A Very Unique Gift : The Shadow / EXTRACT

Posted in JOURNAL, Performance

Wacth an extract of « A Very Unique Gift » / « The Shadow » scene click on the link !




ICH BIN KEIN -eng sub

Ten years later, and I still feel the same… here is my Manifesto, made when I arrived in Braunschweig, with zero knowledge of the German language, alone, lost and feeling pretty displaced indeed. And finally translated in English





Posted in JOURNAL, Performance

Very happy to show the result of 18 intense months of research during the M.A SODA @HZT Berlin.

3rd and 4th December, 19h in STudio 14, @UferStudios Berlin.



Concept, choreography, performance: Pauline Payen
Performance and artistic accomplices: Jelena Alempijevic and Alice Chauchat
Dramaturgy/external eye: Katherine Evans and Siegmar Zacharias
Light and set design: Hanna Kritten Tangsoo
Performance coaching: Xica Lisboa

Mentors: Alice Chauchat and Siegmar Zacharias
Photo credit: Evgenia Chertvertkova


She once said to me:
“I often dream of the endless party. The one where everyone gets caught in a trance.
And you wonder if you are the only one who feels like leaving.
You know what I mean?
And the more you feel like leaving, the more it feels like a repetitive torture to stay.
Like… Marguerite with the devil!
Or eating bar-food for dinner.
The sensation of forced containment… to avoid getting kicked out of The Society.
Dancing like chewing gum. And singing like it’s the only thing to do.
There is an idiotic, dark cabaret.
And a cinematographic sliding diva.
A frame around conversations…
A word above the absence of sight.
And elevator music, gently whispering.”



Work in Progress A VERY UNIQUE GIFT

Posted in JOURNAL, Performance




Pictures from KEYWORDS_REQUIRED @Gr_und


« FragtMorgenWieder » (sound foutain) Decorative-fountain, mini speaker, soundtrack – 2010

« Spaceship » A performative installation – Unknown materials – 2017 (with the complicity of Kevin S. Morrison)

« Spaceship » A performative installation – Unknown materials – 2017 (with the complicity of Kevin S. Morrison)

« Spaceship » A performative installation – Unknown materials – 2017 (with the complicity of Kevin S. Morrison)

« Spaceship » A performative installation – Unknown materials – 2017 (with the complicity of Kevin S. Morrison) The Voyager Spaceship has landed in a human-art gallery in Berlin, in July 2017. During the vernissage, art visitors and human artists exchanged words and sounds in the Spacheship that turned out to be a recording device.

Radio Broadcast of the new edition of The Voyager Radio Show, with interviews and sounds by human art-visitors Listen to The Voyager Radio Show here: http://www.paulinepayen.net/projects/the-voyager-radio-show/



Posted in JOURNAL, Performance




Keywords Required Exhibition @ Gr_und BERLIN

A group exhibition with Yann Vanderm, Pauline Payen, Elena Katz and Ssmidd

01-22.07 2017
Thu-Sat 4-7 pm

Vernissage 30.06.2017 – 7 pm
Performance by Elana Katz

Finissage 22.07.2017 – 7 pm
Performance by Pauline Payen

This project has been supported by Fondation Nationale des Arts Graphiques et Plastiques.


“The majority of gallery visitors are art enthusiasts, casual visitors and vernissage guests – in other words nice-to-have visitors – and collectors and art professionals form only the minority” of the public. (M. Resch, Management of art galleries, 2015)

According to the report of GmbH 2017, more than 70% of the exhibition visitors are less interested in the presented artworks and their concepts or in an exchange with artists than in the probability to meet curators and gallerists that can push their career; not to mention the possibility of getting cheap drinks.

These facts make us, curators, think twice about which artists and works to present in a proper conceptual direction, in order to create a meaningful and coherent group exhibition.

The serious question we might ask now is what makes an exhibition more meaningful than another? According to which criteria should an art show be evaluated? The numbers of visitors? The profit of the sales of drinks at the bar and of artworks? The feedbacks from art critics and audience? The smile on the curators’ faces?

In the group show “keywords_required” we propose to artists, art lovers, collectors and nice-to-have visitors to question what motivations lead the public here and what information they receive. To evaluate the meaningfulness of the exhibition, we selected a list of conceptual keywords that permitted us to set up a sample of artists who are likely to reuse and reinterpret them, to find out if these are transmitted to the public.





