ÜBER
UNSERE ARBEIT…
DIE MACH’ER-INNEN…
FORMATE UND THEMEN…
– COMING SOON –
(KUNST-) PROJEKTE…
– coming soon –
NETZWERKE…
– coming soon –
[...] people indulge in projections of what makes them uncomfortable about sex: its weirdness (I was just standing up and talking and now I’m doing this?), its sloppiness, its awkwardness, its seeming disconnection from so many other 'appropriate' drives (to eat, for example).Then there’s one’s fear of becoming a mere instrument of someone else’s pleasure, in a way that one doesn’t want.
Nonetheless, I’m just saying, I really like sex. We have no idea what sex would be like in a world that saw it basically as a good. A weird good. A good that can tip you over and make you want to do strange things. A good that can reveal your incoherence, your love of a little disorder, your love of a little control (adjust the dial as you like). A good that can make you happy, for a minute, before the cat starts scratching the corner of the bed, or the phone rings, or the kids mew, or you’re hungry and sleepy, or you need another drink, or the taxi comes.
In 'queer theory' [...] sex is often associated with shame. It is not only that people shame us because of our association with sex (“erotophobia” [fear of sex, tinged toward hatred of sex. [...] Disgust at the appetites. The strangeness of sex, the ordinary out-of-controlness of sex acts and sex drives that we all experience (if we’re having it). Actually, usually, sex is not a threat to very much. But it feels like a threat to something, which is why so many people stop having it.).
Sex itself is said, variously, to reveal our narcissism or regressive tendencies, and our aggressions too. It is not just 'pastoral', an expression of goodness or communication between (or among!) hearts. It is not just lovely and loving. It’s a drive, and that’s shaming. And exciting. It needs 'sexual ethics' for taming.
At the same time, it’s also playful, if you can remember that part; it’s also ridiculous and hilarious, if you can remember to notice that. It can also be very interesting and various, if you want it to be, as lots of people do.
And who knows what else it could be if so many people didn’t fear and hate it so much that people with complicated needs have to hide and secret it from their loved ones, to whom they have promised to make more sense than anyone can make. Who knows what sex could be if people were encouraged to enjoy it as play rather than as a drama, a genuine test of recognition, or tool of unwanted control over selves and others.
[...] I feel sorry for sex. [...] [It] appeared in public [...] as a bad thing that people do to people. Sometimes, too often, it is. But realism about sexuality, about what it could be, deserves better. It deserves comedy too – not romance, and not, so inevitably, more stories about tragedy and scandal.
UNSERE ARBEIT…
…speist sich aus der Begeisterung für Begegnungen, in denen Sexualität(en) – was auch immer das bedeuten mag – auf verspielte, experimentelle, freundliche, unverschämte Weise Bedeutung bekam. Räume, in denen dem ganzen Spektrum an Intimität, Sinnlichkeit und Begehren Tribut gezollt wurde: ihren schönen, merkwürdigen, heiteren, aufregenden, irritierenden, trivialen, komplexen, bescheuerten, beängstigenden, beflügelnden Aspekten. Diese Adjektiv-Reihe ließe sich endlos fortführen. Weil sich Sexualität einfach nicht endgültig fassen lässt. Je mehr man sich damit beschäftigt und in ihren Strudel ziehen lässt, umso mehr Fragen tauchen auf – und umso mehr Begeisterung auf unserer Seite, neugierig wohlwollend weiter zu fragen, zu fühlen, nachzudenken, auszutauschen. Deswegen gestalten wir seit einigen Jahren Formate, in denen das gemeinsam mit anderen Entdeckergeistern möglich ist. Diese explorativen Räume umfassen Workshops, Sessions, Playparties, Performances; gewidmet den vielfältigen Aspekten von Intimität und Begehren, von erfinderischen Formen der Begegnung und Kommunikation und dem Entdecken neuer Sensibilitäten und Grenzen. Warum das alles? Weil Erzählungen darüber, was Sexualität sei, unsere Gesellschaft prägen – und in einer Welt die von Selbstzweifeln profitiert, können alternative Ansätze als Widerstand und Empowerment wirken.
MATÍS D’ARC
(Zürich & Berlin – Gründer & Geschäftsführer) ist Seil-, BDSM- und Spiel-Liebhaber, Seminarveranstalter und -leiter, Sexworker, Coach und manchmal Künstler & Performer. Ein Literaturwissenschaftsstudium und Kulturarbeit in den Bereichen zeitgenössische Musik und Tanztheater führten ihn von München nach Argentinien und schließlich 2010 nach Berlin. Dort entdeckte er bei Ausflügen in die Fetisch- und Queer-Kink Szene seine Leidenschaft für Seile und BDSM und fand schließlich eine experientielle Heimat in Felix Ruckerts Schwelle7. Seither trägt ihn die Überzeugung, dass die bewusste und praktische Auseinandersetzung mit dem Körper, mit Intimität, Sexualität und BDSM nicht nur sehr viel Vergnügen bereitet, sondern zugleich einen besonderen Zugang zur eigenen Persönlichkeit und einen Weg zu deren Entwicklung eröffnen kann. Um dieses Potential zu erkunden und anderen die Möglichkeit zu bieten, auszuprobieren und Neues zu entdecken, entwickelte er gemeinsam mit Klara Luhmen im Jahr 2013 in Berlin das Label LUHMEN D’ARC, das Veranstaltungen und Kunst in unterschiedlichen Formaten – Workshops, Performances, Lectures, Jams, Play Parties – konzipiert und realisiert. Seit 2016 lebt und arbeitet Matís d’Arc in Zürich und Berlin.
