© Amela Ristic
Multimedia Performance about a family history in the Holocaust, casting its shadows into the present
With the genre-crossing performance MIND CROSSING, composer, musician and music-therapist Tal Gur embarks on an autobiographic journey into the past of his own family. His grandparents’ traumatic experiences of the Shoah, the loss of their children, the total reset of their lives in Israel and the taboos and silence related to the past, are at the core of the project.
Together with choreographer and dancer Jasmin Avissar, dancer László Benedek and live-musicians, Gur explores cross-generational influences of traumatic experiences.
The multimedia performance, containing elements of dance, music, lyrics, video-installations and documentary video material, reconstructs the story of Tal’s grandmother. Deliberated from the concentration-camps, she and her husband went on an Odyssey across Europe to finally make Aliyah to Palestine in order to commence a new life. Based on a written correspondence of Tal’s grandfather and his sister Fruma, Tal Gur reconnects to their experiences, explores their multilayered characters and broaches the issues of silence, leading to breaks and disruptions within the family – and puts art to the test as a means of resolving issues of love, loss, and displacement.
Mind Crossing has been performed in New York City (JCC Harlem and at the Brooklyn Conservatory of Music) and at Vienna’s Semper Depot in cooperation with Noa Fort, Rene Hart and Nicholas Anderson in NY and Herbert Könighofer, Hannah Eisendle and Christian Stolz in Vienna and Munich.
For booking, media-information and further requests please conctact email@example.com.
Tal Gur – concept
Jasmin Avissar – choreography, dance
László Benedek – dance
Herbert Könighofer – sax, loops, var. instr.
Hannah Eisendle – piano
N.N. – sound, video-installations, light
min. 10x8m dancefloor, PA & backline, esp. piano. Please contact firstname.lastname@example.org for details.
In her installation, artist Alexandra Ben-Abba relates to the possibilities of resembling broken fragments of memories. She places broken – and therefore potentially hazardous – tableware on a dinner table. The broken pieces are fragile and at the same time sharp and dangerous and stand for insecurity, aggressions and helplessness which always seem to be integral parts of conflicts. With her method of exploring different ways of combining materials, Ben-Abba encourages the audience to find creative and unusual ways of solving conflicts.