Another non-place. Inhabited and yet uninhabited. Home for a night. The television whispers to itself. Minibar. Snoring from neighbouring rooms through flimsy walls. The pillow smells of nothing, the towels are white. Someone else will be sleeping here tomorrow. A hotel room as a place of searching for poetry in everyday life.
In their very intimate and playful performances Yukiko Shinozaki and Heine Avdal create dream-like, absurd in-between worlds by means of subtle shifts in reality.
Only one visitor per performance is sucked into the mysterious past of this very ordinary hotel room: how many people have stayed here? What happened before we came in? Are we really alone, or can we hear the room breathing? Do we remain silent spectators, or will we become a character in a story?
Field Works-hotel is an intimate performance for one spectator at the time. Duration is 25 min.

concept and direction: Heine Avdal, Yukiko Shinozaki / performed and created by: Heine Avdal, Fabrice Moinet / sound design and electronics: Fabrice Moinet / photo and video: Heine Avdal

production: fieldworks vzw, Heine Avdal / co-production: Nordic Excellence Network (BIT Teatergarasjen Bergen, Black Box Teater Oslo, Teaterhuset Avantgarden Trondheim, Museum of Contemporary Art Kiasma Helsinki, Festival Perfect Performance Stockholm, Dans & Teater Festival Göteborg, Kulturhus Århus Denmark), L’animal a L’esquena (Celra, Spain)/ in collaboration with: Kaaitheater (Brussels) / with the support of: Norsk Kulturråd, Fond For Lyd og Bilde, Fond for Utøvende Kunstnere, Norwegian Foreign Ministry, Vlaamse Gemeenschap

world premiere: October 27 2009 at Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden, Stockholm.

