. Further versions are planned.The technical principle is always the same: A programmed vertical video projection guides the participants in a DIY choreography (media art: Yoann Trellu). Additional texts and sounds are prompted via a surround sound system (sound art: Sibin Vassilev, virtual performer: Alexander Schroeder). Media art provides orientation and creates a virtual space. The project challenges questions of identity on different levels. The script debates the relationship between work and spare time and how they facilitate the construction of identity. The performance set-up allows a switch of roles and questions the concept of who is a performer and who is an audience member. Underlying theme is the urge to find alternatives to the every-day life in the consumer society as in the source material “Fight Club”.

Concept and artistic direction: Hiroko Tanahashi, Max SchumacherMedia art and programming: Yoann TrelluSound art and recording: Sibin VassilevPerformance: Alexander Schro¨derProduction management: Mario StumpfeSupported by Hauptstadtkulturfonds BerlinAdditional support by Tanznacht Berlin, Staatsoper Berlin, National Museum of Singapore, Dock 11 Berlin, International Festival of the Arts Castillia and Leon.

In charge of:Video production.DVD authoring.

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Alicia Soto Horjarasca from Spain and post theater [new york / berlin / tokyo] joined forces for this interdisciplinary dance performance. Choreographer Alicia Soto, media-artists Hiroko Tanahashi and Max Schumacher collaborated on this explorations of gravity. What can this physical force mean beyond physics? Gravity provides us with orientation, but also limits us by pulling us down to the ground. When we are in zero-gravity, the idea of top and bottom vanishes. Freedom, anxiety and disconnection to reality meet when we leave the world that we take for granted. In Super Gravity Zero Gravity both performers and the audience lose their

orientation and their sense of reality: live performers interact with projected performers and live movement meets video art in the “Gravity Box”. This installation combines live video art and pre-produced video images by arranging performance spaces and video screens in unusual relationship to each other. This allows the dancers to perform in zero gravity and new dimensions for the choreography.Conventional concepts such as “heaviness” and“lightness” or “top” and “bottom” are challenged in this performance. What are the chances and what are the dangers of a world without orientation? Artistic direction and dramaturgy: Alicia Soto, Hiroko Tanahashi, Max Schumacher

Credits:Artistic direction and dramaturgy: Alicia Soto, Hiroko Tanahashi, Max SchumacherChoreography: Alicia SotoPerformance: Maya Lipsker, Alicia Soto, Alberto Velasco, Mikel AristeguiMedia art: Hiroko TanahashiComposer and sound art: Sibin VassilevText: Alberto VelascoLight design and technical director: Fabian BleischStage installation: Max SchumacherStage engineer: Joerg SchildbachPublic relations: Artfab, Carmen Castano, Cia. Alicia Soto - HojaracaProduction Management: Artfab, Augustin Bastard, Cia. Alicia Soto - HojarascaCo-production with Siglo FoundationCo-production partner: Junta de Castilla-leo´nSupport: Inaem, Ministerio de Cultura, Ayuntamiento de Serrada, Dock 11, Berlin, Artfab BerlinCollaborators: Casa de las Artes de Laguna de Duero, Kunsthaus Tacheles, Berlin, Sophienkultur, Berlin

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In charge of:Technician / video operator.

Super Gravity / Zero Gravity, january 2010, Burgos, Valladolid, Léon.

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.de/konstrukt/ion, december 2009, Düsseldorf.

zehn jahre tatraum projekte schmidT

JUBILÄUMSPREMIERE

.de/konstrukt/ion

oder vom Thrill deiner Wirklichkeit

8. Dez 2009 20.00 Uhr / weitere Termine 10. bis 13. Dez je 20.00 Uhr

Amtgericht Düsseldorf / Mühlenstraße 34 / 40213 Düsseldorf (Altstadt)

In charge of:Video production.Software development.

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Main video-projector:6 channels videos mapped on architecture.

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Heavently Bento, september 2009, New York City, Berlin.

A mutlimedia performance based on the history of “SONY”

At the end of their lives, two old friends meet and look back. After the war, they founded a small enterprise in a burned ruin in the devastated city of Tokyo. They dreamt of becoming the leading company in consumer electronics. They wanted to help reconstructing Japan and strengthen its pride and dignity, and they even planned to conquer the American market once.“Heavenly Bento” tells the (almost true) story of two men and their creation. It is a story of friendship and power, genius and insanity, identity and assimilation, control and its loss. In the end there will be a kind of dinner. The audience is invited to enjoy an abstract bento box full of pictures and remembrances, anecdotes and stories, victories and defeats. A bento box full of life.

