Kafka’s Metamorphosis at the (Brooklyn Academy of Music) BAM Harvey

December 2, 2010

A young man falls ill with a debilitating illness. Unaware of the gravity of his situation he struggles to, but can no longer work. He loses his job and soon loses the respect of the family with whom he shares a home. This is Kafka’s Metamorphosis, a chilling piece of theatre, which speaks to us from the onset of a chilling time, published in 1915, and as witnessed by the text, written before the onset of the first World War.

Metamorphosis, performed December 1 – 5th at the (Brooklyn Academy of Music) BAM Harvey is an ingenious adaptation of the work by David Farr and Gisli Orn Gardarsson for the Vesturport Theatre of Iceland. In this production Mr. Gardarsson’s role as Gregor Samsa, the unfortunate soul who’s fate it is to transform overnight into a large insect, is riveting. Mr. Gardarsson a trained Olympic gymnast hangs from the fixtures of a distorted room, one turned on its side, climbing the walls, or hiding under the bed. Gregor the elder son of this Czec household, is attended to in his affliction for a time, by his sister Greta, who’s violin playing he often requests, but no longer receives. At one point Greta makes clear that because Gregor role as bread winner for the family is no longer tenable, he can not expect his privileges as a family member to continue. Soon even the scraps of food she once offered him are denied, his room is stripped bare of the fixtures of a normal life by his mother, and he is brutally attacked by his father. Soon he is left to die in the darkness of his ravaged room. Kafka’s play is a world stripped of human caring, a time when love no longer plays a role. The grave outline of this distorted world is characterized in Gregor’s own distorted reality, and in the foreshadowing statements that arise in the text. For example a statement by a visitor to the household, Herr Fischer that soon “the vermin of society will be removed” harkens the rise of Totalitarian terror. Kafka draws the thin line that separates us from total isolation, and those we love. It is also the line that defines the limits of sanity and reason. In a time when many are in fear of losing their jobs and with that their roles in a society, this production is a chilling check on reality.

The brilliant performances by Mr. Gardarsson, Nina Dogg Filippusdottir who plays Greta, Ingvar E. Sigurdsson who plays the father Hermann Samsa, Kelly Hunter playing his mother Lucy, and Jonathan McGuinness who stars in two visiting roles, are accompanied by the haunting music of Nick Cave and Warren Ellis both veterans of the band the Bad Seeds.


Dor Guez at KW Berlin

October 24, 2010

Berlin, October 24, 2010

Dor Guez’s Al-Lydd is a series of video interviews presented at KW Berlin and curated by Susanne Pfeffer. In this work the artist interviews several residents of Lod, formerly known by its Arab name Al-Lydd, a small town in Israel. These are Christian Arabs, who identify themselves as “a minority in a minority”. They are citizens of Israel, who despite their upbringing in Jewish schools and surrounded by Israel culture suffer the burden of anti-Arab racism. This comes to light in the artist’s interview of a young woman, Samira who is employed as a waitress, in one of Lod’s restaurants. She communicates the story of having been called into her boss’s office because of clients who complained at having an Arab woman serve their table. The boss asks her if she can please change her name, written on the client’s check. After her refusal the boss makes it clear that the refusal will result in her losing her job, so a compromise is reached where she will employ the name Mira on the check, a name which aids in concealing her Arab identity. Another work July 13, 2009 is an elder resident’s recollections on the occupation of Lod by Israeli para-militants on 13 July, 1948. At this time, the remaining Palestinian residents, a thousand in number, take refuge in the local church. This building, which is later surrounded by barbed wire and patrolled by the Israeli military becomes the center of Lod’s Palestinian ghetto. The stories are simple, but very clearly outline the conflicted identity of these individuals, Christian-Arab-Israeli-Palestinian they belong to all, and yet also to no one’s camp. For the Palestinians they are not Muslin, and in that lesser Arabs. For the Israeli’s they are Palestinian, and therefore suspect. This work is a chilling view of the mechanics of racism in what is called the Middle East’s only Democracy.

