Claudia Kappenberg is an artist and academic specialising in live site-specific performance and screen dance.
Her interests include cinematic and choreographic practices, critical theory and philosophies of art and the body. She leads the Screendance Network and is Co-Editor of the International Journal of Screendance. She lectures in fine art performance and moving image and founded the University's MA in Performance and Visual Practices.
Claudia Kappenberg lectures in performance, dance and visual arts. Her interests include cinematic and choreographic practices, critical theory and philosophies of art and the body. She leads the Screendance Network and is Co-Editor of the International Journal of Screendance.
Claudia Kappenberg’s research focuses on live and interdisciplinary performance practices, moving image and Screendance, as well as the historical and theoretical narratives which underpin these practices. She is concerned with visual literacy, performance philosophy and concepts of body-mind integration, and their exploration within cinematic, choreographic and performative practices. This work is framed by a wider interest in questions of representation, feminist discussions and contemporary debates on neoliberalist politics and their impact on the artist and artistic production.
PhD application for research in related fields are welcome. For further information see TECHNE.
In her visual and performance practice Claudia Kappenberg draws on a background of dance and visual arts to create minimal choreographies which examine patterns of the everyday. The work is often developed for particular sites or reconfigured in their relocation to other sites and exhibited in the form of live interventions, gallery based performances or screen-based installations. The work has been shown in Europe, the United States and the Middle East.
Claudia Kappenberg is a founder-editor of the International Journal of Screendance and peer-reviews for a number of journals, as well as for research councils such as the British AHRC and the Canadian SSHRC. She undertakes consultancy for Screendance initiatives, juries on related film selection panels, and guest lectures in the field of performance, i.e. at the École des Beaux Arts de Grenoble (France), Akademie der Künste (Munich, Germany) and Hazira Performing Arts (Jerusalem, Israel).
Claudia Kappenberg teaches performance and screen-based practices at the University of Brighton. She trained in Modern Dance, Butoh and Movement Analysis and danced professionally in Europe and New Zealand before coming to London in 1991. She completed an MA Fine Art/Film and Video at Central Saint Martins College of Art and Design in 1998 and taught at Central Saint Martins and London Guildhall University until 2002. She also worked freelance as videographer for Tate Modern, Tate Britain and independent arts organisations.
Copies of The International Journal of Screendance are available online.
Conceived for the Performance Arcade, Wellington New Zealand this project asks whether we can imagine a space which serves for and relates to nothing.
Slow Races 2014 continued the exploration of the use of uselessness through a series of performed and participatory interventions.
Transient performed actions and durational interventions within a capitalist framework.
Reveals and critiques a systemic and skewed determination of values within the art institution and the culture at large.
The performance work is a deliberate performance of useless acts, making space for alternative modes of experience.
This is a new performance project, in which a body is restrained and impeded from performing it a normal fashion.
Brings together a collection of objects/materials from the everyday with a minimal choreography inspired by Beckett's insistence on the almost nothing
The work takes its title from a new sport, whereby people undertake to iron clothes in adventurous locations.
A site-specific performance conceived for Vogelfrei, the 7th Biennale in Darmstadt, which takes place in the city's streets and gardens.
Drawing on dance and the visual arts, the work uses silent gestures and movements of the everyday to perform absurd repetitions and impossible tasks.
Kappenberg, Claudia (2016) An Interdisciplinary Reading of Entr'acte In: Rosenberg, D., ed. The Oxford Handbook of Screendance Studies. Oxford Handbooks . Oxford University Press, Oxford. ISBN 9780199981601
Kappenberg, Claudia (2016) The use of uselessness as a strategy for contemporary performance practice Doctoral thesis, University of Brighton.
Kappenberg, Claudia (2015) The politics of discourse in hybrid art forms In: Boulègue, Franck and Hayes, Marisa C., eds. Art in Motion: Current Research in Screendance. University of Wisconsin Digital Collections Center, Cambridge, pp. 21-29. ISBN 9781443871266
Kappenberg, Claudia (2014) Honey Hat [Digital and visual media]
Kappenberg, Claudia (2014) Abandoning to Worklessness In: BildEvidenz: All This Can Happen, Freie Universitaet Berlin, 12 July 2014.