In charge of:Technician / video operator.

Performer (Akio Morita) :Jun KimPerformer (Masaru Ibuka): Alexander SchoederDance / Choreography: Kazue IkedaArtistic Director, Idea: Hiroko TanahashiPerformance Director: Max SchumacherDramaturgy Andreas: HorbeltStage Design: Matthias BoettgerMusic / Sound: Sibin VassilevPhotography: Alice SchauhoffGraphic Design: Hiroko TanahashiCostume Design: Naoki KouetsuProduction Matthias: BoettgerAssistant Director: Simone BennettUniversal Assistant: Laura Frings

Funded by:Hauptstadkulturfonds, BerlinBonn Biennale, Bonn

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Etranger, june 2009, Berlin, Stolzenhagen.

étranger is a work-in-progress by Hermesdorf, Mathias, musician Mangrove Kipling and video artist Yoann Trellu examining preconceptions and sensations of strange, stranger and ‘the stranger’. Physical, audio and visual layers and triggers generate scenes and situations as the work explores the outsider, the alien, the shadow, the incognito and the invisible.Research began in early 2008 in Berlin and continued at the Ponderosa Tanz/Land Festival in Stolzenhagen, Germany

Creation in Schwelle 7, Berlin et Ponderosa, International Tanzland Festival, Stolzenhagen, Germnay.

In charge of:Co-Director.Video production.Software development.Set designer.

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Postcard from Berlin, january-may 2009, Berlin.

“Postcards from Berlin” ist ein Tanzfilmprojekt, bei dem künstlerische Teams bestehend aus professionellen ChoreographInnen, FilmemacherInnen, Komponisten und TanzassistentInnen mit SchülerInnen von vier Berliner Schulen arbeiteten, um kurze Tanzfilme - „Tanzpostkarten“ ihrer Stadt zu produzieren.

Das Ergebnis sind 14 “bewegliche Postkarten” einer dynamischen, sich immer wieder anders präsentierenden Großstadt – gesehen mit den Augen der Jugendlichen aus Wedding, Neukölln und Reinickendorf.

Die Filme hatten im Mai 2009 Premiere im Arsenal Kino, Potsdamer Platz, und im Berliner Fenster, den Bildschirmen in der Berliner U-Bahn, wo sie täglich von über einer Million Menschen gesehen werden.

Hier kann man die Filme sehen und downloaden, sowie mehr über das Projekt herausfinden.

In charge of:Cameraman.Video editor / Pos-production.

Hausotter-Grundschule

Choreography und künstlerische Leitung: Jenny HaackFilmemacher: Yoann Trellu Musik: Anders EhlinTanzassistenz: Francisco Cuervo

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Fight Club: a Chorus, november 2009, Berlin.

Gudrun Herrbold - co-director, performerBettina Holzhausen - co-choreographer, performerSiegmar Zacharias - co-director, performerMathieu Burner - co-choreographer, performerMartin Clausen - co-choreographer, performerChristoph Winkler - co-choreographer, performerMax Schumacher - concept / artistic director (post theater)Hiroko Tanahashi - media art / co-concept (post theater)Yoann Trellu - media art / programing

42 predominantly non-artistic staff members of the State Opera Berlin collaborated with 6 professional artists of Berlin’s independent performing arts scene in order to create a theater-choreography on work and identity.A Massive Theater-Choreography for, with and at the State Opera Berlinby post theater [new york / berlin / tokyo]The core to this project is the main motive taken from Chuck Palahniuk’s novel and David Fincher’s film “Fight Club”: the search for identity beyond your work.Post theater has created a manual that - in a very detailed manner - prescribes the performance “Fight Club: A Chorus”. This is inspired by the obsession with rules that are featured by the fight club in “Fight Club”. That’s the only reference to the novel / film. The manual is explicitly prohibiting an adaptation of these materials. In 2007 the Singaporean choreographer Daniel Kok was the first to interpret the manual. He presented “Fight Club: A Chorus” at the National Museum of Singapore. In Berlin, it has been post theater’s wish to actually deal with their own manual themselves, before they will pass it on like a guidebook for a global franchise. The 15 minutes of fame for everyone (Andy Warhol) were condensed to one minute solos for each performer at the State Opera’s MAGAZIN space.Under the artistic direction of post theater and under the theatrical direction of Max Schumacher, accompanied by a video installation by Hiroko Tanahashi and Yoann Trellu and a sound environment by Sibin Vassilev, the choreographers and theater directors Gudrun Herrbold, Bettina Holzhausen, Siegmar Zacharias, Matthieu Burner, Martin Clausen and Christoph Winkler joined the project - and the chorus. chanting: “Am I my job?”