Exhibitions: Helsinki, Finland

October 16, 2010

Helsinki, October 16, 2010

Nice time for Finland. The exhibitions here in Helsinki have been remarkable. At Kiasma two really powerful works from 2 female artists one from Estonia, Kristina Norman the other Swiss, Sasha Huber. Both works address ethnic and racial issues in conflict with accepted social “norms”. A timely subject indeed. After War by Kristina Norman recreates a Soviet War memorial removed from Tallinn by the majority Estonian government resulting in outrage and days of rioting among the Russian minority. The act is a call for tolerance and peaceful co-existence. Sasha Huber’s work Rentyhorn makes a symbolic trek (via helicopter) to the summit of Agassi Horn in Switzerland to rename the mountain Renty Horn, named after the African woman photographed by Agassiz to propagate his racist agenda.

One can top this visit off with the South African exhibition at the City Museum of Helsinki that goes far beyond William Kentridge, who is included. There is an amazing installation by Jane Alexander who’s work The Promised Land of Security Services, portrays Egyptian-like anthropomorphic figures in shamanic attire walking inside a barbed wire enclosure filled with discarded red rubber gloves, and confiscated scythes, machetes. Then works in photography by Pieter Hugo documenting a wandering band of animal trainers, with Hyennas and baboons in tow from Nigeria. Sculptures and photos from Nandipha Mntambo provoking reflections on European mythology with African shamanic gestures. Mikhael Subotzky’s photo documentation of a High Security prison in Cape Town, and Zanele Muholi’s photo self-portraiture in Massa ja Minah in the servant roles she takes from her mother’s experience.

Clearly, good things are happening here.

Pamela Z: Baggage Allowance By Ron Rocco

October 5, 2010

Sept. 16 – Sept. 18, 2010 at The Kitchen
512 West 19th Street, New York, NY

composer, performer, concepts, video & sound design:
Pamela Z

produced in collaboration with:
Bay Area Video Coalition (BAVC)

lighting designer / visual director:
Elaine Buckholtz

fabrication & technical design:
Bill Ballou

interactive video programming:
Pamela Z, Ian Winters, Carole Kim

Sade Huron

Pamela Z, a San Francisco-based performance artist, is an adventurer. As an artist on the move she has spent a significant amount of time traveling the world. A by-product of those comings and goings are long waits in the traveler’s lounge, and near baggage carousel’s. Clearly for Pamela this time was well spent. This is a masterful presentation in which she ruminates on the things we all carry with us. Her initial entry on stage, in a costume which brings to mind words like travel worn, belies the brilliance of her solo performance. This is a weaving of voice, interactive electronics, a train of hand baggage and video, which navigates the viewer through a journey of reflection, questioning what we choose to bring with us as we subject ourselves to the many ordeals of modern-day travel.

Throughout this work Pamela Z skillfully orchestrates midi sampling devices with simple hand gestures, producing an electronic score, processed live, mixed with operatic flourishes, and vocals reminiscent of Merridth Monk. The theme of baggage becomes her lens through which issues of security both national and personal; memory, melancholy and homelessness are viewed. Pamela Z has the skill to balance these narratives with subtle application through the use of her technology, which fills the stage with a clean well designed look. She is clearly a visual artist, musician and show woman. This adventure is one that you may want to take, before packing your bags for the next screening by the TSA.

