Move Your Homeland! You leave - we welcome you! 


“Move Your Homeland! You leave - we welcome you!” is a collaboration between Dyad Creative, Norwich (UK) / S_A_R Projektbüro in Völklingen (GER) / Jungdabang, Seoul (KOR). The artist spent approximately one week working on the project incorporating different styles and ways of working. The project was situated in urban environments, on a market stall and in art spaces.  

Dance movements, movements in or with the own travel bag, crawling in the pose of an animal, transporting pieces of an animal, alleged stagnation, ingesting and absorbing different substances in the form of liquids or smoke, finding position marked as location, disseminating fake news, importing rat poison, measuring tolerance, German carnival...with these practices artists explored the analogy of extraneousness.


Move Your Homeland! You leave - we welcome you!  
19. - 27. February 2017, Norwich 

Julia Aatz (Saarbrücken), Emma Adler (Berlin), Natalie Brück (Berlin), Hyun Ju Do (Düsseldorf), Mara Ebenhöh (Saarbrücken), Mirjam Elburn (Siegen), Cornelia Fachinger (Berlin), Marina Gesheva (Botevgrad), Caroline Heinzel (Saarbrücken), Daniel Henrich (Frankfurt), Clare Jarrett (Norwich), Deokhyeon Jeong (Seoul), Bobae Kim (Seoul), Anja Khersonska (Saarbrücken), Hounyeh Kim (Seoul), Kathrin Lambert (Saarbrücken), Arne Menzel (Saarbrücken), Hannah Mevis (Saarbrücken), Bogdan Obradović (Belgrad), Changsik Park (Seoul), Mi Ock Park (Seoul), Murim Park (Seoul), Paulette Penje (Berlin), Ana Petrovici-Popescu (Bucharest), Sever Petrovici-Popescu (Bucharest), Julia Rabusai (Norwich), Claudia Raudzus (Saarbrücken), Christian Richert (Hamburg), Lisa Marie Schmitt (Saarbrücken), Caroline Streck (London), Marcus Williams (Norwich), Georg Winter (Stuttgart/ Budapest), Marcia X (Puerto Rico / Norwich)

                                                        Windmill, Hannah Mevis

S_A_R Projektbüro  

Sculpture, Space, Social Research, Sun, Search ...

Action, Art, Architecture, Andere Räume (Other spaces) ...

Recherché, Room, Rescue …

S_A_R stands for the abbreviation, the S_A_R Projektbüro (Project office) was founded in October 2007 at a branch of the University of Fine Arts in Völklingen, part of the World Cultural Heritage “Völklinger Hütte”. As extension of the HBK studio and workshop department in Völklingen the Project office is oriented towards the abbreviation of the international rescue forces SAR „search and rescue“- which is an ambulance service,
a measuring station, an operation centre.

  Dyad Creative 

Dyad Creative is a Franco British collaboration founded in 2014 by Theodora Lecrinier and Hannah Turner Wallis. Dyad Creative’s practice focuses on the visual arts and contemporary performance. In questioning what performance is, they explore notions of communication and social engagement through diverse art projects and the running of creative spaces in Norwich. Interested in the performative nature of everyday activity, their practice is involved with the process of making and interaction with space and people. As artists, collaboration is at the heart of their work with each other, with other artists and more, allowing the relationships to drive their ideas forward.        As managers of Dove Street Studios and The Barber Shop, Théo­dora and Hannah provide a platform for artists to develop their practice, with affordable spaces for perfor­mance, residency, studios, courses, workshops and facilitating new projects, inspired and driven by space, audience and active practice.


The Gallery Jungdabang Project is a social enterprise that maintains an open space in Mullae. It is focused on supporting cultural exchange activities and facilitating the active participation of local citizens on various cultural and educational programs. As location Jungdabang is an accessible art & culture alternative space made available for local citizens, communities and starting artists to host exhibitions, performances, workshops and seminars. Starting from September 2013 Jungdabang organized an exchange program with the artists from HBKsaar with theme of art in public space.







  Thin Spots

“Tis easy to unlock the realm of spirits; Listening each sound, beneath a film of earth.” Friedrich Schiller, The Maid od Qrleans, 1801 Pondering the layers (ceilings, levels, strata) of a psychotectonic exploration of space in combination with a performance series poses two scenarios: Do we allow geomantic findings on the disposition of a space to affect the performative work? Are we setting forth on a hypnotic task? Or do we distance ourselves by formulating difference? Formulating difference is a classic, proven procedure in performance. The art system regulates itself through selection and other forms of cybernetics. Who is allowed in the space? Duration of the performance? Territorial claims? How are the production and performance different in their form and content from other productions? Which role do the recipients play in these constellations? Read Laws of Form by George Spencer Brown for more.

The investigative readiness to be open to the border zones of spatial perception or the psychotectonic field harbours the danger of expanding a subjective artistic intention to the point of dissolution, the loss of control over oneself, the performance, subjective and collective fields and situations. An uncertainty principle can come into play, with regard to the self-estimation and stability of one’s own artistic disposition. I use the term “self-organising performance” for this practice, which, like action research, suspends the distance to the object of research and puts difference in question. The dangers and risks (Pierre Janet asks: “Where are you?” Answer: “I know where I am, but I do not feel as though I’m at the spot where I find myself.”) open a new realm of experience with unimagined answers. The self-organizing performance is a performance of the performance, which manifests in a state space where no one has an absolute overview, and simultaneously everyone loses it in order to find themselves. The dramaturgy of the performance of existence find its space, and like the trouser material in Rustenschacherʼs store (Thomas Bernhard, Walking, 1971) it seems to reveal the thin spots in the fabric. In practice, a state space for performance can emerge, which is influenced by different factors otherwise excluded. The discovery of psychotectonic layers can change the performance just like the hidden measures of undercover investigations. “I introduce my own residual stress into the psychotectonic field of the city of Norwich as a performative means.” Forget the line or remain part of the state space.

Georg Winter


Happy Turner, Hannah Mevis