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

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

The nicest, most outlandish ideas … . review2009

Vera TollmannEva Meyer-Keller: Building after Catastrophes / Handmadeessay2014

Alexandra BaudelotLe petit monde féerique de l'artreview2004

Von Menschen gemacht, video, 2010

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

David Reuter Vom Objekttheater zur Kunst in Aktionessay2007

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Pulling Strings, Deus Ex Machina, performance, 2014

MBExperimental chemistreview2014

Art meets science meets nature review2009

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Pulling Strings, performance, 2013

Cecilie Ullerup SchmidtIn a greater perspectiveessay2013

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Kitchen Rec, performance, installation, 1997
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Schattenspiele, performance, installation, 2008

Christiane LötschKreatives Tötenreview2008

Frank WeigandPortrait: Eva Meyer-Kelleressay2010

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

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Proper dancing in the background, performance, video, 2000
Fungal Safari, performance, 2014

Thorsten HoopsDer sichere Tod - Mal andersreview2005

Handmade, video, 2007
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Ordinator, performance, installation, 2002

Mario VellaLa mattanza delle ciliegiereview2008

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

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Polaroid, performance, 1998

Christiane LötschNeue alte Weiblichkeitreview2008

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

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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Sounds like Catastrophes, performance, 2010
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circlesquare, video, 2016
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Pulling Strings, video, video, 2014
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Some Significance , performance, 2017
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Holiday Shot, video, 2003

Melanie SuchyCooking Catastrophereview2012

Alexander KerlinKirschentod und Politik. Symposium über Diskursgesetze und Institutionreview2005

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Cooking Catastrophes, performance, 2011
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Building after Catastrophes, performance, 2007
Yeah Yeah Yeah Yeah Yeah, performance, 2000

Rosita BoisseauLe cri de la fraisereview2007

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Things on a table, performance, 2016

Cathrin Elss-SeringhausMit Kirsch-Aromareview2008

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

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Death is Certain, performance, video, 2002

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

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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De-Placed, video, installation, 2009

Martin NachbarGood Handsessay2005

Good Hands, performance, 2005

Eva Meyer-Keller, Hanna Sybille MüllerBauen nach Katastrophenessay2009

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Himmelskörper, installation, 2001

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

Martin HargreavesObservations and visible definitions [excerpt]review2002

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Pulling Strings Sudan, performance, 2013
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Volksballons, installation, 2004

Eva Meyer-Keller, Uta EisenreichOrdinator Manualsessay2002

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It's a kind of magic, performance, 2003
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Hearsay, performance, 2002
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Pulling Strings, installation, installation, 2013

Jungmin SongDeath and the anthropomorphic life of objects in performance. Marina Abramović’s Nude with Skeleton and other animations [excerpt]2015

In: Performance Research A Journal of the Performing Arts, Volume 20, Issue 2: On Anthropomorphism, S. 4-11.
Death is Certain, 2002

[...] Another object performance hovering at the border of object theatre and live art is conceptual dance artist Eva Meyer-Keller’s Death is Certain (2002), which contains elements of anthropomorphizing without creating characters out of things. The performer, dressed in a white apron, destroys rows of red cherries with the tools of murder and execution. One cherry is crushed by a hammer, another injected by hands in rubber gloves, another crushed in a vice, another immolated in a pile of matches, another trapped in a plastic vessel and asphyxiated by cigarette smoke, another shaken around in a plastic cup lined with thumb tacks. It is impossible not to read this performance metaphorically. The cherries are surrogates for iving beings, whether human or animal. The performer is the executioner, the audience the passive witnesses to a re-enactment of mass slaughter and genocide.

It is a harrowing performance and one that differs in important ways from Molnár’s Alka-Seltzer sketch. Molnár provides a backstory to the suicide of his protagonist. He anthropomorphizes a tablet through a scene in which it is bullied by a group of sweets before it drowns itself in a glass of water. Without the bullying scene we would not read the performer dropping an Alka-Seltzer into water as a suicide. In contrast, Meyer-Keller’s cherries are simply picked up from ordered rows on a table and transported one at a time to the site of killing. The dramatic reality of the death is not due to the manipulation of the cherries. The pieces of fruit do not speak or move in human-like ways. Rather cherries are actants endowed with aliveness for the duration of their killing. The execution is carried out with care and attention to scale, materials and tools. That is what makes each death certain – the killing is performed correctly and precisely. As Meyer-Keller enacts execution, disaster and accident upon cherries, and their flesh is bashed, macerated, electrocuted or burnt, we ironically feel the life of cherries most acutely. And even after such brutal acts there is potential for another life, as from their pips a tree might spring. Death is only certain in the moment of killing, not eternally. [...]