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BEATA ABSALON
(Berlin) erforscht als Kulturwissenschaftlerin “andere Zustände”, wie Gebären, Trauerarbeit, Hysterie, Schlaf, radical happiness & collective (kill-)joy oder sadomasochistische Praktiken. Nachdem sie zunächst untersuchte, wie Seile in aktive Passivität versetzen können – durch Bondage, aber auch im Marionettenspiel oder politischen Aktivismus –, promoviert sie derzeit über erfinderische Formen der Sexualbildung. Ihr theoretisches Interesse speist sich aus der Praxis, da sie sich und andere gerne in ekstatische Zustände versetzt – am liebsten undogmatisch: Flogging mit Lederpeitsche oder einem Bündel taufrischer Minze, Halten mit Seil oder Umarmung, Spielen mit aggressivem Kuscheln oder liebevoller Erniedrigung, Fließenlassen von Wörtern oder Spucke. Zu tun, was aus der Norm und dem Alltäglichen fällt, kann Angst machen und gleichzeitig ungeheuer lustvoll sein. Workshops und Sessions gestaltet Beata als Erfahrungsräume für Grenzwanderungen, auf denen Grenzen überschritten und gefunden werden, vage und wagemutige Phantasien gemeinsam erkundet, ein eigener Stil entstehen darf.
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DIE MITMACH’ERINNEN
ANNA NATT
(Berlin) Anna’s multimedia work explores the intersection of dance, performance and visual arts. Her video works, stage performances and interactive pieces have been shown internationally in theaters as well as galleries and alternative spaces. She was trained in traditional flamenco dance in Seville, Spain from 2000-2005 before moving to Berlin, where she is currently based.
Although originally trained as a flamenco dancer, she draws inspiration from various somatic and contemporary practices, seeking to define and explore the aspects that characterize the flamenco body and the qualities of this movement in order to abstract them, simultaneously abstracting her own body. Using this method, she attempts to cultivate a deeper understanding of the body and its nuances.
A connection to trance and dream states is also a central theme in her work. She was raised a charismatic Christian, a branch of evangelical Christianity that uses techniques such as speaking in tongues and receiving visions. Early contact to such mystical practices led her to experiment with several techniques that have brought her to the same states through secular channels such as Vipassana and Osho Dynamic Meditation, Holotropic breathing and experimental body work. This has fostered an interest in metamorphosis and transformation, communication with an audience on a visceral level and the dialectics of intimacy and how this hidden undercurrent manifests itself in everyday life, these experiences beeing a source of inspiration for her artistic work.
Since 2017 she has focused on creating interactive spaces, curating the durational role play performance at the Berlin Xplore Festival and offering immersive workshops in both on- and offline contexts.
DAVID BLOOM
(Berlin) is a choreographer, dancer, teacher, father, filmmaker, pianist, bodyworker, Jewish mystic, and tea collector. Graduated from the Academy of Music and Performing Arts in Frankfurt and the M.A.
Choreography course at HZT Berlin, as well as the Urban Tantra Professional Training Program with Barbara Carellas. He was a member of the dance ensemble at Staatstheater Darmstadt, and has collaborated as a dancer on projects by Tino Sehgal, Marco Santi, Nir de Volff/Total Brutal, Micha Purucker, Ingo Reulecke & Lukas Matthaei, Canan Erek, Friederike Plafki, Barbara Bess, Felix Ruckert, Akemi Nagao, and Martin Nachbar. His dance film trilogy Sex & Space premiered at the Berlin Porn Film Festival between 2013 and 2016 and was screened internationally. His choreography has also been shown at Tanzfabrik Berlin’s “Open Spaces” Series, La Fête du Slip in Lausanne, and at the Stockholm Dance Film Festival.
David was a 2012 danceWEB scholar and his teaching has included HZT Berlin, Tanzquartier Vienna, Tanzfabrik Berlin, Human Architecture Lab in St. Petersburg, the K3 Center for Choreography in Hamburg, the M.A. of Contemporary Dance Education in Frankfurt, STRETCH Festival Berlin, the Body IQ Festival in Berlin, the Rietveld Academie for Fine Arts & Design in Amsterdam, & the ImPulsTanz Festival in Vienna.