Noemie Lafrance and Sens Production MELT

October 2, 2010

New York, August /September, 2010

MELT under the Manhattan Bridge

Choreography Noémie Lafrance
Score Erin McGoningle
Dancers Elizabeth Wilkinson, Mare Hieronimus, Teresa Kochis, Celeste Hastings, Ori Lenkinski, Adi Kfir, Meghan Merril, Marcy Schlissel, Sarah Donnelly

Beeswax Costumes Noémie Lafrance
Technical Director Spencer Evans
Lighting Design Thomas Dunn
Producer Natalie Galazka

August 18-22 & 25-29, Sept 2-5 & 9-12, 2010
Under the Manhattan Bridge at the Salt Pile located at:
74 Pike Slip near South Street, NYC

I was there when Noemie Lafrance first presented the concepts for Melt as a work in progress at the Black and White Gallery in Brooklyn in 2003. The idea was compelling enough that I kept in touch with the choreographer, and stayed on the mailing list as her work progressed. This presentation presented August and Sept of 2010 is the completed version of that earlier work. Noemie, as a choreographer has a keen sense, when it comes to finding a location for her work. The Salt Pit is an interesting enough site, with its other worldly appearance, but also staging the presentation under the structure of the Manhattan Bridge engages a whole different scope and scale of urban landscape. The roar of the bridge traffic is almost deafening. While waiting for the event, one wonders how a production can be staged in such cacophony?

What is remarkable is that not only does MELT survive this urban onslaught, but it weaves the tempest into the production with the genius of Erin McGoningle’s ambient sound track. To say the costume design and the staging of the work is remarkable is an understatement. Ms. Lafrance has a sculptor’s eye for the spectacle. The work is thus compelling. The dancers strapped in their perch fixed to a 15 foot wall, work within a limited palate of movement to leave a signature of their activity upon the stone surface, this imprint the result of their ever melting bee’s wax and lanolin costumes. The scene is straight out of Dante at times, with the dancers wreathing movements and gestures reminiscent of that author’s depictions of hell. What could be more hell like than to be strapped to a hot stone wall under the bowels of the Manhattan Bridge? Yet there is euphoria in this work. There is a liberation of spirit. As the program introduction states, “Eight dancers….melting until their souls escape their ephemeral bodies and disintegrate into light.”

Although some dance critics found it hard to sustain themselves on such a limited palate of movement, I believe Ms. Lafrance is a force to be reckoned with. She is a choreographer with the sensibility of a visual artist which makes her work captivating and imaginative. Her work is something to keep an eye on.

visit me at: www.ronrocco.com

February 15, 2010

Shake Up!
Solo Show featuring Ron Rocco curated by Lynn del Sol

Shake Up! installation

Exhibition: Thursday, February 18 through Friday, March 19th 2010
Open hours: Thursday, Friday, noon-6pm
{CTS} creative thriftshop @ Dam Stuhltrager Gallery
Directions: 38 Marcy Ave. Brooklyn, NY. 11211

With the support of CTS a full color, 38 page catalogue has been produced for this exhibition.

artist interview of Ron Rocco Shake Up! 2010 a video courtesy of {CTS} creative thriftshop, New York appears at the end of this article.


{CTS} creative thriftshop in conjunction with Dam Stuhltrager Gallery is proud to present Ron Rocco’s solo exhibition Shake Up! curated by Lynn del Sol as the fourth exhibition in it’s series of the gallery’s sponsorship program East/West Project (Opens Feb. 19th 6-10pm). Former expat Ron Rocco, a multi media artist that is well known for installations that border on the margins of disaster and conflict, presents a single installation that reflects the dissolving sense of social order on a global scale.

Working from Berlin and New York, artist Ron Rocco sculpts material assemblages and deeply referential interventions of signs and space. Tracing back to the scrap metal yards that colored the landscape of his Bronx youth, Rocco’s practice reveals a clear fascination with material structures and their mutable functions. Occupying a place between sculpture, installation, painting and performance, Rocco’s raw aesthetic exposes a potential within inert materials. His objects and assemblages relate nostalgic associations and critically examine signs in and out of context. His sculptures exist as symbols, with layered references to a conflicted identity, personal pathos and a sharp political consciousness.

Shake Up! Is the moment of Shock. The rude awakening after a Turning Point. The moment when the earth moves, and we find ourselves in a hostile new environment. It is also the hope for a ‘wake up call’ to humanity to get with the program of saving our world.