A WSTBND Manifesto Exhibition on Nails



Wasteband presents their first event of World Wide Waste!
I will hold the WOLSODONAILS salon.


* Trailer by Zabo Chabiland


Panelist @ INVENTUR # 2

I will hold the panel Strategies of Empowerment together with the talented Agata Siniarska, Vala Tomasz Foltyn , and Maque Peyrera during INVENTUR #2 in Düsseldorf. Program under.




Panels, Lectures, Live Acts, Performances

Topics: Globalism / Postcolonialism
Audience and Attention
Bodies in Crisis / Dance and Crisis
Social Practices and the Inherent Politics of Dance
Performing the Museum
Expanding the Institution
Strategies of Empowerment / The Force of Dance

With: Anurima Banerji, Rustom Bharucha, Claire Bishop, Jonathan Burrows, Panaibra Gabriel Canda, Nora Chipaumire, Bojana Cvejić, Dan Daw, Gurur Ertem, Vala Tomasz Foltyn, Susan Leigh Foster, Sujata Goel, Trajal Harrell, Maria Hassabi, Ana Janevski, Janez Janša, Bojana Kunst, Ralph Lemon, Lina Majdalanie, Babette Mangolte, Achille Mbembe, Joe Moran, Rabih Mroué, Sandra Noeth, Opiyo Okach, Jay Pather, Pauline Payen, Manuel Pelmuş, Maque Pereyra, Javiera Peon-Veiga, Chantal Pontbriand, Laurence Rassel, Jan Ritsema, Lia Rodrigues, Georg Schöllhammer, Agata Siniarska, Gabriel Smeets and Susana Tambutti

Performances: Raimund Hoghe, Mithkal Alzghair

Concept: Sigrid Gareis, Gabriele Brandstetter, Martina Hochmuth, Bettina Masuch

Registration is open: http://bit.ly/Inventur_2017

The event will be held in English.

INVENTUR 2 wants to analyse the current situation within contemporary dance and performance art, across genre boundaries and in a cross-sectoral manner. 12 years after the first INVENTUR, which took place in Vienna in 2005, the field’s most prominent performers discuss central topics within the latest developments of contemporary dance and art, all the while taking in consideration current political, ecological and economic crises. In 9 panels, both the inventory as well as the inventory-taking itself will be up for discussion.

An event of the Arts Foundation of North Rhine-Westphalia in collaboration with the tanzhaus nrw, supported within the framework of the Alliance of International Production Houses by the Federal Government Commissioner for Culture and the Media. INVENTUR 2 takes place within the framework of the European Dancehouse Network (EDN), co-funded by Creative Europe Programme of the European Union.

I am the Lottery Winning Genius or Stories of the Man of Shit PREMIERE @ Platforma Festival in ZAGREB

Posted in JOURNAL, Performance

The Solo I am the Lottery Winning Genius or Stories of the Man of Shit premiered during the TASK Festival of Platforma HR in Zagreb last April!

See all pictures of the festival here: PlatformaHR/photos


I am the Lottery Winning Genius or Stories of the Man of Shit. – P. Payen (FR/SODA)


I am the Lottery Winning Genius or Stories of the Man of Shit. – P. Payen (FR/SODA)


I am the Lottery Winning Genius @ Platforma Festival in ZAGREB

Posted in JOURNAL, Performance


Presenting the solo I am the Lottery Winning Genius or Stories of the Man of Shit @ Platforma Festival in Zagreb, April 22nd


I am the Lottery Winning Genius or Stories of the Man of Shit.

Pauline Payen alias Jelena Alempijevic, alias Blai Costa Ferrer, alias Simone Gisela Weber.
Developed in the frame of SoDA research @ HZT Berlin.

Where do our desires come from? If My Self is multiple, penetrable, desiring and desired, where is the point of resistance? Where and when can I penetrate back? Where and how should I set a limit? And can this limit take the shape of a “We” in a world of “I” ? Can this “We” be more inclusive? And if I+I=We, then who are They?!
We are not what they want I to be. I do not intend to fight against but for. I am not anything we say they want. And so she said.


