Sergiu Matis "Extinction Room (Hopeless.)"
Extinction Room (Hopeless.) is a performative multi-channel sound installation consisting of recordings of extinct and endangered bird species. It explores the idea of nature in western society and its representation in artistic and cultural products, at a time when climate change specialists have given us permission to panic.
The audience will be guided through a soundscape developed in collaboration with composer AGF (aka Antye Greie). The performers will tell the stories of these species as we listen to their calls, cries and songs from the speakers that hang in the space like cages. The birds’ extinction narratives will interweave with their myths. Folk songs and dances will be brought to life. The emotional load – the sorrow – will be augmented by the performer, who will skillfully guide the visitors through these traumatic experiences of loss.
The first phase of Extinction Room (Hopeless.) was shown in June 2019 at Art Radionica Lazareti in Dubrovnik. Following the Berlin phase it will be presented at eXplore dance festival in Bucharest and at Craiova Art Museum on September 27, then Bozar Brussels, as part of a special commission for Europalia Romania Festival exhibition - Brancusi: Sublimation of form, and back to Berlin for Tanznacht in September 2020. The bird sounds are courtesy of the Macaulay Library at the Cornell Lab of Ornithology and the Xeno-canto Foundation.
Concept, choreography: Sergiu Matiș
With: Lisa Densem, Sergiu Matiș, Orlando Rodriguez
Sound installation and composition: AGF aka Antye Greie
Text: Sergiu Matiș, Mila Pavicevic,
Species research: Philip Ingman
Dramaturgy: Mila Pavicevic
Sound: Martin Lutz
Animal recordings from the Macaulay Library at the Cornell Lab of Ornithology and the Xeno-canto Foundation.
Production management: 4Culture Association
Sergiu Matis is a choreographer born in 1981 in Cluj-Napoca, Romania, and now living and working in Berlin, Germany. His movement practice “visible thinking body”, a method of thinking the body in motion, forms the base of his performances. Contaminated with ballet technique at an early age in freshly post-communist Romania, Sergiu now seeks a new virtuosity, learning from machines, scrambling fragments of history, skipping and swiping through archives – both personal or belonging to Western dance history. He writes his own performative texts, choreographing meaning and ideas, flirting with poetry and theory, with a pinch of visceral filth and groovy noises. The voice dances as much as the body in a Sergiu Matis performance.