titledatetimelocationtickets & info
1. Field Works-hotel Sat 01-11-2014  FAV14 Theaterfestival,
2. Field Works-hotel Fri 31-10-2014  FAV14 Theaterfestival,
3. Field Works-hotel Thu 30-10-2014  FAV14 Theaterfestival,
4. Field Works-hotel Sat 22-02-2014 14:00 PACT Zollverein,
5. Field Works-hotel Fri 21-02-2014 14:00 PACT Zollverein,
6. Field Works-hotel Thu 20-02-2014 14:00 PACT Zollverein,
7. Field Works-hotel Wed 19-02-2014 14:00 PACT Zollverein,
8. Field Works-hotel Tue 26-11-2013 14:00 SPIELART Festival, Mü
9. Field Works-hotel Mon 25-11-2013 14:00 SPIELART Festival, Mü
10. Field Works-hotel Sun 24-11-2013 14:00 SPIELART Festival, Mü
11. Field Works-hotel Sat 23-11-2013 14:00 SPIELART Festival, Mü
12. Field Works-hotel Fri 22-11-2013 14:00 SPIELART Festival, Mü
13. Field Works-hotel Thu 21-11-2013 14:00 SPIELART Festival, Mü
14. Field Works-hotel Wed 20-11-2013 14:00 SPIELART Festival, Mü
15. Field Works-hotel Sun 18-11-2012 14:30 Macau City Fringe festival,
16. Field Works-hotel Sat 17-11-2012 14:30 Macau City Fringe festival,
17. Field Works-hotel Sun 11-11-2012  Baltic Circle Festival,
18. Field Works-hotel Sat 10-11-2012  Baltic Circle Festival,
19. Field Works-hotel Fri 09-11-2012  Baltic Circle Festival,
20. Field Works-hotel Thu 08-11-2012  Baltic Circle Festival,
21. Field Works-hotel Wed 07-11-2012  Baltic Circle Festival,
22. Field Works-hotel Wed 09-11-2011  NU Performance Festival Tallinn,
23. Field Works-hotel Tue 08-11-2011  NU Performance Festival Tallinn,
24. Field Works-hotel Mon 07-11-2011  NU Performance Festival Tallinn,
25. Field Works-hotel Sat 15-10-2011  Steirischer Herbst,
26. Field Works-hotel Fri 14-10-2011  Steirischer Herbst,
27. Field Works-hotel Thu 13-10-2011  Steirischer Herbst,
28. Field Works-hotel Fri 09-09-2011  International Festival on Contemporary Theatre Homo Novus,
29. Field Works-hotel Thu 08-09-2011  International Festival on Contemporary Theatre Homo Novus,
30. Field Works-hotel Wed 07-09-2011  International Festival on Contemporary Theatre Homo Novus,
31. Field Works-hotel Fri 29-04-2011  RadArt, Tromsø
32. Field Works-hotel Thu 28-04-2011  RadArt, Tromsø
33. Field Works-hotel Wed 27-04-2011  RadArt, Tromsø
34. Field Works-hotel Tue 01-03-2011  Kaaitheater,
35. Field Works-hotel Mon 28-02-2011  Kaaitheater,
36. Field Works-hotel Sun 27-02-2011  Kaaitheater,
37. Field Works-hotel Sat 26-02-2011  Kaaitheater,
38. Field Works-hotel Fri 25-02-2011  Kaaitheater,
39. Field Works-hotel Wed 27-10-2010  Oktoberdans,
40. Field Works-hotel Tue 26-10-2010  Oktoberdans,
41. Field Works-hotel Mon 25-10-2010  Oktoberdans,
42. Field Works-hotel Sat 02-10-2010  International Festival of Contemporary Dance Body/Mind,
43. Field Works-hotel Fri 01-10-2010  International Festival of Contemporary Dance Body/Mind,
44. Field Works-hotel Thu 30-09-2010  International Festival of Contemporary Dance Body/Mind,
45. Field Works-hotel Wed 29-09-2010  International Festival of Contemporary Dance Body/Mind,
46. Field Works-hotel Sun 26-09-2010  Teaterhuset Avantgarden,
47. Field Works-hotel Sat 25-09-2010  Teaterhuset Avantgarden,
48. Field Works-hotel Fri 24-09-2010  Teaterhuset Avantgarden,
49. Field Works-hotel Thu 23-09-2010  Teaterhuset Avantgarden,
50. Field Works-hotel Wed 22-09-2010  Teaterhuset Avantgarden,
51. Field Works-hotel [hotel version]Sun 21-03-2010  Black Box Teater,
52. Field Works-hotel [hotel version]Sat 20-03-2010  Black Box Teater,
53. Field Works-hotel [for Dramatikkens hus]Sat 20-03-2010 19:00 Dramatikkens hus,
54. Field Works-hotel [hotel version]Fri 19-03-2010  Black Box Teater,
55. Field Works-hotel [for Dramatikkens hus]Fri 19-03-2010 19:00 Dramatikkens hus,
56. Field Works-hotel [hotel version]Thu 18-03-2010  Black Box Teater,
57. Field Works-hotel [hotel version]Wed 17-03-2010  Black Box Teater,
58. Field Works-hotel [for Dramatikkens hus]Sat 13-03-2010 19:00 Dramatikkens hus,
59. Field Works-hotel [for Dramatikkens hus]Fri 12-03-2010 19:00 Dramatikkens hus,
60. Field Works-hotel [for Dramatikkens hus]Thu 11-03-2010 19:00 Dramatikkens hus,
61. Field Works-hotel [for Dramatikkens hus]Wed 10-03-2010 19:00 Dramatikkens hus,
62. Field Works-hotel [for Dramatikkens hus]Tue 09-03-2010 19:00 Dramatikkens hus,
63. Field Works-hotel [for Dramatikkens hus]Fri 05-03-2010 19:00 Dramatikkens hus,
64. Field Works-hotel [for Dramatikkens hus]Thu 04-03-2010 19:00 Dramatikkens hus,
65. Field Works-hotel [for Dramatikkens hus]Wed 03-03-2010 19:00 Dramatikkens hus,
66. Field Works-hotel [Clarion Hotel sthlm]Sat 31-10-2009 12:00 Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden,
67. Field Works-hotel [Clarion Hotel sthlm]Fri 30-10-2009 15:00 Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden,
68. Field Works-hotel [Clarion Hotel sthlm]Thu 29-10-2009 15:00 Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden,
69. Field Works-hotel [Clarion Hotel sthlm]Wed 28-10-2009 15:00 Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden,
70. Field Works-hotel [Clarion Hotel sthlm]Tue 27-10-2009 15:00 Perfect Performance-Stockholms Internationella Scenkonstfestival - Sweden,
© fieldworks
© fieldworks

09/11/2012: Sarah Ibrahim on Field Works-hotel

Baltic Circle: “Ribs, Knees and Shoulder-blades.”