WASTEBAND PawliP Human Sound System @ Ida Schmidt

Join for a special Brunch by Ma Patissiere acoompanied by the Pawli P Human Sound System

A live radio experiment with Wasteband.

October 9th 2016 @ Ida Schmidt Gallery, Brooklyn/New York

« …but was this funny? was this funny? was this funny? why was this funny? why was Sugar Kane funny? why were men dressed as women funny? why were men made up as women funny? why were men staggering in high heels funny? why was Sugar Kane funny, was Sugar Kane the supreme female impersonator? was this funny? why was this funny? why is female funny? why were people going to laugh at Sugar Kane & fall in love with Sugar Kane? why, another time? why would Sugar Kane Kovalchick girl ukulelist be such a box office success in America? why dazzling-blond girl ukulelist alcoholic Sugar Kane Kovalchick a success? why Some Like It Hot a masterpiece? why Monroe’s masterpiece? why Monroe’s most commercial movie? why did they love her? why when her life was in shreds like clawed silk? why when her life was in pieces like smashed glass? why when her insides had bled out? why when her insides had been scooped out? why when she carried poison in her womb? why when her head was ringing with pain? her mouth stinging with red ants? why when everybody on the set of the film hated her? resented her? feared her? why when she was drowning before their eyes? I wanna be loved by you boop boopie do! why was Sugar Kane Kovalchick of Sweet Sue’s Society Syncopaters so seductive? I wanna be kissed by nobody else but you I wanna! I wanna! I wanna be loved by you alone but why? why was Marilyn so funny? why did the world adore Marilyn? who despised herself? was that why? why did the world love Marilyn? why when Marilyn had killed her baby? why when Marilyn had killed her babies? why did the world want to fuck Marilyn? why did the world want to fuck fuck fuck Marilyn? why did the world want to jam itself to the bloody hilt like a great tumescent sword in Marilyn? was it a riddle? was it a warning? was it just another joke? I wanna be loved by you boop boopie do nobody else but you nobody else but you nobody else… »
Joyce Carol Oates, Blonde



WSTBND is in NYC @IDA SCHMIDT Gallery / Brooklyn

For More Info about the Gallery: http://blog.splacer.co/2016/03/community-spotlight-ida-schmid/

WASTEBAND a berlin collective
with Zabo Chabiland, Kevin S. Morrison, Nicolas Puyjalon, Magalie Rivière, Virya Lynch, Mathilde Melek An, and more and more and more…

Facebook Event 



SoDA Master Class @ HZT



Starting this April 2016, I had the chance to be selected for the SoDA 2016-2018 Master Class at the School for Contemporary Dance in Berlin (HZT), presenting a performance research project « No One is an Island ». LINK SoDA



Voiding in 2015

Posted in JOURNAL, Performance



Picture by Galya Feierman http://galyaphoto.com/



Black Box Exit / Lebenzeichen

Posted in JOURNAL, Performance


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Eine Superagentin. Ihr Körper ist eine Blackbox – ein Speicher lebensrettender Informationen, eine Hülle mit sehr persönlicher Anbindung, eine Leerstelle. Nach einem furchtbaren Ereignis findet sie sich in einer leergebombten Wohnung wider.
Julia Philippi steht als Protagonistin, als Superagentin, als tragende Kraft auf der Bühne und begibt sich mit höchster Aufmerksamkeit auf die Suche nach dem, was sich hinter den Leerstellen befindet. Von ihren Erinnerungen getrieben, manipuliert durch undurchschaubare Algorithmen, sammelt sie wie ein Messi alles auf das ihr begegnet.
BLACKBOX EXIT / LEBENSZEICHEN ist eine Stückentwicklung des Duos Georgi / Philippi und die zweite gemeinsame Arbeit am Ballhaus Ost. Zusammen mit Michael Semper suchen sie nach einer Interaktion der Blackbox Theater mit der der Bilder- und Datenflut anderer Realitätsspeicher. Einzelne gesellschaftliche Phänomene werden bearbeitet und bis hin zum kitschig surrealen Moment überreizt. Die Arbeit wird durch Bilder und Videos von Sarah März und Pauline Payen vervollständigt und auf dem Blog www.blackboxexit.de fortgeführt.
Erfahren Sie mehr & verfolgen Sie den Proben-Countdown bis zur Premiere auf unserem Blog www.blackboxexit.de.
Ein Stück von und mit Clarissa Georgi, Sarah März, Pauline Payen, Julia Philippi und Michael Semper
Texte Jan Liedtke*, Anna Philippi, Lydia Tschukowskaja*, Bastian Winkler u.a.
Tatkräftig unterstützt von Elisabeth Friedrich, André Jagusch,
In Kooperation mit dem Ballhaus Ost
Premiere am 26. März 2015 um 20 Uhr
Weitere Termine: 28. Und 29. März 2015 um 20 Uhr
Ort: Ballhaus Ost, Pappelallee 15, 10437 Berlin www.ballhausost.de
Karten: 13 / 8 € unter 030 440 39 168 oder karten@ballhausost.de

