Revisiting Jarhun
2023
04:15:00 hours
Standing
2023
00:45:00 hours
Performance by Marie-Sophie Beinke
Camera: Amrit Karki, Ria Pacquée
Friday 07.04.2023
Paschimanchal Khaja Char, Lazimpat 2, 44600 Kathmandu, Nepal
Focus
2022
00:00:18 seconds
Performance by Marie-Sophie Beinke
Camera: Anny De Decker
Tuesday 17.11.2022
Mechelsesteenweg 255, Antwerp, Belgium
Der 29. Juni 1990
(June, 29th, 1990) 2021
Video
00:16:30 min
Concept, text and camera: Marie-Sophie Beinke Double: Bernadette Zdrazil
Voice actor: Dennis Tyfus
Voice opening credits and credits: Marie-Sophie Beinke
Post production: Alex Salinas
With thanks to Ben Hertschap and Tom Dietvorst
Die Kalte Dusche I.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance filmed by Arthur Van de Velde and photographed by Stamatios Kalagkias
Duration: 00:02:19 seconds
Wednesday 2 June 2021
Royal Academy of Fine Arts, Blindestraat 35, 2000 Antwerp, Belgium
Die Kalte Dusche II.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance filmed by Misha Rogachev and photographed by Pieter Eliens
Duration: 00:03:42 seconds
Friday 4 June 2021
Royal Academy of Fine Arts Antwerp
Blindestraat 35, 2000 Antwerp, Belgium
Die Kalte Dusche III.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance filmed by Misha Rogachev and photographed by Pieter Eliens
Duration: 00:04:12 seconds
Friday 4 June 2021
Royal Academy of Fine Arts Antwerp
Blindestraat 35, 2000 Antwerp, Belgium
Die Kalte Dusche IV.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance Filmed by Ine Kools and photographed by Finn Theuws
Duration: 00:04:42 seconds
Friday 15 June 2021
Royal Academy of Fine Arts Antwerp
Blindestraat 35, 2000 Antwerp, Belgium
Die Kalte Dusche V.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance filmed by unknown and photographed by Maxime Vermaelen
Duration: 00:02:08 seconds
Sunday 28.11.2021
Boekhandel De Slegte Antwerp, Wapper 1, 2000 Antwerp, Belgium
Die Kalte Dusche VI.
2021
Directed by Marie-Sophie Beinke and Bernadette Zdrazil, performance by Marie-Sophie Beinke and Bernadette Zdrazil, M-S B Verlag and Bernarde.
Video of performance filmed by Ivan Strelkin and photographed by Rufus Mich
Duration: 00:02:08 seconds
Sunday 28.11.2021
Kunst+ vzw – Ateliers voor kunstenaars met een verstandelijke beperking, Antwerp, Belgium
Für Bernd Lohaus [For Bernd Lohaus]
2021
Video of the performance
In the frame of the performance series: Aan het woord [Spoken Word]
At the invitation of the Coppejans Gallery, artist Marie-Sophie Beinke (b. 1990, Munich) presents a series of performances with contributions by Gerard Herman, Peter Fengler, Mekhitar Garabedian, Fien Maris & Evelin Brosi, Laurence Petrone and Guy Rombouts. The programme is introduced by her own performance, Für Bernd Lohaus [For Bernd Lohaus], during which she will recite poetic writings by Lohaus, selected by Anny De Decker, Stella Lohaus and herself. Over the years, Bernd Lohaus (b. 1940, Düsseldorf) often read to the public from his own texts, as he did on several occasions in Galerie Zeno X for example, on Sundays at 11 a.m. sharp, as though it were a mass. But also: in the Frankfurter Kunstverein, the Van Abbemusem, Galerie Grita Insam in Vienna, Micheline Szwajcer Gallery, the literary café of Galerie Drieghe in Serskamp and LLS 387. Language and words play an important role in the practice of all the artists participating in Aan het woord. They are presenting performances, actions and readings on three Sundays at the end of August and the beginning of September. Beinke asked me to write something on the occasion of this programme because I knew Lohaus well. (She never met him herself; he died in 2010).
We are sitting together, brooding. He stubs out an unfiltered cigarette in an unusual ashtray: a perfectly preserved jigsaw piece from someone’s skull, the edges jagged. Then he laughingly recounts one of Gottfried Benn’s images: a nest of young rats living in a little bower under the diaphragm of a girl who had lain long in the rushes. Born just after the start of the Second World War, mum lost on the spot, father an eloquent lawyer, apprenticed to a sculptor of funerary monuments. A mouthful of needles. With language you can hardly learn how to sculpt. You can hardly learn anything with language. Because wherever it is used, it is polluted, flattened, weakened, deboned, hollowed out, empty, air. Language seems to be useful to scheme, to spin, to lie. Whoever wants to act or think has to disrupt language, ignore it, forget it. Whoever wants to write, pushes language to the edge, where it is no longer language, where it becomes potty-mouthed, clumsy, shrill, muscular, naive, sound, letters. 2006. We are still sitting together and brooding. ‘In a little bower above my diaphragm lives a tumour as big as a pigeon’s egg,’ he says. On the drawing table, next to the typewriter, lies a wooden egg. For his first exhibition, El Nascimiento del Huevo [The Birth of the Egg], in Madrid in 1965, he showed a chair, each leg resting on a fresh egg. Eggs were consumed and smashed against sheets of paper hanging on the wall. Four people simultaneously recited the alphabet in four different languages, replacing the letter corresponding to the initial of the language in question with its full name (a, b, c, Deutsch and a, b, c, d, English), so that the original synchronicity degenerated into a kind of canon. There was also an alarm clock that started ringing. Two years later, Lohaus showed rope sculptures and ‘coudrages’ in the New Smith Gallery in Brussels: sculptural drawings or poems made of paper or fabric worked with needle and thread. Little difference between a sewing machine and a typewriter for those who want to think with language and objects. Concrete poetry? All poetry is concrete. ‘Dry yourself dry’, writes Vincent Van Meenen, prying into the hinges of language with a screwdriver. Ringing alarm clocks. Words like hammer blows. Saying something by not saying it. Learning to stumble. Not giving up. Being Frech [impudent].
Hans Theys, Montagne de Miel, 21 July 2021
iii
2017
Fashion film by Femke Huurderman, Suze Milius and Marie-Sophie Beinke
In the world of iii, senses double themselves in order to make one woman complete.
It’s time to reckon with this shit!