Nothing: to be done. Performance in public space + publication
48 Stunden Neukölln Berlin (2019)
By definition, the subway station is a public waiting area. Going down a few stairs from the street level or arriving from a different platform, people who enter the station step into an eternal sphere of waiting. However, in the era of social networks and constant flow of information into our smartphones, it seems that we have lost our ability to wait.
The aim of Nothing: to be done. is to reclaim the lost human ability of waiting in public space as an essential element of our everyday lives! In order to do so, we need to reeducate ourselves and practice.
In the pursuit of waiting, we turn to the master of gaps and lingering, silences and absences, Samuel Beckett, and his great play Waiting for Godot.
In a process of collaborative writing we transform the play into a waiting manual: How to Wait in Public Space, a collection of scores and exercises embodying the illusive notion of waiting.
Then, we meet on a regular basis for waiting sessions at a selected subway station, practicing performative interpretations of the manual's exercises while relating to the specific features of the site. Eventually, these imaginative waiting practices and manuals are shared with the public in participatory game-like formats.
During the months of May and June 2019 we gathered for bi-weekly waiting sessions at the U7 platform Hermanplatz Berlin, and performed in the framework of 48 Stunden Neukölln festival.
Workshop: May 10-11 2019, DAS KAPiTAL, Berlin.
Practice: May 14 - June 15 2019, Hermanplatz Berlin.
Performance: June 16 2019, 48 Stunden Neukölln Berlin.
The first edition of the project was supported by: ZK/U Berlin As part of the "Birkenstrasse Projekt" 2018
Project by Netta Weiser.
With and by: Dominique Tegho, Lisa Magierski, Evgenia Chet, Maayan Danoch, Tanya Bogacheva, Inka Pohjonen, Michael Fleit, Johanna Faber, Susi Rosenbohm, Naama Ityel, Diana Sirianni and Netta Weiser.
Handbook design: Zitrusblau GmbH
Photography: Daphna Westerman
Acknowledgments: Lorenz Huchthausen, Ido Wilhelm Perry Alter, Brandon Farnsworth