Rosita BoisseauLe cri de la fraisereview2007

Vera TollmannEva Meyer-Keller: Building after Catastrophes / Handmadeessay2014

Frank WeigandPortrait: Eva Meyer-Kelleressay2010

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Pulling Strings, performance, 2013

Mario Dietze“Good Hands” von und mit Eva Meyer-Kellerreview2006

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a play, video, installation, 2016

Alexander KerlinKirschentod und Politik. Symposium über Diskursgesetze und Institutionreview2005

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Fungal Safari, performance, 2014

Eva Meyer-Keller, Hanna Sybille MüllerBauen nach Katastrophenessay2009

Cathrin Elss-SeringhausMit Kirsch-Aromareview2008

Eva Meyer-Keller, Uta EisenreichOrdinator Manualsessay2002

Melanie SuchyCooking Catastrophereview2012

Martin NachbarGood Handsessay2005

MBExperimental chemistreview2014

Thorsten HoopsDer sichere Tod - Mal andersreview2005

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De-Placed, video, installation, 2009
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Polaroid, performance, 1998
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Cooking Catastrophes, performance, 2011

Susanne Traub, Jochen KieferTools in movement: Eva Meyer-Keller on perception and choreographyinterview2013

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Things on a table, performance, 2016
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Some Significance , performance, 2017

Alexandra BaudelotLe petit monde féerique de l'artreview2004

Art meets science meets nature review2009

Christina RöferHarmlose Vorstellung? Eva Meyer-Kellers Inszenierung Death is certain als infames Wechselspiel der Wahrnehmung essay2015

Danjel AnderssonDanjel Andersson berättar om programmet inför Perfect Performance #5. www.perfectperformance.sevideo, review2009

Tim Etchells In one sense never different and in another sense never the same. Some thoughts on Eva Meyer Keller’s comical tragedy “Death is Certain”.essay2006

Cecilie Ullerup SchmidtIn a greater perspectiveessay2013

Quim Pujol asks Eva Meyer-Keller3 Fragen an Eva Meyer-Keller / 3 preguntas a Eva Meyer-Kellervideo, interview2013

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Pulling Strings, installation, installation, 2013

lecture: Constanze SchellowDer Böse Blick des ‚Autoriums’. Zur Ambivalenz des Zuschauens in zeitgenössischer Tanz-Performance am Beispiel von Eva Meyer-Kellers Death is certainessay2015

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Von Menschen gemacht, video, 2010
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Himmelskörper, installation, 2001
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Death is Certain, performance, video, 2002
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Schattenspiele, performance, installation, 2008
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Building after Catastrophes, performance, 2007
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Good Hands, performance, 2005
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Holiday Shot, video, 2003

Christiane LötschNeue alte Weiblichkeitreview2008

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Sounds like Catastrophes, performance, 2010

Jungmin SongDeath and the anthropomorphic life of objects in performance. Marina Abramović’s Nude with Skeleton and other animations [excerpt]essay2015

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Pulling Strings, video, video, 2014

Eva Meyer-Keller, Sybille Müller Zerstörungsphantasien mit Sahne. Gedanken über die Zukunftessay2014

Mario VellaLa mattanza delle ciliegiereview2008

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Volksballons, installation, 2004
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Hearsay, performance, 2002

Ylva Lagercrantz Spindler COOKING CATASTROPHES Nybohovs Festlokal, Liljeholmen Officiell premiär 8 septemberreview2011

David Reuter Vom Objekttheater zur Kunst in Aktionessay2007

Kristin WestphalTheater/Kunst mit Kindern - Am Beispiel einer Performance mit Kindern von Eva Meyer-Keller und Sybille Mülleressay2014

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Handmade, video, 2007
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Yeah Yeah Yeah Yeah Yeah, performance, 2000
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Ordinator, performance, installation, 2002
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Pulling Strings, Deus Ex Machina, performance, 2014

The nicest, most outlandish ideas … . review2009

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Kitchen Rec, performance, installation, 1997
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Proper dancing in the background, performance, video, 2000

Martin HargreavesObservations and visible definitions [excerpt]review2002

Christiane LötschKreatives Tötenreview2008

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Pulling Strings Sudan, performance, 2013
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It's a kind of magic, performance, 2003

Art meets science meets nature 2009

Agenda. Uit in Brussel (#1164)
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De-Placed, 2009

For Burning Ice the Brussel-based New Zealander Kate McIntsish and Berliner Eva Meyer-Keller joined forces to create De-placed, a video installation that investigates the principle of action and recation in small-scale operations. The relationship between culture and nature is at the heart of the work. “I strongly believe that art can influence the recipient.”

Mcintosh and Meyer-Keller got to know each other in Berlin, during Mcintosh's Flash Point project, a series of actions in which she sought out artists she didn't know, but whose work greatly appealed to her. Mcintosh recalls: "Over two weeks we explored connections between our practices. Among other things, I saw Eva's performances Good Hands and Death is Certain, in which she ritually ’kills‘ candles in a variety of ways, as well as works on video. What interested me was her way of treating objects and how that gave rise to a stoiy In my work, too, small-scale actions are often central."

It was in Berlin that the idea emerged for De-Placed, a work in progress of which a video can be seen in the Kaaitheaterstudios during Burning' Ice. “We shared experiences and showed 'work by ourselves and by artists who have influenced us. At a given moment we abandoned talk for action,” says Mcintosh. "That was like a game: we came up with little actions, installations and performances actually, that we set up and carried out all over Berlin. The basic rule involved was to put objects in the wrong place. That led not only to amusing and funny situations, but also to a constructive dialogue between the two of us and a better understanding of each other's working methods."

Little smashings

De-Placed, which came about in such an easy-going way, is a growing catalogue of “little smashings, decorations, and repairs”. Mcintosh explains: “During Burning Ice we are exhibiting a part of the work, a moment in time of past actions captured in a video. The little actions that we undertake are all about action and reaction: experiments about pressure, for example, such as a balloon squeezed by a window, half-in and half-out. In another image we placed a Christmas bauble under the seat of a toilet. The viewer always wonders what is going to happen, how the situation is going to end up. De-Placed also includes statements about the environment. For example, we slide a glass over the leaves of a tree; a way of manipulating and restricting nature, as well as of showing it.”

Unspoilt nature

Mcintosh is very much at home in the context of Burning Ice: her research and her works deal, among other things, with the development of the tension between culture and nature. The choreographer, performer and artist feels a particularly strong bond with the unspoilt nature of her homeland, New Zealand. “I intend to follow the Burning Ice programme conscientiously,” she told us, “and I will be taking part in the debates too. Recently I attended TippingPoint, an international symposium in Potsdam on the same subject, and in particular on the relationship between art and science. The scientists taking part put a great deal of pressure on the artists to talk about it in their work. I strongly believe that art can affect the way the recipient thinks.” Besides further developing the “"catalogue” of De-Placed with Meyer-Keller, Mcintosh is also currently working on a new performance, Dark Matter (a working title), which will be premiered at the Kaaitheater in November. In addition, she told us, “We are exploring how to develop De-Placed into a performance. My new solo work looks at problems in philosophy: I try to test some wellknown ideas in practice, a poetic exercise, presented in a performance with a glamorous atmosphere. It will be a sort of late-night cabaret about thinking.”