In charge of:Video production.Software development (video, audio & lights)

Sibin Vassilev - music / soundEsther Schelander - assistant / webMario Stumpfe - dramaturgy / production managementHauptstadtkulturfonds (capital city foundation) - fundingMAGAZIN DER STAATSOPER:Artistic director – Isabel OstermannDramaturgy – Katharina WinklerDramaturgy intern – Iris SchäferStage manager – Mathias GötzLight and video technology - Irene SelkaSound technology – Albrecht Krieger

Duration : 54min

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Japan Festival Berlin, november 2008, Berlin.

Creation / improvisation for “Japan Festival Berlin”

Mayumi Fukuzaki: ButohMatthias Herrmann: Music, Cello.

Duration: 20min

In charge of:Co-Director.Video production.Software development.Set designer.

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Noh-Butoh-Video, october 2008, “Ohayo Japan” festival, Leipzig.

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Akira Matsui (Noh theater actor)Mayumi Fukuzaki (Butoh)Nobuyasu Furuya (Musician)

Concept / Production: Tom Grigull / Ohayo Japan Festival, Leipzig.

Leipzig, Lindenfels, 27. September 2008, 21h00Dessau, Bühnenstudio der Stiftung Bauhaus Dessau, 28. September 2008, 18h00

Nô & Butô: MATSUI Akira & FUKUZAKI Mayumi & Yoann TrelluFUKUZAKI Mayumi ist eine Butô-Tänzerin, die seit einigen Jahren inBerlin lebt und schon mehrmals erfolgreich in Leipzig auftrat, zuletzt beiOHAYÔ, JAPAN! 2007 mit „Madara“ sowie Improvisationen mit dem FigurentheaterWilde & Vogel. FUKUZAKI studierte Butô am Dairakudakanin Tôkyô. Dort begegnete sie HISHINO Ken’ichirô, dem Leiter des Butô-Orchesters Daizuko-Farm. Bis 2002 trat sie in fast allen Produktionen vonDaizuko-Farm auf, darunter häufig auf öffentlichen Plätzen und Straßen.Seit 1997 ist sie als Tänzerin Mitglied des Free-Jazz-Orchesters SHIBUSASHIRAZUund war mit diesem auf zahlreichen Tourneen in Europa undJapan. Beim Festival wird FUKUZAKI gemeinsam mit dem Nô-TänzerMATSUI Akira und dem Videokünstler Yoann Trellu Improvisationen erarbeiten

In charge of:Co-Director.Video production.Software development.Set designer.

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Napoleon D, april 2008, Berlin.

In charge of:Video production.

Credits:Artistic director / dramaturgy: Max Schumacher (post theater)Video / media art: Hiroko Tanahashi (post theater), Yoann TrelluChoreography: Christoph Winkler, Martin Clausen, Mathieu Burner & Nabih Amaraoui, Clint Lutes, Nir de Volff, Florian Loyke & Emir TebatabaiDance-performers: Florian Bilbao, Martin Clausen (or Lajos Talamonti or Felix Marchand), Florian Loyke, Felix Loyke, Emir Tebetabai Christian Schwaan (or Clint Lutes), Nir de Volff (or Jared Gradinger)Moderator-performer: Alexander Schro¨der (or Jan Schiele or Robert Wolfram)Music: Mathieu Burner, Tilmann Dehnhard, Andreas Liebmann, Stefan PahlkeTechnicial director: Fabian BleischPhotography and design: Hiroko Tanahashi (post theater)

Funded by City Capital Foundation BerlinCo-Produced by Dock 11 BerlinPremiere April 24th, 2008 at Dock 11, BerlinLength of the performance: 70 - 80 minutesPerformance languages: German and English

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The Trial of Howard Katzz, april 2006, september-november 2007, march 2008.

“The DA program will prove beyond the shadow of a doubtthat this man is not an artist, but an ordinary criminal.”