At the center of the gallery sits a 400 pound house composed entirely of enshrined waste materials. The waste material was collected from the streets of Brooklyn and is a material often found in bundled form awaiting recycling. The sheer mass of the object is an attempt to bring to mind the massive mountains of refuse we generate daily. Here it has been compressed and encased in a cast wax form resembling a house. As the artist has done in other artworks such as The Horizon is Nothing (1990) and More than the Limit of Our Sight (1997), the house represents the aggregate of concepts we each possess germane to home, community, and civilization.

This sentiment is intensified for the viewer with the projection and sound-scape of an impending violent storm the artist recorded in Owego, New York on the banks of the Susquehanna River, where he was a resident artist for the Experimental TV Center. The image was processed with the use of a waveform which cycles through the image creating a juxtaposition of positive and negative effects in the image. One might say that this shifting between positive and negative reflects the Tipping Point at which, what under normal circumstances may be seen as a normal storm, shifts into an ecological disaster.

Encircling the entire installation is a 30 yard river of ink covered latex-like fabric which falls from a 7 foot long photo etched aluminum panel in which ghost images of a caribou herd are seen stampeding towards the viewer. The fabric is printed in a wood block style that has been stained with the tire tracks of a fleet of vehicles. The fabric is meant to give the illusion of an animal hide and the tracks speaks to how ecosystems have been bisected by the construction of roadways in the more “wild” areas of our lands.

As a whole, Rocco’s highly charged works hint at the collapse of form and function amidst a dissolving sense of social order. His raw and refined aesthetic, expose a highly acute and critical interaction, with intersecting ideologies and histories.He is able to create a space where time is both paused and running short.

View the video interview with Ron Rocco presenting Shake Up!

Berlin, Reflections on the presentation of Boris Groys: After the Red Square.

April 17, 2009

Boris Groys: After the Red Square @unitednationsplaza* Berlin, October 30 through November 10, 2006

[The contemporary, post-communist situation is mostly understood as a time after the full and final victory of the market over all the attempts to put this rule into question. Accordingly, art is equated to the art market and an individual artwork is seen primarily as a commodity. Under this regime the only way for art to become “serious” is to become “critical”, which means that it tries to reflect explicitly on its own character – as – commodity. It is telling that the art of the former Communist or Socialist countries is regarded from this perspective as non-serious because it is non-critical by definition;  this art could not reflect on itself as a commodity because it was not a commodity. (It was not a commodity because there was no market, and certainly no art market under Socialism.)

But the equation between art and art market, be it critical or not, not only brings about the erasure of a substantial part of the art heritage of the 20th Century; it also – and this is the more important point – ignores the non – market dimensions of contemporary art that functions not only as commodity but also as propaganda (for example: Islamist videos), as a means to organize a new type of communal space and a new type of community itself.

The goal of the seminar is to investigate precisely these non-market aspects of contemporary art in its relationship to the long tradition of non-market uses of art, related initially to the Socialist-Communist tradition.]

Quoted from http://neme.org/main/512/unitednationsplaza

The intellectual life here in Berlin has been invigorated by a few artist lectures. Frustrating though has been the aimless, verbal wandering, some of these talks have taken, across themes that sometimes led no where, but I did enjoy the ride as it passed though some interesting concepts, shared below.

The speaker was Russian artist, Boris Groys who addresses the role of religion since the enlightenment,through Communism and now once again transformed in the post Cold War era.  He pointed to the fact that religion had been relieved of its duty to organize societies, a role it played in medieval Europe, by the advent of the French revolution, the model of Napoleon’s strong central governmental framework, and the decline of the nobility.  It then found its mandate in bringing value to the personal life, in attending to the questions regarding meaning in life and death.

Socialist society staked a claim to the interests of the individual, as a member of the group or community and because of that saw no other purpose in death other than as a sort of sacrifice toward the goal of making way for the future generations or as a contribution to the communal common cause.