HUHUHU at Lake Studios, Berlin

Posted in JOURNAL, Performance




HUHUHU is a ready made trance practice, obtained from the simplified meditation of Osho, it can be downloaded and visioned for free online. « Can I » has used it as an exercise for deconditioning. The purpose of finding a practice that can loosen up or shift the ordinary perception that we have of ourselves and of the world we live in. For an established lenght of time, the participants jump ,shouting « HUHUHU » The initial intuition to experiment with the participants, is that of an exercise that can trigger off or nevertheless create the conditions for a mechanism based on no established rules that are confirmed and modulated during the practice. The physical exhaustion moves the focus from the participants activity to the physiological. The vocal frequencies initiate a common feature amongst the Group, it becomes the gene that’s halfway between the animal species and the human race.
• On a physical level, the experiment consists on submitting the body in recognizing resting strategies, loosening up the control of the body and negotiating other solutions as the exercise proceeds in on a non established negotiation of a rhythmic nature.

http://lakestudiosberlin.com/ / https://paolastellaminni.wordpress.com/portfolio/paola-stella/ https://monicagentile.wordpress.com/

A Tea Party in the Happy House

Event at L’ATELIER KSR :  Saturday 18. October, 4 – 7 pm
Ma Pâtissière (Magali Rivière) and PiPi’NPee Records (Nicolas Puyjalon and Pauline Payen)
An event initiated by Nicolas Puyjalon for his solo show  ‘HAPPY HOUSE’


«Would you like an adventure now,» he said casually to John, «or would you like to have your tea first?»
J.M. Barrie, Peter Pan
«Vous souvient-il que c’est là l’endroit de notre première entrevue ? On vous a apporté des mirlitons, le sucre en poudre faisant une moustache blanche à votre joli bec. Vous étiez charmante à donner envie de vous croquer comme les gâteaux.»
Gustave Flaubert, lettre à Amélie Bosquet, 26 octobre 1863


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Listen to the Radio Piece created for the Event here http://www.paulinepayen.net/projects/looking-for-pinnochio/
MORE INFO HERE: http://latelier-ksr.com/?page_id=1232   /   mapatissiere.blogspot.de   /   cargocollective.com/nicolaspuyjalon

1+1=3 , @ the Idling Gallery

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Extract of the german version of the text, written on the computer whilst read in english and said in french:

Ich werde über ien problem sprechen. Ich würde genre über ein wunsch sprechen.
Ich würde gerene in deine augen gucken für imm
meine augen in deine für immer versteken dass heisst: in deine piulpillen
die abbyssen sind .
Dise undenlich andersartigkeit bewundern
du ich millairden face millaidern reflectkionnen
ein einmziger puls
ich möchte in die Ewigkeit und ihre absolute ruhe eintauchen.

Ja aber siehe da: für Blich man braucht zwei augen
dass heiist 1+1=3
wenn ich versuche meine augen an das wunderschöneschöne bild die seele
und exywigkeit das ist keins puls mehr nur noch lästig

ich kann nciht in deine linke auge recht und link gleichtig.
Ich kann nur naviguer von recht bois link s und liknks rechts
oder ich ich dsollte eine seite wählen
ich will kein seite wählen

mein absolut ist ruiniert von mechanichs sichtebar
ich stopleere du stopelrst wir sind blockiert. Und blockiert reizt  »

SEE MORE ON THE PROJECT HERE : http://www.paulinepayen.net/projects/113/