Re-

Audio-dance per­for­mance is a part of the cycle titled “Pas­sing”, through which the artist explo­res its

habi­tus of inner and sur­roun­ding land­scapes. It star­ted in Slove­nia in 2022 and con­ti­nues in specific

spaces of cur­rent resi­dence in Berlin.

The com­po­si­ti­on is divi­ded into five sec­tions, con­s­truc­ting diver­se ambi­en­ces and sounds, created

simul­ta­neous­ly with the move­ment. They pre­sent archi­ves of dif­fi­cult events from the past years

spent in Ber­lin, from the lack of living and crea­ting space to vio­lent envi­ron­ments that lead to

inter­na­li­sed dis­com­fort. Rather than con­vey­ing an iso­la­ting path, Mar­ti­na seeks ways to rever­se the

repe­ti­ti­ve, harmful set of beha­viours. The past events are the­r­e­fo­re chan­ged into performative

mate­ri­al, ope­ning an insight into artists living con­di­ti­ons that might be a com­mon sto­ry of many

inha­bi­tants.

The pie­ce reve­als cycli­cal incli­na­ti­ons in rela­ti­on to rese­arch of rapidly chan­ging urban spaces. The

initi­al move­ment impro­vi­sa­ti­ons took place out­side, on enorm­ous buil­ding sites that ser­ve as both

win­dows into the expan­ding city and a mani­fes­ta­ti­on of the gen­tri­fi­ca­ti­on pro­ces­ses. The long

inco­ming high­way A100 and the high buil­ding known as Edge East Side or Ama­zon tower are the

two key loca­ti­ons that were examined.

The­se inves­ti­ga­ti­ons were inte­gra­ted into the cho­reo­gra­phy, which was com­po­sed with butoh

metho­do­lo­gy and images of fema­le tran­s­cen­dence found in clas­si­cal; baro­que, and pre-Raphaelites

art­works. The fol­lo­wing move­ment pro­gres­sed towards era­sing phy­si­cal, spa­ti­al, and auditory

bar­riers to reach across the habitual.