(Un) Posing is a pop-up multi-media performance experiment.
Posing, derived from the English "to pose" (= posing), is a term from the advertising and fashion world, which describes posturing for taking photos, advertising shoots, events or the like. Essentially, it is about a strategic or compositionally directed display.
But is there a counter-proposal for this? Can not a human being not pose?
From this question I have developed the nortion of (un)posing, which has brought me to my performative work in the context of a media-critical discourse.
(Un) Posing poses the question of watching & being watched. (Un) Posing eliminates the clear separation between viewer and performer. (Un) Posing creates a temporary, shared experience space. (Un) Posing questions and explores visually - New Order takes place. (Un) Posing works with people, for people, about people,...
(Un) Posing is an ontological experiment.
Format: Each (Un) Posing is an onetake movie - a 15-minute cenral-perspective sequence shot
At first glance, she doesn’t attract any attention, the person, the character standing there in that public place, motionless, surrounded by passers-by. It is not even clear that it is in fact a character, a part of a theatrical experimental design. Then, however, some bystanders do notice that this woman has been standing stock-still for an unusually long time. They start to eye her like an unknown, unclassifiable object. They take selfies with her; some even touch her. They are fascinated by the fact that she doesn’t react to anything, just like a doll. Yet, without noticing it, they themselves have become part of the theatrical experiment. They have entered a virtual, immersive space, in response to the character’s offensive non-reaction. From being the audience, they’ve turned into being the actual performers of the show. This fact becomes blatantly obvious on the second level, where the final video is shown to a (museum) audience who, in contrast to the original bystanders, have been informed about the experimental arrangement. From their voyeuristic point of view, the video has an extremely entertaining effect, and the reactions of the passers-by often seem funny. From the outside, it immediately becomes visible that the confusion of the passers-by mainly results from the fact that the situation is staged so minimalistically that it irritates maximally. This juggling act is so impressive, because it depicts how, in everyday life, all of us keep playing roles which are usually perceived as something completely natural, and which reveal themselves only in a staging. This contradiction becomes especially apparent in social media, where the boundaries of reality, authenticity and staging bewilderingly seem to dissolve. Everyone wants to stage themselves as authentically as possible – a pardox in itself, and a dehumanization, in an attempt to become a realistic, living icon of ourselves. With her experiment, Karin Schedlbauer humorously invites the spectator to become aware of these mechanisms, and to reflect on them.
Text by Florian Schairer, Zündfunk - Bayerischer Rundfunk
Translation by Leoni Beckenbach
For detailed Infos check the (Un)Posing Book:
0.0.0 Short description (Un) Posing
1.0.0 General
1.1.0 Terms and derivation
2.0.0 The human being as a brand: icons of modernity and famous role models
3.0.0 The (Un)Posing Experiment: Playing with (Self-) Staging
3.1.0 (Un) Posing Comments: Power & Concerns
3.2.0 (Un) Posing Design parameters in general
4.0.0 (Un) Posing Per-Form-ance = The Embodiment
4.1.0 (Un) Posing = Pose: Architecture of the Human Body
5.0.0 (Un) Posing Transformations:
Changeability and playability of the physical appearance
5.1.0 Mask and Costume: Form-Conversion Tool
6.0.0 Transparent Immersive Spatial Structures in Public Space:
(Un)Posing Theaterraum = (Movie) Location + Camera Position
7.0.0 (Un) Posing online: Analog meets Digital =
Self-presentation Meets Selfie:
A MultiMedia selfie as a viral marketing experiment in Web 2.0
7.1.0 (Un) Posing as visual digital education = "I and World":
A simple core question to the "homo digitalis" in Web 2.0.
# Who am I really? #
8.0.0 Afterword / FAZIT
My name is KarinsMedia al Karin Schedlbauer. I am a media and performance artist as well as a trained actress, artist and dancer. Currently I live and work as a freelance international resident in Munich and Vienna. In summer 2019 I received my Diploma Free Art (New SPO) at the Academy of Fine Arts in Munich. In 2018 I was in the final selection round for the master student art and media of the UDK Berlin with the (Un)Posing Experiment. Supervision for this gave Prof. Anna Anders. From March 2017 to March 2019 I held a DAAD scholarship at the Academy of Fine Arts Vienna with Prof.Carola Dertnig in the department of Performing Arts. During that time I worked on the continuation of the Un)Posing Experiment and started the international production of serial live and video performances. I also wrote the (Un)Posing Book about this multi-disciplinary working methodology. Until February 2017, I studied film, media and performance art at the Academy of Fine Arts in Munich (Class of Prof. Stephan Huber) I studied film, media and performance art at the Academy of Fine Arts in Munich (Class of Prof. Stephan Huber) which I graduated with Classic Diploma. During my studies, I have continuously expanded my spectrum of multimedia, image, design, social media, physical and performance parameters. In addition, I have acquired a broad expertise and have always worked across media. In addition to my own artistic work and studies, since 2014 I have been a member of the Ensemble of the State Opera Munich, for which I have worked in many different productions, such as Karl V (La Fura dels Baus) and can still be seen on stage at the Bavarian State Opera, Munich. In 2012 I completed my Paritätische Bühnenreife Schauspiel, Vienna. Before my studies at the Academy of Fine Arts Munich, I first studied theater, movement theater, dance and acrobatics in Germany (Neue Münchner Schauspielschule, Etage Berlin, Helmut Becker, Mario Andersen, etc.), in Spain (Flöz family) and at the Ècole de Cirque Canada. As a prelude to my own artistic development, I had already shot my first experimental short films back in 2005. This creative journey makes me a wide-ranging, as well as in all sections very well-trained, multi-disciplinary working all-rounder with broad practical and specialist knowledge.
