Martin Sonderkamp

Choreographer

BIO
Martin Sonderkamp
, ​​(* 1965 in Duisburg, DE) works and lives in Cologne and Berlin. In his choreographic work and performative practice, Sonderkamp seeks to extend and to transgress disciplinary and aesthetic boundaries between dance, visual art and music. He has closely collaborated with visual artists Isabelle Vigier and Darko Dragičević, with composers and musicians Anne Laberge, Christopher Williams and Andy Moore (The EX), choreographers Katie Duck and Amanda Miller as well as dance sholars and theoreticians Constanze Schellow and Jasmina Založnik.

Currently, he is collaborating with Norwegian choreographer Siri Jøntvedt in the frame of their project A collective body, to be premiered in spring 2018. Other recent works include Sonic Extensions (2017), Approximations (2016/15) Task 14 (2014), Rewired (2013) and Social Movement (2012), an exhibition at the Rautenstrauch-Joest Museum in Cologne. In 2016, Martin also worked as a choreographer for City Dance Cologne, a Tanzfonds Erbe Project in cooperation with Kölner Philharmonie under the direction of Stephanie Tiersch,  which brought thousands of citizens onto the streets of Cologne.

Martin Sonderkamp also appeared in numerous improvisation events besides artists such as Meg Stuart, Jonathan Burrows, Katie Duck, Steve Paxton, Amanda Miller, Benoit Lachambre and others at festival such as KlapStuk Festival (BE), Holland Dance Festival (NL), CI Festival Tokyo (JP), Seoul Improvisation Festival (KR), Movement Reseach Improvisation Festival New York (US). As a co-founder, Martin toured worldwide with Amsterdam based Magpie Music Dance Company from 1995-2006. In 1995 he graduated from the School for New Dance Development Amsterdam, AHK and has since then enjoyed being active as dancer, choreographer, mentor and teacher

From 2011-2015 Martin Sonderkamp held a position as Professor for Contemporary Dance at the University for Music and Dance Cologne. As a guest lecturer and teacher he has worked extensively across Europe, the US, Russia and Asia for university programs,  professional venues and dance companies such as the Cullberg Ballet, Sasha Waltz & Guests, Movement Research New York, Tanzquartier Wien, Dansenhus Copenhagen, AHK – University of the Arts Amsterdam, UDK/HZT Berlin, Stockholm University of Arts – DOCH,  KHM – Academy for Media Art Cologne and many others.

WORKSHOP
Scripting Contingencies

How to navigate the Not-Yet-Nameable
Workshop taught by Darko Dragičević and Martin Sonderkamp

Darko Dragičević and Martin Sonderkamp work together as an artist duo since 2014. As a common point of interest, their work explores how spaces unfold toward bodies and how bodies affect their spatial surroundings. Their artistic dialogue has developed into a shared practice between dance, visual art and choreography, resulting in the performances Sonic Extensions (2017), Approximations (2015), Task 14 (2014), the video works Architecture of Affect (2015)  and Zone (2014) and the workshop formats Extensions, Ode to Mrs. Brown and Frames Everyday.

The seminar is an invitation into artistic research, based on our pracitical experience and understanding of choreography and visual art as reciprocally extended practices. The seminar is open to practitioners and students from the fields of visual art, choreography, dance, music and performance. It focuses on exploring transformation as a vital force during artistic research on which basis we will create visual and bodily matter and in turn shape varied dynamics of perceptual awareness.

We will introduce scripting as a method through which to bring into existence and explore that which in its stage of becoming appears as something not yet nameable, articulable through words. We will practice and excercise how to temporarily withdraw from naming, justifying and explaining solely through words in order to make sensible, to practice and to articulate different ways of thinking with and through the body and the senses. Thematically and practiclaly, the workshop builds on three different, yet related fields of practice:

1) In Writing as installation, we will foucus on developing text into a spatial situation in which the body responds and extends into the writing.

2) In Cinematic Language as Movement we will fabricate maps and visual scripts devised from cinema.

3) In Listening as Somatic Reverberation we will use scripts that highlight sound as accumulated memory projected onto discrete layers of physical and bodily space.

In the later stages of the workshop we will practice to alter and hybridize the scipts and scores developed alongside different tasks in the aforementioned fields of practice.