The Trial of Howard Katzz...… is the first Live-stream-internet-trial worldwide. This special interactive form based on the merger of video technology and traditional means of the stage involves the spectators in a sort of a “live film,” casting them as representatives of the public mind.Howard Katzz at first assumes his own defense, with any means at his disposal, although he later agrees to be represented by the defense program, VICKI. The questions and accusations raised by the virtual court and the prosecution program, RALPH, are met with characteristic bravado: his songs, his dances, his stories have become his evidence.During the trial Katzz is confronted with various colliding interested parties. The public expects to be fed with the hottest news all the time, the state insists on a complete juridic elucidation. The cooperation partners, TV and radio stations, i-platforms, firms, papers, etc., all want to make their share off the current “star” - as long as the business flourishes they all rush in for new stories, new lessons on the nature of performance, new heart-felt musical interludes - the material offered as evidence for the defence.The Trial of Howard Katzz...…is a medial “tour de force” featuring the Berlin-based performance-artist Howard Katz - a visually challenging glimpse of an artist’s fight for autonomy. Questions of copyright ownership, of the personal freedom of an artist who is part of a market economy are being touched upon. System and artist - how are they influencing one another? What’s the interplay between the public at large and the artist? Is he merely a product of his own time? Who is creating the art - the public at large or the artist himself? Who creates demand? Who owns one’s own idea, one’s own biography?

The team of Howard Katz consists of video-artist Yoann Trellu and musician Felix Zoepf. In conjunction with his dance, singing, and play they are creating a world whose aesthetic permits the spectator’s immediate immersion. The performance adapts elements of today’s pop culture without becoming Pop itself.

The Trial of Howard Katzz...… simultaneously virtual and real - a sign of the times? A film? A life? A biography?...

Director / Choreographer / Performer : Howard KatzComposition / Music : Felix ZöpfDuration : 70min

Production :Tanzhaus-NRW, Düsseldorf, GermanyLa ferme du Buisson, Noisiel, FranceBerlin, GermanyFestival Temps d’imagesReigning Mayor of BerlinSenatskanzlei – Cultural Affairs2006 : 10 + 5 days (Festival Temps d”Images)2007 : 11 weeks (Berlin, summer 2007)

In charge of:Video production.Software development.Set designer.

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Madara, november 2006, Berlin, september 2007, Leipzig.

Concept / Direction : Yoann Trellu, Mayumi FukuzakiChoreography / Dance : Mayumi FukuzakiComposition / Music : Laurent Lavolé, Ansgar TappertVideo / Photography : Yoann Trellu

Duration : 40min

- “What was it ?”The bartender answered :- “You might have seen many things : travels, stories, games... But nothing happened, it was all in your head...”

The piece starts in a mysterious forest and takes us on an experimental-poetic journey.

Madara is a modern fairy tale ; somewhere between “Alice in Wonderland” and “Yamamba”*, a unique combination of butoh dance, Video installation and electronic-noise music.

The connections between the different media create a semi-real world in which the spectator is free to project his own stories and memories.

Production : Berlin, Germany 2 weeks

Yama-uba (山姥 “mountain crone”) is a yokai (“spirit” or “monster”) found in Japanese folklore.The name may also be spelled “Yamamba” or “Yamanba”. She is sometimes confused with the Yuki-onna (“snow woman”), but the two figures are not the same.

Yama-uba preys on travelers who have become lost in her wooded lair. Her exact tactics vary from story to story. Sometimes, she changes her appearance to that of a beautiful woman or possibly one of her victim’s loved ones. Other times, she retains her hag-like form and plays the part of a helpless old woman. Once she has gained her quarry’s trust, she often closes and eats them then and there. She is able to animate her hair (or turn it to snakes in some legends) and use it to pull the prey into the maw atop her head.

see http://en.wikipedia.org/wiki/Yama-uba

In charge of:Co-Director.Video production.Software development.Set designer.

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Bildern, january 2007, Düsseldorf.

Direction / Concept : Michael Schmidt / Tatraum TheaterDance : Karen Bößer, Marie Goeminne Howard Katz, Gernot SchmiedbergerComposition / Music : Ansgar TappertLights : Gernot SchmiedbergerStage design : Karin Schlechter, Michael SchmidtDramaturgy : Peer-Boris Weichsel

bildern. mit/ohne Sonnenuntergang ist die neunte Produktion der tatraum theater Compagnie. Inhaltlich bezieht sich die TheaterTanz Performance auf Elemente der Romantik in der Gegenwart - revolutionäres Lebensgefühl oder Postkartenkitsch oder die Sehnsucht nach dem Jenseits inmitten einer Zeit verwischender, utopieloser Realitäten.Der interdisziplinäre Ansatz des Ensembles verbindet TänzerInnen, Performer, Fotografen und Musiker an einem ungewöhnlichen Ort. Aufführungsraum der Performance ist ein Ladenlokal. Der Raum wurde mit Installationen, Licht und Klang erschlossen und ist Teil der Inszenierung.

