Venice Venice

Free video streaming of the full lenght (75 min.) dance performance. >> VENEDIG VENEDIG (Venice Venice) is a cooperation of K. Szabó F.A.C.E. Visual Performing Arts and Orangerie Theater, Cologne.

Venice Venice – a contemporary dance piece –

additional CAMERA Mike Kleinen
onsite AUDIO Peter Behle
CUT Balázs Lajti (afilm_(dot)_hu)
Joy Kammin, Waithera Schreyeck, Sara Escribano Maenza, Lenah Flaig, Boshi Nawa
STAGE-SET Boshi Nawa
LIGHT Jan Wiesbrock
CHOREOGRAPHY Kristóf Szabó & material by the dancers
DIRECTED by Kristóf Szabó
CONTACT Julia Karl Management
>> face-performingarts_(at)_hotmail_(dot)_com

More info about the piece and F.A.C.E. Visual Performing Arts company:

Mike Kleinen Steinmetz
Stagemoments Foto und Film

Main Supports:  

Stadt Köln Kulturamt

RheinEnergie Stiftung Kultur

‘Neo-baroque I.’ projection, full documentation in VR mono/4K

use your phone or mouse to navigate

vimeo version

‘Neo-baroque I.’ was a 8 minutes two-channel video-projection on the ceiling of the Csokonai Theater’s staircase.
The projection was made for especially this location, and it was a part of the Lighthouse ‘ON’ sight specific group exhibition. (The exhibition ‘ON’ presents works by artists of Lighthouse light-art society at an unusual location by utilizing the special atmosphere of Csokonai Theater in Debrecen, Hungary and turning it into an impromptu art gallery:

This is the full-length documentation, rendered in VR/360 mono format.


00:00 – 01:58
Some fractal based space-filling algorithms fills the space equally and symmetrically in every direction – the ‘journey’ starts from ‘realism’. Synchro-act’ issues. (this part made with mandelbulb3d)
00:02 – 04:48
– ‘Traveling without moving’ – the time factor has arrived, but the motions are illusory since there no place to go. We were left in the origin, only the world travels around us. Positive-negative spaces crossing each other, while some lights scanning/examining them. (Signed distance fields algorithm, made with Notch)
04:50 – 05:27
– ‘Di-vision’ or you could say – the limited, separated views caused this. The space is melting and then separated into two in a repeated way, day by day, like everyday.
05:28 – 06:21
– The space plays itself – ‘Game of Life’ like algorithms – Space – self-checking, some reflects in a Cartesian space.
06:22 – 07:28
– ‘Conceptual heaven’ – eternity is just a mental construction – the inner turbulence fields became so complex that it seams like an ancient baroque space-filler. In order to emphasize the effect some cloud-like turbulence were added behind, and the sky color is the ‘video-empty’ technical blue color (R:0,G:0,B:255). Conceptually empty, but rich in appearance. (‘There are nothing but appears as everything’)
07:29 – 08:02
– ‘Dissolve’ scene – a kind of a classic ending – everything dissolves back to space (in a clockwise direction – should be in counterclockwise), there were nothing, but through the conditions it appeared as everything.

The creative process was almost a seemingly unconscious process, which is dangerous because then subconscious patterns can take control and the end result will be cliché-like.
Thus, this work is also a summary of the experience (clichés) of the last ten years in the field of video mapping.
I hope that with the fact that abstract video has got a classic story arch, it also reflects today’s post-Baroque (post-truth, post-internet) era.

Johanna von Orleans

Nominiert für den Kölner Theaterpreis 2018

Nach dem Ruf durch Gott zur Gotteskriegerin und zahlreichen grausamen Siegen verliebt sich die zarte Hirtin Johanna (Jeanne d´Arc) in der Schlacht in Lionel, den Anführer der Feinde, und kann nicht länger fühllos töten: Mit ihrer Liebe ist auch ihr Mitgefühl erwacht. Johanna verurteilt das grausame Töten und schwört Gott ab. Kaum hat sie ihre Geschichte in die Hand genommen, wird sie von Gottes Strafe in der Gestalt ihres hexengläubigen Vaters und des Todes durch den Scheiterhaufen eingeholt. Ihre Botschaft zum Schluss: “Im Gehorsam: die Fühllosigkeit | In der Freiheit: Die Liebe und das Mitgefühl”.

Text von F. Schiller, ergänzend G. Ungaretti, P. Celan, Dramaturgie und Ende des Stücks: Kristóf Szabó, Text erster Auftritt der Figur Talbot: Kristóf Szabó – Thomas Krutmann

Kostüm, Stage-Set, Regie:Kristóf Szabó
Projection-Video-Art, Mapping-Art: Ivó Kovács

Theresia Erfort, Thomas Krutmann, Maximilian von Mühlen, Cornelius Engemann, Ursula Wüsthof, Céline Oberloher, Ivan Zilli, BoshiNawa

Rollen und vollständige Liste der Mitarbeiter* / Cast s. Abspann des Films.

Aufzeichnung in Köln im Orangerie Theater am 09. & 10. März 2018

Die Produktion wurde gefördert von:
Kulturamt der Stadt Köln
Ministerium für Wissenschaft und Kultur des Landes Nordrhein-Westfalen

the primordial mirror | projection-mapping installation

‘speculum primordialis’ – the primordial mirror | projection-mapping installation
12’30” video-loop
music by Maks&Axentriq

projection-mapping art-installation
11th January – 9th February, 2017
@ Group Exhibition – Latarka gallery ‘INSTINCT – ANCESTOR’
(Platan Gallery/Latarka © Institute Polski Budapest)

short VR (4K) documentation on vimeo:


some VR images from the projection (>)