Kappenberg, Claudia (2014) Slow Races [Performance]
Kappenberg, Claudia (2014) All human beings are born useless and equal in uselessness [Performance]
Rosenberg, Douglas, Kappenberg, Claudia and Cleghorn, Elinor (2014) After Deren [Edited Collections]
Kappenberg, Claudia (2013) Difference between one who knows and one who undergoes [Performance]
Kappenberg, Claudia (2013) Film as Poetry The International Journal of Screendance, 3. pp. 184-214. ISSN 2154-6878
Kappenberg, Claudia and Seror, Dorothea (2012) Royal Pleasures (Fürstliches Vergnügen) [Performance]
Kappenberg, Claudia and Rosenberg, Douglas (2012) The International Journal of Screendance, issue 2 [Edited Collections]
Kappenberg, Claudia (2011) Trophäen/ Trophies [Performance]
Rosenberg, Douglas and Kappenberg, Claudia (2010) The International Journal of Screendance [Edited Collections]
Kappenberg, Claudia and Rosenberg, Douglas (2010) International Journal of Screendance, issue 1 Parallel Press, Wisonsin, Madison, USA.
Kappenberg, Claudia (2009) Does screendance need to look like dance? International Journal of Performance Arts and Digital Media, 5 (2-3). pp. 89-105. ISSN 1479-4713
Kappenberg, Claudia (2008) Upon the place beneath [Performance]
Kappenberg, Claudia (2008) Extreme Ironing [Performance]
Kappenberg, Claudia (2007) Exhausting the Screen In: Open Source [Video Dance], 20-23 Nov 2007, Findhorn, Scotland.
Kappenberg, Claudia (2007) Extreme Ironing 7th Biennale at Darmstadt, Volelfrei, Germany.
Kappenberg, Claudia (2006) Long Wave/Moebius Dance on Screen, The Place Theatre, London, UK.
(2017) “The use of Uselessness”, in H. Blades (ed), Performing Process. Bristol: Intellect Publishing,forthcoming
(2017) “Arrows Fly”, in Christian Patracchini (ed), Zeno’s Paradoxes, London: Zeno Press
(2017) “Too Much Self”, in Ed. FTJ Dalmasso and Stephanie Jamet (ed), La Syncope dans la performance et les arts visuels - Syncope in Performing and Visual Arts. Paris: Editions Le Manuscript
(2017) “Incognito”, in Marisa Hayes (ed), Dancing Museums, Repères, Cahier de danse. Val-de-Marne: la Briqueterie
(2016) All This: Writings on All This Can Happen, special issue of The International Journal of Screendance, Eds Kappenberg, C (University of Brighton) with Sarah Whatley (Coventry University)
(2016) "An interdisciplinary reading of the film Entr'Acte" in Douglas Rosenberg (ed), The Oxford Handbook of Screendance Studies, NY: Oxford University Press
(2015) "The politics of discourse in hybrid art forms", in Marisa Hayes (ed), Art in Motion, Cambridge: Cambridge Scholars Press
(2015) Invited keynote at Light Moves, Festival of Screendance, Limerick, Ireland, 20 November 2015
(2014) Abandoning to Worklessness, invited paper, Bildevidenz, Freie Universität Berlin, Berlin, July 2014
(2014) The Body in Screendance, Chair of Panel, Festival International de Vidéo Danse de Bourgogne, Le Creusot, Bourgogne France, May 2014
(2013) The Use of Uselessness, paper given at APRI Symposium, University of Brighton, November 2013
(2013) After Deren, publication of the third issue of the International Journal of Screendance, Eds Kappenberg, C (University of Brighton) and Douglas Rosenberg (University of Wisconsin-Madison, US), incl. Kappenberg, C., 'Film as Poetry', Vol3, Autumn 2013
(2013) A choreographic reading of the film Entr'Acte, paper given at the Video Dance Festival of Burgundy, LARC National Theatre of Burgundy, France
(2012) A choreographic reading of the film Entr'Acte, paper given at the Society of Dance History Scholars (SDHS), Philadelphia US
(2012) Curation of Audio Conversations, as part of What Matters, a choreographed exhibition drawing from work in film, dance, live and visual art curated by Lucy Cash and Becky Edmunds, at the Siobhan Davis Studios, London UK.
(2012) Scaffolding the Medium, publication of the second issue of the International Journal of Screendance, Eds Kappenberg, C (University of Brighton) and Douglas Rosenberg (University of Wisconsin-Madison, US).
(2011) Invited keynote at Symposio Pensar la Videodanza III, Instituto Universitario Nacional del Arte, Buenos Aires, Argentina.
(2011) Screendance Symposium at the Sallis Benney Theatre, University of Brighton, UK; an AHRC funded Symposium which disseminated the research of the International Screendance Network and presented extracts of the second issue of the International Journal of Screendance; guest speakers included Catherine Wood, Curator Contemporary Performance, Tate Modern; Siobhan Davies, choreographer; Miranda Pennell, film-maker and David Hinton, film-maker.