Capitalism, Groys pointed out, ignores death entirely, choosing to avoid the topic, as it is only the pleasures, and consumption of the individual, which give meaning or profit.  Death in a capitalist context is totally cast off to the church. This I found, although really nothing new, interesting to reflect upon. The thread was lost a bit, but then found its way into the idea that a common currency of the contemporary world is the erosion of the concept of truth.

This also was not new to me, in that I had recently read several commentaries from the realm of particle physics and more general science, that bemoaned the damage caused by the erosion of  the concept of empirical truth.   This due to the contested study of complex systems, most visibly in the environmental sciences and the advent of string theory, where the simple fact that the science conceptualized phenomenon residing in dimensions and scales beyond the reach of empirical analysis, found itself immune from forces, which would require it to have to submit to hypothetical proof.

These realities combined with a political landscape, where the world’s most important leaders and their governments can, and do openly lie as part of domestic and foreign policy have created a world where there exists an idea that there is no truth. The beliefs of the Left, when politically advantageous, become the beliefs of the Right, and visa versa. Truth is then only a crutch, like the church, which has be deemed in itself counterfeit and open to attack.  The ultimate result is a zero sum of belief in truth; one man’s truth is another man’s lies.  After all history itself, which is suppose to document ‘how things really were’ has been shown to be only the ‘truth’ of the victor, or the oppressor or the majority.

The question then becomes:  What role does art then play?   What role does religion then play? A comment was made that most contemporary art in the realm of the marketplace becomes opinion less.  A statement which I think is to a large part true, but there are certainly strong examples to the contrary, the work of William Kentridge accounting for one, or that of Hans Haacke as another.

Western Religion, according to the stream of thought presented, moves itself into being capable of subsuming all opinions, accommodating all as equal and therefore equally negating all.  The believer then looses his or her own ability to formulate an opinion, as ‘true faith’ must stand above opinion and it is then only the opinion of the church itself, or its pastor which is allowed currency.  (This I do find to be relevant, when reflecting upon that part of my family who are ‘born again’).   I ask anyway, where did all this good thought go? I am not certain. It seemed to peter out somewhere.

Good questions were asked though, as someone pointed out that the acts of 911 seemed to point to a very strong, and deadly counter current in the opposite directions of these trends, a counter current which insists on a specific truth and an insistent reproduction of a past anti-technological golden age, which breaks with the current.   The clash of the 21st century then being the result of the currents of these two diametrically opposed forces.  What about art?  Where does it stand, what does it say?  To be honest those questions were dropped or lost in the conversation.  It was suggested that art could be contradictory, and that this was not a bad thing, but then again how does it manage not falling into the same troubles as with contradictory science?

I contend that art in itself, regardless of its message or stand, has unfortunately been used by outside forces in ways which undermine the cohesion of society, and in fact the well being of the artist themselves;  one example, the role of the arts in driving the forces of gentrification,  playing as its spear point. Therefore even the identity of one as an artist has a corrosive impact.  Better off the pre-historic model, the role of the artist in the ‘primitive’ societies where ‘art’ was undertaken by all and the art existed as part of the communal environment, sort of like the background noise.

I could go on, but will leave the thought there. Anyway it has been good to be in an environment here where these ideas are discussed as opposed to strategies for gaining a market foothold or just staying alive as an artist which unfortunately is the premise of most dialogue in NYC.

*unitednationsplaza is a project started by Anton Vidokle following the cancellation of Manifesta 6. Unitednationsplaza is exhibition as school.

Structured as a seminar/residency program in the city of Berlin (2006–2007), it involved collaboration with more then 100 artists, writers, theorists and a wide range of audiences for a period of one year. In the tradition of Free Universities, all of its events were free and open to all those interested to take part. Unitednationsplaza was organized in collaboration with Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch, Natascha Sadr Haghighian and Tirdad Zolghadr.

