Time Republic

Screen shot 2011-06-29 at 2

We write the year 50 according to the calculation of time by the cosmic comsomolzkis: In 1957 the Soviet Union managed to shoot a small ‘accompanist’ into orbit and thus gave the starting signal for space-travel. A sputnik-shock for the western world because finally it became obvious that the Soviet-Union was now able to reach America with rockets. From this zero-point TIME REPUBLIC takes off to tell another story of the 20th century about forgotten promises of a future past. And about this last cosmonaut, who was circulating alone in outer space in 1991, while deep down below him on Earth the Soviet-Union dissolved. andcompany&Co. is searching for the presence of the future in the present and thus resorts to the past to found a state, which doesn’t exist on a territory, but in time. The stage turns into a retro-futurist cockpit to steer the time-shuttle. All tools at hand, the seven performer/ temponauts are in constant interaction with light, music, movement and image – the stage is simultaneously a rink and an installation. The cold war is brought to the stage as victory over the sun and Ronald Reagan’s fear of an alien-invasion is answered by Juri Gagarin with a smile like a gift from the sky: “The cosmos is dark, comrades, very dark.”

“They tell the history of the arm’s race and the Cold War as a language-acrobatically music-theatre. In long, tongue-twisting sentences they pile the scenarios of the balance of fright onto each other, until these talk-cascades become unspeakable. In between there are speeches about the men on the moon and training for zero-gravity. It is charming how this whole huge history is told with means which seem like children’s early education.”
Katrin Bettina Müller, TAZ 13.10.2007

read more about Time Republic here. 

Revolutionary Timing


Revolutionary Timing is a performance by andcompany&Co., based on an improvisation at the first &Co.LAB in Amsterdam in May 2005 and performed in the lighting- and sculpture-setting of New York based artist Noah Fischer in the ground floor of the AT&T building in Manhattan in March 2006. The initial idea was to re-appropriate the revolutionary cutting technique of the filmmaker Sergej Eisenstein for the stage by the live-use of light and sound. The performers sit in a half circle between dummies and lamps with a light-bulb behind their head which enables them to switch themselves on and off individually. There are no theater-spotlights illuminating the stage from above, no use of playback-music from CD, but the light is controlled on stage as arrangement of lamps and light-projections created by Noah Fischer, while sound and music is performed live by Sascha Sulimma. Even the text is generated on the spot, based on a fragmentary structure created by Alexander Karschnia and Nicola Nord. Revolutionary Timing is an energetic performance between action and discourse. Here time becomes space: reflections on failed revolutions or the anticipation of the beginnings of one. This performance exists in the narrow gap between a pop-song and the philosophical discourse.