(2010) The AHRC Screendance Network launched the new International Journal of Screendance, the first-ever scholarly journal dedicated to the growing area of inter-disciplinary practice of Screendance. Launch at the American Dance Festival, Durham, North Caroline, June 2010. Editors: Douglas Rosenberg and Claudia Kappenberg. incl. Kappenberg, C., The Logic of the Copy, From Appropriation to Choreography, Vol1, Spring 2010
(2010) What If… festival, A festival drawing from work in film, dance, live and visual art co-curated by 5 artists with a background in dance, visual art and film-making. The co-curators were Lucy Cash, Becky Edmunds, Claudia Kappenberg and Chirstinn Whyte with Gill Clarke from Independent Dance.
The festival broke new grounds in the curation of screendance, situating it within a wider discourse of moving-image, live performance and choreographic practices.What if… commissioned 10 writers to respond to the works exhibited in the festival and the writing was published in a dedicated issue of the Dance Theatre Journal (February 2011)
(2009) A new Network for Discourse and Publication in Screendance, paper at ARCHIV/ PRAXIS (November), Institut für Theaterwissenschaft, Universität Leipzig, Germany
(2009) Does Screendance need to look like dance?, paper given at Exploring the screen as a site for choreography, Screen dance research event (April), University of Bristol, Department of Drama, Theatre, Film & Television, Cantocks Close, Bristol, UK
(2008) Does Screendance need to look like dance?, paper given at Screendance, State of the Art 2, at the American Dance Festival, Duke University, North Carolina
(2008) Paradoxical Bodies, curated screening of British video art and screendance at Screendance, State of the Art 2, at the American Dance Festival, Duke University, North Carolina
(2007) Exhausting the Screen, paper given at 'Open Source - Video Dance 2' conference at Findhorn, Scotland, to be published by Goat Media in 2008
(2007) A reading of the film Entr’Acte, paper given at MOVES, International Screen Choreography Conference, Manchester Metropolitan University, Manchester
(2005) Hilde Holger Centenary, video presentation for centenary of Choreographer Hilde Holger, Austrian Cultural Forum, London
(2004) The Use of Uselessness, presentation for Plato’s Symposium, The Leleg Institute, Bodrum, Turkey
(2003) The Unknown Other in Performance, an exploration of Luce Irigaray’s concept of the Other, paper given at Conference for Dance Improvisation, Liverpool Institute of Performing Arts
(2003) T/Reason, presentation and screening of work for public research debate for the Royal College of Art at the Serpentine Gallery, London
(2003) Chair of panel discussion with Yvonne Rainer and Deborah Hay London International Summerschool, Greenwich Dance Agency London
(2001) Turbulence Magnetique, video screenings and conference presentation, Alba University, Beirut, Lebanon
A Space Without A Use, Durational performance, Performance Arcade, Wellington New Zealand (March 2017), and Hastings Fringe, Hastings UK (October 2017).
Slow Races, including: Slow Races#1 (garden gnomes), performed by Andrew Barker, Andrew James, Andrew Downs, Andre Verissimo, Nic Sandiland, Kate Brown, Katy Pendlebury, Slow Races#2 (buckets), Slow Races#3 (scooter murmuration)
All human beings are born useless and equal in uselessness, performed text. The General Assembly of Garden Gnomes calls for the human right to uselessness. Performance at:
Difference between one who knows and one who undergoes, durational performance. A garden gnome celebrates her ornamental self and undertakes to do nothing. Performed at:
Honey Hat, performance as part of Fading, Anatumn's Abode, London Limehouse (June 2013), screen-based version premiered at Light Moves, Festival of Screendance, Limerick Ireland (November 2014)
WHITE MARKET, a performance label which researches contemporary performance practices and marketing strategies for performance art. Collaborative project by Claudia Kappenberg and Dorothea Seror
Bread Tools and Mittens, performance with tools baked of dough and mittens made of bread confine a body and challenge society’s imperative on the individual to produce. Performed at:
Upon the Place Beneath, directed by Claudia Kappenberg and performed by Lost Parade. A performed sonic exploration of the entropic. A minimal choreography inspired by Beckett's insistence on the almost nothing brings together a collection of objects and materials from the everyday. Performed at:
Extreme Ironing, durational performance;
Composition of the Arbitrary, an unpredictable pattern is created by a group of performers measuring their individual pulse as a basis for sitting, standing and clapping. Danielle Arnaud Contemporary Arts, London (January 2004)Umbracadabra, durational performance, Hazira Performing Arts, Jerusalem, Israel (2001); heavy metal eyelashes impede a performer from opening her eyes so that she can only negotiates a space through touch.
