Decay
Based on Eva Kotatkova's idea of an abandoned spa music pavilion and the spa as a mental border site, the Schinkel Pavilion in Decay becomes a place of decay and deconstruction.
Iza Mortag Freund finds herself inside a centrally positioned sculpture by Eva Kotatkova and remembers - the exhibition space becomes an inner world contemplated by the performer. The decay of the entrance music unfolds with the greatest slowness; the viewer of the constantly expanding space interrupts this development at the moment of maximum sonic expansion with Samuel Beckett's Rockaby. Eva Kotatkova's sculptures are treated as sound bodies and played with bows. The resulting long-drawn-out tones and noise sounds are lines that, as it were, measure the sound space. In the process, the performer located in the sculpture becomes a projection surface for the audience's associations and emotions. Decay dissolves with a deconstruction of Bach's Largo from the Double Concerto for Two Violins and the last words from Rockaby, ending in white noise.
"fuck life" S. Beckett