[{"_1":2,"_121":-5,"_122":-5},"loaderData",{"_3":4,"_12":13,"_18":19},"root",{"_5":6,"_7":8,"_9":-5,"_10":11},"locale","en","apolloState",{},"marketingConsent","accentColor","#2e8d43","routes/layout",{"_5":6,"_14":15,"_16":17},"title","Volksbühne at Rosa-Luxemburg-Platz","description","This text is a placeholder. There are likely as many attributions, opinions and discourses surrounding the Volksbühne at Rosa-Luxemburg-Platz as there have been audience members and theatre-makers who have entered it since its opening in 1914. Throughout its history, the Volksbühne has defined and shattered artistic boundaries across all disciplines – from acting and directing to stage design, costume, video, lighting, visual arts and music, extending into every craft involved. The history and aesthetics of the building are shaped by the invention of new theatrical practices, the use of cinematic means, and a radical redefinition of artistic space. Tradition and its continual reinvention – this is the Volksbühne, which, within its ensemble and repertory system, focuses not only on drama and dance but also on music, performance, film and discourse. From the 2021/22 season until February 2024, the author and director René Pollesch was Artistic Director of the Volksbühne am Rosa-Luxemburg-Platz.","routes/event-detail",{"_20":21,"_22":23,"_119":-5,"_5":6,"_14":53,"_16":91,"_120":91},"slug","saint-flesh-1-bodybuilding","event",{"_24":25,"_26":27,"_28":29,"_58":59,"_73":74,"_78":79,"_82":83,"_101":102,"_111":112,"_116":-7,"_117":-7,"_118":-7},"id","cG9zdDoxMjEzNA==","databaseId",12134,"eventDetails",{"_30":-5,"_31":-5,"_32":-5,"_33":-5,"_34":-5,"_35":-5,"_36":37,"_38":-5,"_39":-5,"_40":41,"_42":43,"_44":-5,"_45":46,"_47":48,"_49":50,"_51":-5,"_52":-5,"_14":53,"_54":-5,"_55":56,"_57":-5},"endTime","eventDetailsDirector","eventDetailsWriter","eventTitle","eventType","filterableDate","genre","41","originalTextDe","originalTextEn","originalTitle","SAINT FLESH | #1 BODYBUILDING","productionId",1104,"productionSubtitle","productionTitleAddition","präsentiert von Duygu Ağal und Ricarda Hillermann | Sport Studio","stageId",146,"startTime","2024-09-27T20:00:00","subtitle","surtitles","SAINT FLESH","surtitlesEvent","seriesPart",true,"audiodescription","productionInfo",{"_60":-5,"_61":-5,"_62":56,"_63":58,"_64":-5,"_65":66,"_68":-5,"_69":-5,"_70":71,"_72":-5},"additionalInfoDe","additionalInfoEn","authorBullet","fieldGroupName","isFestival","productionType",[67],"repertoire","showInArchive","showInRepertoire","venue","117","subVenue","subtitleInfo",{"_63":73,"_75":-5,"_76":56,"_77":-5,"_51":-5},"moreTitleInfoDe","showProdSubtitle","moreTitleInfoEn","linkedEvents",{"_80":81,"_63":78},"eventsArray","[]","gallery",{"_84":85,"_82":86,"_99":-5,"_100":-5},"vidPosition","end",[87],{"_88":89,"_90":91,"_16":-5,"_92":93},"mediaItemUrl","https://wp.volksbuehne.berlin/wp-content/uploads/2024/06/cSergi-Perez.jpg","altText","","mediaTexts",{"_94":-5,"_95":96,"_97":-5,"_98":-5},"altTextEn","copyright","@sergifotograf","descriptionEn","artist","galleryMobile","logos","productionVideos",{"_103":104},"video1",{"_105":-5,"_106":-5,"_107":-5,"_108":-5,"_109":-5,"_63":110,"_97":-5},"videoUrl","videoFile","videoDescription","videoCopyright","mediaFileName","video_1","text_content",{"_113":114,"_115":-5},"contentDe","

Ist der Körper der Bodybuilderin Kunstwerk, Arbeitsgerät, queere Subversion, sportlicher Selbstzweck, Idealisierung des männlichen Körpers oder erotische Fantasie? Dieser Frage und den performativen, ästhetischen und sportlichen Facetten des Bodybuildings geht Duygu Ağal als Autor:in/Moderator:in mit der katalanischen Künstlerin/Bodybuilderin Isa Fontbona in der ersten Folge von SAINT FLESH nach. Der Abend setzt sich aus Performance, szenischer Lesung und Gespräch zusammen.

