It was in 2003 that I met Antonis and Berlin in an art project (a theater project). This project was for the year 2004. My task was a choreographer and a visual artist, and to create the 2-ch video as an installation for a theater piece. I choreographed with actors a 2-ch video installation piece for this theater piece specially. Antonis was a pianist and a performer with a opera singer and actors on the stage.
In 2005, I collaborated together with Antonis a project "deflection" - Rasenjo no JIkan. It was an improvisation (dance/performace and music) 2-ch audiovisual installation at Kyoto Art Center in Japan. It was Antonis's early phase of his improvisation in his life. He was a pianist, like a prima donna in ballet, he was still young.
During this residency in Kyoto, we had first rehearsal, due to improvisation, artists never do "Übung" together. In 10 days, we constructed a piece (the duration of 60-70 minutes) together with others (includes workshop) in Kyoto. We produced the audiovisual installation in Berlin allready.
During the rehearsal, I undestood Antonis's play "How it is" lika a prima donna in ballet, such as his interval, pitch, right and life constructions and its timing, timbre, modulation, and so on. He played with his maximal. Just, I had to play with my maximal, but my task was a "performer". It was an interesting reconciliation in this piece between audiovisual work, music and dance-performace. (time, space and body) I performed (danced) a body of paradox in time and space.
This project was successful in a similar context of "Ryoanji" by Cage , in Kyoto, Japan.
After this project in Kyoto, Japan, I had problems rather in Berlin (Germany, in the EU) with the European Avant-Garde, beccause they had no reconciliation, rather with their "Konsequenz" (consistency).
I would like to publish a catalogue with this project.