The different episodes of the long-term project “In/Out Balance” focus all on the question of dizziness as a cultural, medical and subjective phenomenon. The project, started 2017, was originally planned to be one solo performance which examines dizziness from different angles, the aim was to analyze, to encircle, to ‘catch’ this fluid experience. Already in the concept, however, I made a methodical mistake: I got involved in the topic. A topic (a dizziness) became my topic (my dizziness). It attacked, seized, captured me. A distant, observational attitude was impossible, and the project developed a momentum whose alignment and outcome were beyond control. I started this journey from nowhere and now, following an invitation, I am here. A collection of images, impressions and encounters is the focus of this never-ending essayistic-performative research. ‘Essayistic’ understood as an eternal fragment, as the eternally formless, as the continuous attempt of a thought-producing process. I draft [entwerfen] thoughts and reject the idea of a production. I dedicate myself to experimentation. I experience by going on with the taumel; discover the dizziness here and there; lonely or together I am exposing myself to life. And just as I will never stop experiencing the world, I will never stop trying to transform what I have experienced into experience. Instead of generating, I collect. The material I can arrange and assemble. I can perform it or cut it into videos. I can extract or replace the audio track. I can, will, must meet other people. Sometimes it is a discussion, sometimes a dialogue and sometimes a monologue. I can create new thoughts or discard them. Sometimes I will resist the dizziness, sometimes I will surrender it. Sometimes I will think directly about art, sometimes I will not waste a thought on it. Sometimes I will observe the world and its vertigo [schwindel], sometimes I will throw myself into it and lose myself. 

I am concerned with the question of whether and how an experienced dizziness can be communicated to the outside world and on the other hand, whether taumel, triggered by real dizziness, can be used as a choreographic element. The inner and outer perspective of dizziness and taumel thus becomes the focus of my artistic interest. I am working with mundane technical aids such as the camera of my cell phone, a dictating machine and the simplest video editing programs.