Art meets science meets nature review2009

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Handmade, video, 2007

Mario VellaLa mattanza delle ciliegiereview2008

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Sounds like Catastrophes, performance, 2010

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

Alexandra BaudelotLe petit monde féerique de l'artreview2004

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It's a kind of magic, performance, 2003
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Yeah Yeah Yeah Yeah Yeah, performance, 2000
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Himmelskörper, installation, 2001

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

Vera TollmannEva Meyer-Keller: Building after Catastrophes / Handmadeessay2014

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

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Von Menschen gemacht, video, 2010

Alexander KerlinKirschentod und Politik. Symposium über Diskursgesetze und Institutionreview2005

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Pulling Strings, performance, 2013

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

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

The nicest, most outlandish ideas … . review2009

Melanie SuchyCooking Catastrophereview2012

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Hearsay, performance, 2002

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

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De-Placed, video, installation, 2009
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Things on a table, performance, 2016
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Pulling Strings, video, video, 2014
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Good Hands, performance, 2005
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Building after Catastrophes, performance, 2007
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Pulling Strings, installation, installation, 2013
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Death is Certain, performance, video, 2002

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

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Kitchen Rec, performance, installation, 1997

Eva Meyer-Keller, Uta EisenreichOrdinator Manualsessay2002

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

Thorsten HoopsDer sichere Tod - Mal andersreview2005

Martin NachbarGood Handsessay2005

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

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Schattenspiele, performance, installation, 2008
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Holiday Shot, video, 2003

MBExperimental chemistreview2014

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Pulling Strings Sudan, performance, 2013

Rosita BoisseauLe cri de la fraisereview2007

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Cooking Catastrophes, performance, 2011

Cecilie Ullerup SchmidtIn a greater perspectiveessay2013

David Reuter Vom Objekttheater zur Kunst in Aktionessay2007

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Pulling Strings, Deus Ex Machina, performance, 2014
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Ordinator, performance, installation, 2002

Martin HargreavesObservations and visible definitions [excerpt]review2002

Christiane LötschKreatives Tötenreview2008

Eva Meyer-Keller, Hanna Sybille MüllerBauen nach Katastrophenessay2009

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Polaroid, performance, 1998

Christiane LötschNeue alte Weiblichkeitreview2008

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a play, video, installation, 2016
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Volksballons, installation, 2004
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Fungal Safari, performance, 2014

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

Cathrin Elss-SeringhausMit Kirsch-Aromareview2008

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Some Significance (working title), performance, 2017

Frank WeigandPortrait: Eva Meyer-Kelleressay2010

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Proper dancing in the background, performance, video, 2000

Cecilie Ullerup SchmidtIn a greater perspective2013

Skogen Yearbook 2013
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Cooking Catastrophes, 2011

In a greater perspective, viruses clean up. It is healthy to have the flue once a year: letting go of old cells to make space for new growth. And this on a demographic level: quick cleaning. These diseases primarily attack sick people, weak people, like children and elders. It might even solve the question of public pension.

Distribution of viruses, through an apple = Snow White in every household. Snow White in the school. Snow White in the office. Snow White in public transportation. International Snow White in international public transportation. Every disaster has it’s own female name.

In a greater perspective, nuclear disasters have something in common with anthroposophist thinking. After a nuclear disaster a part of the earth remains untouched for centuries, left alone it begins a process of regeneration . You leave the nature on it’s own for a while. You divide time in fours. One fourth of the time, the land lies fallow, like in old farming. In the coming anthroposophy you do not calculate four months, but four thousand years. The land lies still for four hundred years. Consider land as savings for future generations. We exploit the ground. The ground where we live seems deserted. But in four thousand years the time has come to resettle exactly on this ground. New animals will grow. Researchers will improve their knowledge about immunity. The insects, for example, are immune. The radiation will not change them. In a greater perspective, the immune genes can be implanted in humans. And then a nuclear disaster is no threat anymore.

New generations of degenerated children will be born. For a while we cannot select and control everything. Prenatal tests seem irrelevant. And everybody knows. Mutation becomes a source of inspiration. How far can we mutate? What is a body? What and who define normality these days? What is a normal new born? Normality: those days are over.

In the children’s book you read about a power plant exploding. All families try to flee. It is hectic. Adults overrun children. They just want to get away. Everyone waits in line. They do not get any further. They trample each other to the ground. Then there are these two children: they flee into the yellow field of rape. And then it starts to rain.

In a greater perspective, earthquakes establish fundamental aesthetic experience. Without earthquakes, how could we employ the metaphor of being shaken and loosing ground? Earthquakes train sensitivity toward the surroundings. Earthquakes shape our empathy with non-human beings. Mountains are fragile. The life of a mountain is precarious. A new perception of nature will flourish with every earthquake. A new romanticism. And new models of living together will appear. You rediscover your neighbours. Enough about you. Enough about family as we know it. Solidarity. Solidarity beyond family. New families emerge: 4 adults, 17 kids. Maybe this will give rise to new political structures of organization.

In a greater perspective, I prefer quick disasters where everybody dies fast. That seems less unfair. Duration is the worst.

I believe future disasters lie in the disturbance of intelligent electricity supply, in the so-called smart grid.

When the electricity fails in a hospital, this is not an incidence. Future intended disasters made by humans are invisible and in no way connected to climate change. Not that these kinds of intended disasters will replace the old disasters. We just see more.

I am in a flood in New York and I cannot hold on to my newborn daughter. I see her swim away down Broadway. There is no music playing. Or my son eats one of those Snow White-apples and I hold him in my arms and watch him die. In a greater perspective, I prefer a terror attack where an airplane crashes. Everybody is hit. It happens fast. And if you’re lucky, you were just taking a nap.

After the encounter at Skogen in the frame “Kriegstheater”, Eva Meyer-Keller and Sybille Müller invited Cecilie Ullerup Schmidt in for a re-working of the text for the performance ”Cooking Catastrophes” (2011). The new version of “Cooking Catastrophes” was premiered at HAU Berlin in January 2014. This text is a conglomeration of the text work, edited for Skogens yearbook and a reading audience.