Gegenüber [Ein Stehtanz]

As implied by the title, only seconds after it starts, the music of this film has set the mood for a dance film. Artist Kalin Lindena herself is involved in the performance, which shows her dance trio in long shots of Rockaway Beach in New York. In a picturesque setting, the apparently improvised free dance is accompanied by classical music, which is replaced by more modern rhythms as night falls. Sculptures by the artist are superimposed, creating a transition to the galleries at the Oldenburger Kunstverein. There, in a kind of silhouette, she performs a stationary dance among the objects, which have taken on a type of physicality and seem to be more than just props.

The two settings are linked by light signals, with which the dancers come into contact. The way the dancers look directly into the camera also focuses the audience. This not only connects spaces, but brings people and objects 'face to face'. Synchronously or asynchronously, new movements are added to traditional steps, resulting in the development of an innovative form of dance.

The peculiar ability of the modern work of art to open up different possible variations lies in its communicative structures. Kalin´s 'open' way of dealing with stages, props, figurines, and extras is very close to Umberto Eco´s modern understanding of an open work of art: "An open work of art has the task of the showing us the image of discontinuity; it does not tell it, it is it".[1] (Nora Jablonowski, Vesna Tornjanski)

[1]Umberto Eco, The Open Work, [Cambridge, MA, 1989].