“The attack of a sound is not its character... Decay, however, this departing landscape, this expresses where the sound exists in our hearing — leaving us rather than coming towards us. “ (Morton Feldman)

Feldman’s Triadic Memories (1981), a solo piano piece, invokes that “other place that’s not a metaphor for something else.” The composer described it as “probably the largest butterfly in captivity, concerned with the shape of a leaf and not the tree”.
In this self-contained space of memory and detail, Keren Levi continues her one-sided conversation with Feldman’s music in a solo performance – her first since The Bottom Line in 2003.

Following on from her performance-essay Footnotes (for Crippled Symmetry) – an interweaving of movement, sound, text, video and sculpture in response to Feldman’s Crippled Symmetry (1983) – Levi narrows down her choreographic scope to the movement of her own body, limited in space and fields of mobility. Into this personal inquiry, Levi has invited long-term collaborators and friends, dramaturg Igor Dobričić, composer Tom Parkinson and audiovisual artist Assi Weitz to join her quiet mediation on decay, time, sound and memory. 
Upon Levi’s request, artist Noa Giniger created a watercolor drawing out of the title of the piece. This artwork is in line with Giniger’s ongoing project SPELLS, a text writing system which she developed based on the structure of stencil lettering.


Concept & performance : Keren Levi

Dramaturgy: Igor Dobričić

Music: Tom Parkinson 

Video: Assi Weitz

Artwork: Noa Giniger, Spells (Departing Landscapes),  2018.

Photography: Eti Steinberg

Supported by: Veem house for performance Amsterdam, Theater im Pumpenhaus, Münster, Keren Levi | NeverLike