Julkaisuajankohta: marraskuu 09, 2012 – Ei kommentteja

The students of International Performance Research (MA) write about their experiences during Baltic Circle International Theatre Festival for Feel free to comment, question and give some feedback on Sarah Ibrahim’s review of Field Works Hotel by Heine Avdal and Yukiko Shinozaki.

I am on the search for clues left for me unlike any hotel room where one does not expect to find things personalized for them. Solipsism. Childlike. I am very pleased when I find a “Dear Sarah” with an unidentifiable drawing in the garbage by the closet.

Involuntary memory is triggered by entering a room that is unfamiliar, after establishing that there are no others present, and after exploring the little notes that hang on the plastic flowers, closet handle, hangers and toilet paper; Perfect, Take me, Probably, Please, I notice the television screen playing a welcome advertisement to Hotel Arthur where “3000 rooms are waiting for me…ready to engage.” I am now in 315 and seated in an armchair. “Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them.” Involuntary memory set to motion by a foreign space. I think of Marcel Proust.

“My body… Its memory, the composite memory of its ribs, knees, and shoulder-blades offered it a whole series of rooms in which it had at one time or another slept; while the unseen walls kept changing, adapting themselves to the shape of each successive room that it remembered.” The light pink shimmering walls, the possibility of them changing into rooms I’ve been, in an attempt to familiarize, or transcend a linear notion of time.

A man enters a hotel room, the screen shows, it is exactly the same as the one I am in now, immediately I make the assumption that it was a pre-recording. I watch him. I question if it was in fact the same room, reinforcing traces, of where his body heat resonated, what he breathed on and how he moved. I am not concerned with how long ago it was. Romantic meanderings of thought, triggered by a sterile environment; a screen and a fleshly walked into hotel room. Perhaps it is the notion of the trace and the possibility of memory that create this romanticism.

Sounds resonate from varying origins around the room. Water running from the bathroom at one point where he has disappeared from the screen, I go in, and turn on the water, adding to the recorded sound. I trace the sources, others not signaling specific actions, but more of soundtracks to resonance. I trace them behind the curtains and under the bed. I am satisfied now that I have located the sources, I am acquainted with the room. I follow his actions. I follow what was past in present. Adding to his past, or reaching out for it in attempting to run parallel to it.

Now, I appear on the screen, seated on the bed, I fade out. He appears in a another location in the room and fades out, this pattern repeats itself as we move. I locate the camera. Then I go back to him, I try to maintain close proximity, and I think I am following him; a welcoming of traces in the sense of the past. After laying on the bed facing one another and taking his lead in playing with pillows. I begin to realize that he follows me; past reaching to future since present is where I am. The notion of time becomes circular.

What I had conceived as a pre-recording signifying a past trace – placing me in present tense, becomes future for the past that follows present. I am tracking tenses but as we interact such states of time diminish and notions of past and future become fully present. At first he maintains agency, then I, we each accept. We are gradually unfolding through a play. This hotel room is present now with both of us, seemingly through a virtual mediation as a result of the screen.

Yet, although visibly it is virtual, the notion of the physical trace has been at play for a while now that the divide between virtual and real is no longer there, perhaps as a result of the simultaneity of our actions, along with this transition in realizing tenses, past, present, future, and my evolving conceptions of what is when. Where he physically is, is no longer a concern by now, I am caught up in being with him; the body’s instant impulse in seeking other bodies. Both our traces exist in present. I go to the phone to see if perhaps I can channel through an aurality to our presence but he picks up the phone after I place mine down then mine rings.

“Hello.” Echo of my voice in my room. He does not speak but is there. An aural experience to establish presence. But it is no longer about an experience of another, becoming whole through fragmented divisions of visual (screen) and aural (sounds and telephone). The notion of the trace is what commenced in informing our modes of presence, then we transition on the screen. Him, I follow, Me, he follows, the shifts in the initiations of movements creates the presence across varying conceptions of time.