Production : Düsseldorf, Germany Kulturamt Landeshauptstadt Düsseldorf und Förderen 4 weeks

In charge of:Video production.Software development.

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SU-i, september, october 2006, Berlin.

Installation, Conception, Lights : Joachim Manger TEN PEN CHii Art LaborDance / Choreography : Yumiko YoshiokaComposition / Music : Music: Zam JohnsonSet : Dirk Lang, Marta MaliniewiczAssistants : Tom A-dam, Eron Greybe Anita Konarska, Jesus Soberon

Duration : 60min

Technic : Two computers High definition video split on 2 computers/projectors

Production : Schloss Broellin, Germany Ministerium für Bildung und Kultur der Landes Mecklenburg-Vorpommern 3 weeks

An interactive-body-dance-machine vol.2Yumiko will be confronted by dancing objects “Sleeper”

“Sui” means “quintessence” or “kernel” in Japanese, the shining inner-life, hidden and forgotten in everyday life. “Sui” also means “withering” or “fading away”. These two seemingly paradoxical qualities complete eachother like lightness and darkness, life and death. Through “SU-i”, TEN PEN CHii art labor searches for the ungraspable core in objects and the body, the essence of collapse and from collapse back to the core. A contemporary ritual.

In charge of:Video production.Software development.

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Ophelia’s Children, september, october 2006, Berlin.

She stood there trembling with amazement as his denial of love for her pushed him to sadistically tare her apart. Pictures appeared of her last gasp, a slow backward fall into a water, her song fading under the pressure her hair blowing and drowning.Then without any warning or any change of expression Ophelia Slapped Hamlet with lightning.

In 2006 the First of many web logs appeared under the anonymous title Ophelia’s Children.This first entry was a how to guide, an instruction on the delivery of a slap in the face. Many give Ophelia’s Children a substantial credit for the changes that put the Matriarchy back in power at the end of 2013 From 2006 till 2013 through all the changes this web log had a steady flow of international visitors and contributors than it abruptly disappeared.

The Ophelia’s children Book appeared shortly thereafter 2014. Since then company has been performing there version of the book. This jubileum year, 25 years since the Ophelia’s children first appeared the company is playing a new version. This piece deals with Ophelia’s diary on the last day of her life and Includes the dynamic of the company itself.The performers showing there most personnel moments from the many versions of the SLAP THAT SHOOK THE WORLD. The company is joined by the music group POSTHOLOCAUSTPOP to create an evening length work that deals with the mechanics of gender feud as dance, ritual and a celebration of the images we still deal with in our ever deepening dive for the truth.

Choreography : Howard KatzDance : Alex Sieber, Christophe Lineré, Heikyoung Kim, Jessy Tuddenham, Karen BösserVideo / graphic : Yoann TrelluLights : Miloš VujkovicMusic : Post Holocaust Pop : Ansgar Tappert, Felix Zöpf Matthias Herrmann, Howard KatzSet : Chris RottPhotography : Sven Hagolani

Duration : 60min

Production : ` Berlin, Germany Hauptstadt Kultur Fonds, Berlin 10 weeks

In charge of:Video production.Software development.

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Zwischen Stühlen, august 2006, Berlin.

Choreography : Jenny HaackDance : Dagmar Bock Daniela Lehman Joerg Hassmann Rachel Brooker Stephane Hisler Brenda WaiteMusic : Laurent Lavolé

Duration : 18min

Production : Hauptstadt Kultur Fond, Berlin Schloss Broellin, Germany 2 weeks

In charge of:Cameraman.Editeur Video & post-production.

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Skandal, june 2006, Berlin.

Choreography : Yui KawaguchiDance : Melanie Lane, Florencia Lamarca Natsuko KinoshitaVideo / programmation : Yoann TrelluCostume : Karin FalthauserLights : Fabian Bleisch

Duration : 40min

Sie hat dich angerufen.Du hast mich angerufen.Ich habe niemand angerufen.