Zim-Zum in Taffeta, Gallery Piano Nobile, Geneva CH (2001); a body lies motionless on a wooden beam in a space while a video expands and contracts the space in the rhythm of her breath.
2001 - 2002
(2014) Arts Council London, Grant for 'Slow Races', a performance project for the De La Warr Pavilion, Bexhill July 2014
(2012) University of Brighton Springboard Grant, for moving-image project in the Performance and Visual Art academic programme
(2010) Arts Council London, Grant for Curatorial Group to run the 'What If… Festival,' Siobhan Davies Studios, London March-April
(2009) Artist’s Residency, October - December 2009, Villa Waldberta, Munich, Germany
(2009) Awarded AHRC Network Grant for Research into Discourse and Publication on Screendance. The project runs for two years and includes US and UK-based researchers and scholars (April 2009 - July 2011)
(2009) Awarded Sabbatical from University of Brighton (January 2009)
(2008) Artist’s Residency, 1 - 31 September 2008, Villa Waldberta, Munich, Germany
(2007) Faculty Research Support Fund, Development of collaborative Oolith Research Project with Amy Cunningham and Conall Gleeson in partnership with Portland Sculpture Quarry Trust
(2005) Faculty Research Fund UoB, ‘Contrasting physical reality with a surreal digital environment’
(2001) Research Fund Central Saint Martins College of Art and Design, Aeolus, a film and video installation at Aldwych Underground, London’
(2001) British Council Funding for performance and teaching in Jerusalem, Israel
(2000) Chisenhale Dance Space, ‘Movement and Video Research Grant’
(1996) William Brooker Scholarship, Wimbledon School of Art
"Allen diesen einstigen Kuschelbären und Knuddelhasen wird es in den nächsten Wochen im „White Market“ so ergehen, wie es einst den Hirschen, Hasen und Wildschweinen unter den Darmstädter Landgrafen erging. Nur dass sie nicht zu Wildbret verarbeitet oder als Trophäen gesammelt, sondern die abgetrennten Köpfe in einer Wurfbude aufgestellt und am Ende die Plüschbälge zu amorphen Kunstgebilden umgestaltet werden. (…)"
(Hein, R; Kunstbiennale "Vogelfrei", Jäger und Sammler im alten Park, FAZ, Frankfurter Allgemeine, 03 July 2011)
"Ein paar Schritte weiter noch so ein Hingucker: Claudia Kappenberg und Dorothea Seror haben ein paar Hunderte Stofftiere wie zur Jagdstrecke ausgelegt und veranstalten ein Kuscheltiermassaker: "Wir schneiden Tieren unter anderem die Köpfe ab, weil wir Trophäen sammeln, genau so wie hier in diesem Jagdschloss um 1600, 1700 Trophäen von Hirschen gesammelt wurden" – "Frage: Rechnen Sie mit Tränen von Kindern?" – "Nein, nicht von Kindern. Kinder haben selbst diese Lust zu zerstören, eher von den Eltern, die angstvoll denken, ihren Kindern könnte hier etwas Schlimmes gezeigt werden."
(Haubitz, A; Vogelfrei: Jäger & Sammler, hr2-kultur, 21June 2011)
"Claudia Kappenberg's Upon the Place Beneath. Six movement artists stood gracefully moving their arms, silently at first, until they began to release beads from their hands which poured down on to various resonant objects and created a random interplay of sounds. Everyone seemed gripped - it looked beautiful, sounded interesting, we wondered what it might mean."
(Irish Times, Wednesday November 19, 2008)
(2016) 100th anniversary of Maya Deren Festival in 2017, Consultancy for symposium and festival with Tanzrauschen e.V. Wuppertal (forthcoming)
(2016) Patronage for new Screendance Festival in Bordeaux, Cinéma Jean Eustache and Université Populaire de Bordeaux, France (forthcoming)
(2014) Jury member for Screendance Submissions, 28th Leeds International Film Festival
(2010) Editor and Founder of the International Journal of Screendance, published by Parallel Press, University of Wisconsin US (ongoing)
(2009) Peer-reviewer for the AHRC and contemporary journals in the field of dance, performance and screendance (ongoing)
(2009) Guest lecturing and workshops in performance practices at the Fine Art Academie Munich, Germany (2009), and previously at the University of Wisconsin-Madison, US; Acadmie des Beaux Arts, Grenoble, France; Hazira Performing Arts, Jerusalem, Israel.
(2008) South East Dance, Brighton. Consultancy for Screendance Festival, December
(2002) Chisenhale Artist’s Board, Selection Panel and consultancy for artist’s projects