For the past decade or so, his work has revolved around questions of Desire, Intimacy, Boundaries, Power Relationships, Consent, and Group Dynamics. Other interests include Cross-Pollination, Pleasure, Space, Cellular Structures, the Digestive System, Fermentation, Sourdough, Beauty, Breath, Time, Spirit, Time, and Transformation.
SAARA REI
(Berlin) is a workshop facilitator and performance artist with a background in music, dance, education, and public speaking. Saara's work generally centers around the exploration of suffering, both physical and emotional.
Through their kink practice, Saara has come to understand that suffering comes from the comparison of what has been or could be to the present moment. And with that, Saara enjoys teaching about how to use suffering as a path to presence and enjoyment in life.
Having a Ph.D. in mathematics, Saara’s academic experience adds an intellectual flair to complement their performative approach to bodywork. Playfulness and humor make up a big chunk of Saara's personality and approach to life, giving their workshops a very exploitative and light atmosphere, even while approaching some of the heaviest of topics.
ABCDE FLASH
(she/her – Basel) is a sexploratory, conceptual artist who shares her processes of navigating different sexual curiosities and challenges through film and imagery using humour, vulnerability and authenticity.
NICOLAS YOROÏ
(Brussels) has been practicing ropes for more than 20 years. His work comes from his study of Japanese kinbaku/shibari as well as from his different body practices: Aikido, Thai massage, contact-improvisation, System A. …
He lived in Japan for 4 years, where he met his master, Arisue Go, and devoted his time to aikido and rope study. He has also studied with Kinoko, Ottonawa, Kazami Ranki, Felix Rucker, Shadow, Pedro… and has done many workshops/exchanges with other presenters.
In his practice, he works around concepts – mainly Japanese ones that I apply and adapt to our (Western) culture and personalities. The point is not to copy Japanese Kinbaku, but to get inspired by it. And to create our own esthetic, connection, and way of practicing.
Nicolas' style is generally described as minimalist & organic while in motion.
TAMANDUA
(Berlin) is a full time professional kinbaku artist and instructor who is invited internationally to share his approach to tormenting japanese rope bondage.
“I have a passionately sadistic streak and a deep love for the aesthetic realm of kinbaku.
Often tying in a way which can be challenging both for the one tying and the one in the ropes, my shibari usually demands a lot of technical clarity when in the role of a teacher. Despite this I believe that it is still important to also manage to leave room for personal adjustment and creativity.
I view kinbaku as a thing of continuous exploration – where new doors open as your go deeper and further with a partner, over the course of a session or over the course of a long partnership. Sometimes though, the magic that defines kinbaku can be just that one alluring image that sticks with you, a moment suspended in time.
For me, the core of kinbaku lies in the meeting between the aesthetic expression and the emotional or erotic intention of the practice. And the more ones tying develop, the more seamlessly the parts can intermingle.”
CLAUDIA LÖWEN
(Berlin) erkundet seit ihrer Kindheit mit Begeisterung die Zusammenhänge und Möglichkeiten von Körper und Geist, Berührung und Beziehung, Freiheit und Verbundenheit.
Aufgewachsen mit Pferden und deren feiner nonverbaler Kommunikation und mit orientalischem Tanz in einem kulturell gemischten Zuhause, führte ihr das Leben immer wieder die zentrale Bedeutung des Körpers und seiner Empfindungen für unsere persönliche Entwicklung vor Augen. Sie beschäftigte sich intensiv mit unterschiedlichen Massageritualen und deren philosophischen und spirituellen Grundlagen.
Sie liebt die Begegnung, das betreten von Trancezuständen und Grenzerfahrungen, liebt es zu spielen und hellwach zu träumen. Insbesondere die jahrelange Aus- – oder besser Ineinadersetzung – mit Tantra, BDSM, Shiatsu-, und Lomi-Lomi-Massagen, sowie die vielseitigen Erfahrungen in der Schwelle7 Berlin bilden den Hintergrund ihres heutigen Berufs als Gestalterin für sinnliche Massagerituale und Begleiterin in Seminaren.
REBECCA
(Berlin) After completing a Modern and Medieval Languages degree at Cambridge University, Rebecca began working in environmental conferencing, and then in social impact documentary. She was half of a 2-man team which set up a £5mil renewable energy investment fund incubator and has also free-lanced as a translator and language teacher.
This variety of different work environments has given her an understanding of the hurdles in both small offices and larger teams, as well as first-hand experience of the difficulties of being self-employed.
Rebeccas drive to teach and practice holistic, people-based responses to fast-paced Western life is formed from this background.
Nowadays, her work exists on the intersection between the body and the word. She is a tantra masseuse, certified thai yoga masseuse and yoga teacher.
She holds spaces where people can explore boundaries and restriction. And she writes fictional and non- fictional journalistic pieces about these spaces and about her work, drawing the experiential into the text.
Rebecca is interested in the body, interested in the mind. She is interested in the human experience. And in making that experience better, more peaceful, more rewarding, more enjoyable - for herself, as for everyone else. Her work is dedicated to this end.