Habt Ihr gut geschlafen? Ein Täter.Zwei Anrufe.Drei Opfer.Ich habe zwei Freunde.Vielleicht....

Production : Dock11, Berlin, Germany 3 weeksTechnic : One computer. One video-projector. One mobile screen. Four screening surfaces.

In charge of:Video production.Software development.

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FAQ, january 2006, Berlin.

Choreography : Yoann Trellu, Stephanie MaherDance : Stephanie MaherVideo / graphisme : Yoann Trellu

Duration : 12min

Technic: One computer, One video-projector, Two screens.

Production : Tacheless, Berlin, Germany 2 days

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In charge of:Director.Video production.Software development.

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This is what it was like to dance for him, may 2005, Berlin

Choreography / Dance : Howard KatzComposition / Music : Ansgar TappertVideo / Programmation : Yoann Trellu

Duration : 55min

Production : Dock 11, Berlin 4 weeks

Ausgehend von einer Solo-Performance, die Ende der 80er Jahre ad-hoc während einer Performance-Veranstaltung in New York entstand und zufällig per Video aufgezeichnet wurde, unterzieht Howard Katz Fireheart in seinem aktuellen abendfüllenden Projekt This Is What it Was Like To Dance For Him diesen New Yorker Solo-Moment einer kritischen und differenzierten Bearbeitung.

Das Video der Performance, das den aktuellen Arbeitsprozess und die Aufführung begleitet, ist dabei selbst schon nicht als “Original” zu werten, sondern als Dokument einer Sammlung angeeigneter Techniken und Stile, Wert- und Weltvorstellungen eines New Yorker Tänzers der 80er Jahre. Das Video präsentiert für den heutigen Betrachter eine Performance, die aus dem Augenblick geboren wurde und diesen Augenblick in eine präzise gegliederte Improvisation übersetzt. Es zeigt den inneren Monolog eines Performers, der in geistesgegenwärtiger Klarheit den einzigartigen Moment zwischen Weitermachen und Abbrechen, zwischen loyaler Gefolgschaft und radikaler Emanzipation erkennt und bis ins Detail ausbuchstabiert.

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In charge of:Video production.Software development.

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Precarious, october 2005, Holyoke, USA.

Choreography : Francis Saliq Savage Jennifer PolinsDance : Ione Beauchamp, Nicole Dagesse Gamaliel Lodge, Justin Norris, Joe Seitz Lizzy Tyler, Francis Saliq SavageComposition / Music : Stephen KatzVideo / graphc : Yoann Trellu

Duration : 90min

Technic : Two computers, Two video-projectors 3 screening surfaces specific to the place

Production : Wire Monkey Dance Tree Studio, Holyoke, Mass, USA 5 weeks

PRECARIOUS, a 90-minute piece of gripping physical dance, live music, and Video projected imagery explores the complexities of privilege, security, isolation and intimacy that coexist in a =B3civilized=B2 world. PRECARIOUS =will be performed for an exclusive ten-day run as part of MIFA FALL FESTIVAL 05.Using steel scaffolding and platforms, the company=B9s powerful acrobatic dancers create a distinctive and compelling world =AD swinging, leaping and flying through sets that transform from apartment buildings, to cityscapes, to airplanes and more.

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In charge of:Video production.Software development.

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Schwebezustand, october 2004, may 2005, San-Fransisco.

Choreography / Dance : Stephanie Maher Kathleen HermesdorfComposition / Music : Matthias Hermann Laurent Lavolé Albert Mathias

Duration : 35min

Production : Stolzenhagen, Germany, 2004 San Francisco, USA, 2004-2005 3+5 days

Alice encounters Pandora in wonderland, drinking magical thinking. distances warp, or is just them, growing and shrinking? Rollercoaster transportation, transforms, leaving them where they started, but suspended, drooling and lighter from fright. Bruce Lee shows how to get out of the box, Leonard Cohen offers humility and the Tennessee waltz holds the tired talk at the end of the day.The memories dance, embedded in the skin. 15 years bleed into 5 seconds, here becomes somewhere else entirely. Time keeps on slipping, slipping, slipping,...