I am thanked in text on the screen and said goodbye to, sincerely by Field Works Hotel. It takes me some time to eventually agree to leave. And I see him as I close my door, at the end of the corridor dragging his suitcase, in his suit. For an instance it is a haze, as though it took a moment to exit this state of variance I was in. I follow him, he hides somewhere. I take two steps up the stairs, I see him and he shifts positions to hide further. My encounter does not wish to face me, that’s when I decide it is time to leave.

The quoted text comes from “Remembrance of Things Past: Swann’s Way” by Marcel Proust. 

Sarah Ibrahim Studied art and film and is now doing her masters in performance research.

***Heine Avdal & Yukiko Shinozaki: Field Works Hotel ----Concept and Direction: Heine Avdal, Yukiko Shinozaki
Performed and Created by: Heine Avdal, Brynjar Åbel Bandlien, Fabrice Moinet
Sound design and electronics: Fabrice Moinet

Thu 15-11-2012 : ZDF-kultur

report on ZDF.kultur

28/02/2011 - interview for Kaaitheater brochure

Performatik focuses on contemporary performance art, not only from the perspective of theatre and dance, but also the visual arts. What about your relation with the visual arts?
Heine:  We’re dealing with the codes of the theatre. What we present has a duration, a beginning and an end, a dramaturgy. That makes what we do ‘performing arts’. It can sometimes blend into other art fields, but that is something we don’t really specify very clearly before we work on a project. When we work things start to happen, and we relate to these things as they happen in the process. We focus on the situation and the communication within the performance, between a spectator and a performer or an object and a spectator.
Yukiko: Or it may be just a sound that creates a scene. We never do concerts, but there is always an important part where we focus on the sounds. There’s no movement, but there’s a sound and that creates theatrical elements, listening to the sounds.

The Field Works series of performances looks for the poetry of everyday life. By doing intimate site-specific performances, you examine the codes and conventions of non-theatrical places. An earlier performance called Office took place at the KBC offices in Brussels. This time the audience is invited into a hotel room. What made you chose a hotel as location?
H: It was a coincidence. When we started working on Field Works Office, we got an offer to do a performance in a hotel room in Stockholm during a festival called Perfect Performance.
Y: At that time we were not rehearsing and working in a dance studio, but had rented a rental office called Regus Office, which is a …
H: … hotel for offices…
Y: They have many branches all over the world. The offices are fully equipped with desks, chairs, telephone lines and so on, and you can rent them at different locations.
H: It doesn’t matter where you are, they have offices all over the world. So no matter where you are, you can always have the same office interior.
Y: So in one way they are international because they’re at so many locations, but it’s always the same thing, so it’s mono-international, like Starbucks. With hotels it’s often the same, it’s also international, there are authentic hotels, but most of them are the same all over the world. So the function is different but it’s a similar set-up. Hotels have the same purpose, you go there, it’s a room that so many people pass through, somebody else slept in your bed the night before. So the concept of coming into a hotel room, thinking it’s all new, is customized for you, but it’s been used so many times, that’s what is of interest.
H: We are interested in working with the idea that it looks so fresh and new even though there have been so many people in and out. We were interested in how you can work with it as if there were traces of all the different people who have actually been in the room where you are.
Y: All the rooms are the same on the inside. So when you are sitting in your room, you know that next to you, under you, there are also people in these same rooms. You don’t see the presence of the people but you know it’s there.

A lot of your works are intimate, for ‘one person only’ performances. What is your relation with the spectator?
H: We are very interested in the idea of an audience as a collective group. We are interested in doing this in theatres, but sometimes we need to have moments when the response is really physical towards one person as an audience. In our performance You are here, which is for a theatre space with a theatre set-up where people are sitting on a tribune, we gave the audience small boxes, so we tried to give the audience an individual point of view. At the same time there are things happening on stage, so the audience is constantly pulled between the collective view and the individual one.

28/02/2011 - Natt & Dag

Field Works-hotel selected as 'best dance performance' in Bergen of 2011 by Natt & Dag

20/02/2014 - WDR 3 on 'Field Works-hotel'

Andrej Klahn from the German radio WDR 3 reflects on Field Works-hotel, on occasion of the performances in February 2014 at the Maritim Hotel in Gelsenkrichen (DE):