Durch einen kursorischen Blick auf die Künste zeichnen sich zahlreiche Narrative ab, die sich zum Thema Bodybuilding und seiner Körper mal affirmativ, mal kritisch verhalten: Der kürzlich erschienene Film Love Lies Bleeding von Regisseurin Rose Glass findet einen feministischen Umgang mit Homosexualität, Bodybuilding und Trauma. In der Literatur verarbeitet Kathy Acker schon früh, 1993, in Against Ordinary Language: The Language of the Body autobiographisch ihren Zugang zu Bodybuilding und stellt fest, dass es immer mit Scheitern, und letztlich mit dem Tod, zu tun hat. Und we all remember Teyana Taylor, tanzend in einem Fitnessstudio, in Kanye Wests Musikvideo Fade von 2016. Cassils, eine non-binäre Performance-Künstler:in aus den USA, modelliert 2011 mit Krafttraining den eigenen Körper und dokumentiert die körperlichen Veränderungen in deren Arbeit CUTS – A traditional Sculpture. Vorbild dieser Arbeit war CARVING: A Traditional Sculpture von Eleanor Antin aus dem Jahre 1972, die ihren selbst induzierten Gewichtsverlust fotografisch festhielt und damit die griechische Kunst der Bildhauerei reflektierte. Mit eben dieser Arbeit von Antin respektive Cassils beschäftigte sich auch die eingeladene Künstlerin und Bodybuilderin Isa Fontbona in ihrer zweijährigen Arbeit TRANSMOGRIFICATION. Between Carving and Bulking. Destroying an Evanescent Body Searching for Self-Identity (2021-2023).

Letztlich symbolisiert der muskulöse Körper der Bodybuilderin Eigenschaften, die männlich assoziiert sind und überschreitet so die normativen Kriterien westlicher Weiblichkeit. Weil sie Gefahr laufen, die bestehende Ordnung zu unterwandern, werden Athletinnen in der Öffentlichkeit stark angefeindet, wie es der Dokumentarfilm über die US-amerikanische Bodybuilderin Tischa Thomas I AM THE TIGRESS von Regisseur Philipp Fussenegger deutlich macht. Gleichzeitig müssen Bodybuilderinnen ihre männliche Physique im Wettkampf mit einem hyper-feminisierten und sexualisierten Auftreten auf der Bühne vor der Jury kompensieren: rasiert, im Bikini, mit langen Fingernägeln, Make-Up, High Heels und eisernem Lächeln. Genauso makellos und puppenartig sind auch die drei weiblich gelesenen Bodybuilderinnen in dem Musikvideo von Sängerin Sevdaliza zu Nothing Lasts Forever dargestellt. Letztlich stabilisiert und entkräftet der Körper der Bodybuilderin vorherrschende Geschlechternormen. In der Hinsicht kann er aber auch Mittel zur Selbstermächtigung sein: So zeigt es unter anderem das filmische Portrait Transformer über die Transition von Matt Kroczaleski aus dem Jahr 2016 eindrücklich.

Die Veranstaltung findet vornehmlich auf Englisch statt.

Isa Fontbona holds a Ph.D. in Art History at the Department of Art History in the University of Girona (Spain). The foundation of her research lays out in gender studies, sociology, art theory, philosophy, queer theory, body modification, and sports. Her dissertation involves theorizing body identity, representation, performance, and gender issues. In this academic frame, she also gives lectures and performative-conferences regarding her research in several university contexts around Europe and internationally.

On the other side, she is a performance artist and bodybuilding competitor. Fontbona’s career is characterized by the fusion of the academic – sport (bodybuilding) and artistic (performance) spheres giving rise to a formulation using the flesh as an attribute to promote critical thinking by making the body tangible, and connecting it with the audience.

As a visual artist, especially in the field of performance, she explores the malleability of the body using the flesh itself as an object of study and creation, using bodybuilding, body modification and physical exhaustion as tools of creation. In many of her works she challenges the limits of her body’s endurance. She frequently questions her own identity in relation to her corporeality through discomfort, vulnerability, and transparency.

Website: https://isafontbona.com/
\nInstagram: @isafontbona
\nFacebook: @isa.fontbona
\nYoutube: www.youtube.com/@isafontbonamola8709

\n","contentEn","eventim_import","eventim_data","event_cancellation","singleEventDetails","image","actionData","errors"]