I remember you then, when, now, they say to each other and sing, stomp and shriek. Colliding and colluding, they crash, melt, merge and separate; a waltz of intertwining unison notes heard between the teeth. The movie plays on, bigger than life, looping time and space into spools of pixels, catching pixies in the barn and tired ladies on the stairs. Catching moments embedded on the retina, burning on the tongue, shrinking and growing in the heart. They continue, sisters containing cities and stories, continue, containing surprises and secrets, continue, containing space and time, continue ...

“Schwebezustand (suspended in space & time)” involves perceptions of the distances between, the time spent and the language of memory and now.It is a duet of choreography and improvisation, created by long-term collaborators Hermesdorf and Maher, revealing a relationship of intimate momentum, intricate history and bold choices. Contained within a technical orchestra of computer and Video, warmed by the strings of a cello, banjo and dotar, Maher and Hermesdorf, with their brilliant collaborators, bring their faraway lives in sister cities Berlin and San Francisco in line for a moment suspended in time and space. Shaped over time, “Schwebezustand” is a continual working process and work-in-progress that has been presented at Tanztage International Festival in Potsdam, Germany in 2003, Ponderosa Tanz/Land Festival in Stolzenhagen, Germany in 2003 and 2004 and by Jess Curtis/Gravity in San Francisco in 2004. It will be featured in Motion Lab’s May 2005 Season at ODC Theater as part of the San Francisco International Arts Festival and premiere in Berlin in August 2005.

In charge of:Video production.Software development.

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As If Life, october 2004, Holyoke, USA.

Choreography : Francis Saliq Savage Jennifer PolinsDance : Ione Beauchamp, Nicole Dagesse Gamaliel Lodge, Justin Norris, Joe Seitz Lizzy Tyler, Francis Saliq Savage Jennifer PolinsComposition / Music : Stephen KatzVideo / Programmation : Yoann Trellu

Duration : 65min

Technic : Two computers, Two video-projectors. 6 screening surfaces specific to the place.

Production : Wire Monkey Dance Tree Studio, Holyoke, Mass, USA 5 weeks

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In charge of:Video production.Software development.

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Arctic Triangle, november 2004, Macau.

Choreography : Francis Saliq Savage (US) Jennifer Polins(US)Dance : Ione Beauchamp, Justin Norris Francis Saliq SavageComposition / Music : Stephen Katz (US)Video / Programmation : Yoann Trellu

Duration : 20min

Technic : One computer / One video-projector.

Production : Wire Monkey Dance Tree Studio, Holyoke, Mass, USA WAC Fest, Macau, China 2 days

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In charge of:Video production.Software development.

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Other performances, 2000-2002, Nantes, France.

913=1611855

Tarmania

Histoires Mixtes

Village Bunker

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Color is sound, interactive audio-visual installation may 2008, Nantes, France.

With an original transcription of colors into sound, installed in the museum’s contemporary collection,Noise Gate & Keyframed offer visitors to “listen to the voices of paintings “

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La Navale, audio-visual installation & concert, october 2007, Nantes, France.

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EVEREST, video installation, december 2005, Nantes, France.

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merh release party, photographic installation and books edition february 2002, Nantes, France.

merh est une maison d’édition qui publie des plaquettes, des cassettes, des cdr et des affiches.

un numéro de merh sort chaque mois à partir du 1er février 2002.

merh organise des actions, des événements, des lectures, des performances, des installations et des concerts.

merh est disponible dans des librairies, chez certains disquaires et par abonnement.chaque numéro est vendu 5 euros.

des numéros de merh sont signés.des numéros de merh ne sont pas signés.

merh est ouvert à certaines propositions.

merh aime le bruit.merh ne décapite pas.merh aime parfois le silence.

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Strange Attractors, guided research project.

June 21st - 25th, Ponderosa Tanzland Festival.

Kathleen Hermesdorf, Yoann Trellu.

Guided research project into the attraction/reaction of the body in rela-tion to media.Multi-media experiments, improvisations and compositions.

We work in the theater every evening (21h - 24h), integrating bodies, action, scores and scenarios with images and sound generated by Trellu, and add in material brought or made onsite by the participants.We take turns on the stage and in the audience - experience and witness - and examine the necessity, frequency, perspective, etc. of the mediums in collaboration.We will explore varied starting points for the creative process and allow feedback from the inside and out and live direction to affect the course of events.Artists in any/all of these disciplines are invited.Please bring your computers, cameras, projectors, recorders, footage, costumes and notebooks. You are still very welcome If you have none of these.

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Tools for media integration in performance, an introduction to Pure-Data, Dock 11, POOL09, october 2009, Berlin