While its program in Berlin is now finished, the project is traveling to venues in other cities around the world. (Text taken from their web site: http://www.unitednationsplaza.org)

House of Imagination at Torstrasse 166, Berlin

October 26, 2008

Berlin, September /October, 2008

House of Imagination at Torstrasse 166, a review by Ron Rocco

Photos by © Max Merz unless otherwise noted.



September 27 through October, 12, 2008


One of Berlin’s truly exceptional assets is the availability of unutilized architecture. Empty buildings, some which contain extraordinary industrial spaces, can be found all over the city. It is this fact that plays a large role in the scope and scale of the exhibitions which can be realized here. One such building is Torstrasse 166 a site which presently accommodates an exhibition which reflect, on the subject of architecture and the meaning of personal spaces.

Das Haus der Vorstellung /House of Imagination-Concepts at Torstrasse 166 on exhibit from Sept. 27 through October 12, is a grass roots presentation staged by curators Ralf Schmerberg, Jaana Prüss and Peter Weber under the name of .triggerhappyproductions, http://www.triggerhappyproductions.com, and funded by the building materials supplier Hornbach. It showcases a collection of artists working in Berlin whose work re-defines or re-conceptualizes interior and exterior spaces.  The exhibition opens to the street, with a cascade of shoes, which spring from the top of the building from red threads to be fixed to the exterior wall at some point below, the work of Chiharu Shiota. 


Chiharu Shiota

Chiharu Shiota

Chiharu Shiota

The overall effect is a waterfall of color, which distorts the cityscape, presenting a vertical walking surface high above the viewer.

The transformations do not stop with Shiota’s exterior. Inside the building Shiota weaves a dense web of black yarn into one of the apartments.  The viewer has access to this space through ‘tunnels’ which penetrate the all encompassing web.  Inside the rooms assorted furnishing, a desk with scattered papers and books, table and chairs, are seen enmeshed within the artists weaving. In one room a white silken wedding gown stands suspended in the black strands. Is this a reflection on the ‘golden moments’ once shared by this apartments inhabitants? Is it a commentary on purity, or the fleeting nature of memory? The artist leaves us to reflect on these possibilities.

Another re-conceptualized interior, an installation by Raumlaborberlin an artist group with core members Markus Bader, Benjamin Foerster-Baldenius, Andrea Hofmann, Jan Liesegang, and Matthias Rick, entitled Im Labyrinth der Musterwohnungen, /The labyrinth of the archetypical apartment, is composed


Chiharu Shiota

Chiharu Shiota



Chiharu Shiota Unter die Haut und nicht mehr aus dem Kopf /Under the skin and not any more from the head

 of passageways that  are narrowed, with doors and walls that are projected from familiar configurations to re-define a space like an obstacle course. Walls must be climbed over and passageways shimmied through.  Although architectural drawings adorn some of the wall surfaces, the significance of this work is the redefinition of room function, is a doorway meant as a passageway or simply a visual portal or aperture? Can a wall be climbed over, as opposed to walked around?





At another apartment, the artist Mosermeyer presents, Relaxen mit Ruhestorung /Relax in disturbance.  This is a totally darkened space, which must be navigated by touch. The visitor moves along a black fabric wall, which guides one past hidden furnishings, a couch, an unseen cupboard to be eventually surrounded by darkness and sound.  The crescendo of noise which fills the room breaks only to leave one feeling helpless in the sudden emptiness.  The artist thus underlines our dependence on sight and electricity, speaking to our inherent fears and the sometimes threatening world of the blind.

Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste

Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste




The transformation of physical space itself reaches a crescendo in the work of Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste.  An exterior courtyard between two wings of the building is filled with a huge pneumatic sculpture.  From its lowest surface one sees only a distorted image of the sky and the surrounding walls.  Every window of the building along the courtyard open onto the inflatable’s plastic surface, producing a feeling of suffocation.  The structure deadens all sound except that which the artists pump into the court yard below, increasing the sense of insulation. 



Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste

Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste




A second installation by this group fills an adjacent room inside the building.  This white opaque inflatable protrudes from floor and ceiling creating a womb-like surface into which the visitor can crawl, conscious that if one were to slide down to the side walls it might be hard to extricate oneself.  The multi nuanced installation mimics organic forms, challenge the viewer with their scale and explore the place between fun and fear.


Other artists featured at at Torstrasse 166 include: Souzie Haas, Sissel Toolas, Manfred Reuter, Laura Kikauka, Franz Hoefner, Harry Sachs, Christine Rebet, Harald Smykla, and (e.) Twin Gabriel.


Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste

Künstlergruppe Plastique Fantastique, Marco Canevacci, Markus Wüste

Ron Rocco, views: Berlin /New York

October 5, 2008

Babel Embassy – Concerts / Berlin

May 17, 2008

Berlin, Samstag, Mai 17, 2008 

Babel Embassy – Concerts / Berlin, May 2008

 For those folks who have had the good fortune to be in town over the past few weeks there have been several occasions to experience something new and powerful from the Berlin music scene, Babel Embassy. This Berlin based band / dance theatre, has been busy on the stage at Werkstatt der Kulturen, MyFest and Karneval der Kulturen‘s – Baazar Oriental Bühne, closing a month of prolific activity with Friday evening’s performance at Arcanoa‘s here in Kreuzberg.

 If you were lucky enough to be there Friday night you were witness to Babel Embassy‘s raw, savage power. Lead singer and performance artist, Mathias Brozio (Broziom) captures his audience, employing a throbbing guitar rhythm provided by Marcin Dworski and an intense performance of anguish and redemption, often accompanied by Eva Blaschke‘s captivating choreography.

Friday night, at Arcanoa accompanied only by Dworski’s guitar and the carpet of sound that is Babel Embassy‘s hallmark, Broziom wove an intense drama with his droning vocals and gestations. The effect was to be transformed. Broziom as a performer takes his audience with him on excursions to foreign lands, where even those things one thought one knew seem strange and alien. It is an excursion that brings us to the realization of what it means to be foreign, to be an outsider. In a moment of raw genius, Broziom grabbed a chair from the audience and working it on stage transforms it’s ribbed back into a prison cell, the bars of which he peers through to his audience. Certainly a metaphor for the unfriendly welcome, all too often afforded foreign visitors in these xenophobic times. Babel Embassy‘s performance on stage is charged dynamite, packed with political and social content, in a discourse without words, with only babble.

Berlin based Broziom (vocals, saz, and dance) started his first band, Alice Brennen playing Saz – a Turkish string instrument – in 1988 with guitarist Douglas Henderson, and Bodhran Player Noël O’Callaghan from Cork, Ireland. With their Turkish-Irish-speedfolk this band was one of the first to explore the boundary between oriental and occidental cultures in terms of rock, punk and folk music. His next project with Douglas Henderson Jakata Omelette (1999), was an electronic duo, which put multimedia aspects to the intercultural discourse. In 2005 Broziom founded Babel Embassy with exceptional Polish guitarist Marcin Dworski, who played before in bands such as SEK, Antiprogress and Be Hungry. Babel Embassy with their – Ethnotronic Dadawave – performances provides an eruption of sound guaranteed to rock you speakers. Broziom sings in fantasy lyrics he describes as dada speak, although it sometimes sounds like segments of real languages. On stage he and dancer, Eva Blaschke present a performance influenced by Laban and Butho techniques, accompanied by guitarist Marcin Dworski’s electronic beat. In his own words, “Babel Embassy is the sound life: Absurd, funny, and sometimes dark, a danceable pageant!”

In these times of chauvinism and racial intolerance, Babel Embassy breaks through the culture barriers, with a power seldom seen on a Berlin stage. Just when you think you have heard it all Babel Embassy will give you something new to hear and to experience, like a trip to the steppes of Central Asia, say Kazakhstan, Babel Embassy is an experience to encounter, a trip never forgotten.

You can view Babel Embassy performance schedule at:


 Ron Rocco