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 The Pow(d)er Of I Am Klick, Klick, Klick Klick, and a very very bad bad musical, solo exhibition at HMKV–Hartware MedienKunstVerein, Dortmund, 2021;


DEFENDER, 2021, Stefan Panhans and Andrea Winkler, 4K video, colour/sound, 30:00 mins., single-channel projection gaming chairs, crashpads, variable sizes

DEFENDER is a post-industrial (anti-)musical. Three women make up a working party sent into an underground car park on a mission that is unknown (to them).
All they findis an SUV, clad in a form of “Erlkönig10” camouflage. Not knowing exactly what they are supposed to do, a breathless three-way conversation ensues,
complete with snatches of song, containing modified internalized self-coaching advice, familiar tropes from SUV ads, sermons by preachers at American
megachurches and brief symptoms of burnout. In a state of constant movement that includes elements from workouts, dance and aerobic exercises, the three women
circle the mysterious object inconclusively until finally they sing, slowly liberated from all else, abandoning language and degenerating into animalistic noises.
In this short film musical, moments when energy and resources are wasted and their consequences are linked to our contemporary world of life and work. These permeate
our individual fears, wishes and desires like a form of feedback loop and are almost perfectly expressed by the advertising image and world view associated with the still
booming phenomenon of the SUV, which functions here like a kind of 'MacGuffin' for the social unconscious.


Border Control, 2021, Stefan Panhans and Andrea Winkler, two-channel video, 4K, colour/sound, 24:00 mins

The protection of the European external border comes across as theatrical performance and display of defence force, as training session and workout: the inspiration behind Border Control was a high-profile exercise that the Austrian government held at the Slovenian border in the summer of 2018. Surrounded by numerous journalists and television cameras, hundreds of highly equipped officers and soldiers of the new police border patrol unit “Puma” rehearsed measures to combat mass border crossings.
In this structurally condensed, dream-like video, a group of female dancers appropriates scenes, clothing, gestures, movements, and glances from a sphere that is still largely dominated by men, as well as models and spectres associated with (partly toxic) masculinity: the border control. Panhans and Winkler have assembled an archive of these and other media references concerning the so-called ‘refugee crisis’.It comprises training videos for private and state security forces and mercenaries, computer games,
documentaries on boot camps for soldiers, fitness videos, as well as excerpts from action films. The artists and dancers have used this archive as a resource for Border Control.
The ‘stage’ for this multidisciplinary, alienating appropriation is a hybrid compound of office space, cheap airport back of house, training room for the police, private security
forces, or self-appointed vigilantes, abandoned (media) warehouse, and reception centre for asylum seekers.


Written, Produced and Directed by Stefan Panhans and Andrea Winkler; Director of Photography: Lilli Thalgott; Second Camera: Florian Winkler; Set Design, Costume and Props: Stefan Panhans and Andrea Winkler; Choreography, Performing: Ursina Tossi EXCESSIVE SHOWING Ensemble, Camilla Brogaard, Rachel Bo Clark, Julia Laperrière, Leah Marojevi?, Amanda Romero, Ursina Tossi; Editing: Lilli Thalgott; Original Score, Sounddesign: Thies Mynther »Border Control«,  »Da ist ein Boot«, Music and Lyrics: Thies Mynther; Set Assistance: Anna Ruthenberg; Postproduction, Colorgrading: Wolfgang Oelze

Funded by Filmförderung Hamburg Schleswig-Holstein,

Kindly supported by HMKV – Hartware MedienKunstVerein, Dortmund

Written. Produced and Directed by: Stefan Panhans and Andrea Winkler; Starring: Lisa Marie Janke, Olivia Hyunsin Kim, Anne Ratte Polle;
Director of Photography: Lilli Thalgott; Second Camera Operator: Florian Winkler;  Set Design, Costume and Props:Stefan Panhans and Andrea Winkler;
On Set Sound Operator: Michel Kloefkorn; On Set Assistance: Viviane Lennert; Editing: Lilli Thalgott; Original Score: Thies Mynther; Colorgrading: Adriel Pfister;
Postproduction: Wolfgang Oelze; Subtitles: Andrea Winkler; Translation for Subtitles: Andrea Winkler, Jaqueline Todd (quotes from Georg Bu?chners
„Lenz“, translated by DeepL) Funded by VISIT Artist in Residence Programm #VISIT2019, E.ON Foundation; Kindly Suported by Poolhaus-Blankenese Foundation





Erlkönig, 2020, Andrea Winkler, Erlkönig camouflage for an SUV, down jacket fabric, volume fleece, viscose, fly gauze, substructure metal, 5 m x 2,14 m x 1,74 m

“Who rides so late through the windy night?” is how Goethe’s most famous ballad begins. When his anxious son asks; “Father, can’t you see the Erlking? The Erlking
withhis crown and followers?” the speaker replies: “My son, ‘tis but a line of mist.” An “Erlkönig” is a form of camouflage: it is packaging, cladding, disguise. The term
“Erlkönig” has been used since the 1950s to describe masked prototypes of new car models. The automobile industry uses them in an attempt to keep the exact
appearance of these vehicles a secret and to be able to road test new prototypes without giving away all the details of their design. This piece of Erlkönig camouflage,
sewn together from down jacket fabric, volume fleece and viscose, was used to film the video Defender. In the exhibition it has been stretched over the model of an SUV
standing in an absurdly small side room, next to where the video is projected.




If You Tell Me When Your Birthday Is (Machinima Version), 2020, Stefan Panhans and Andrea Winkler, CGI video, 4K, colour/sound, 12:18 min., 4K screen, turnstile, size variable


If You Tell Me When Your Birthday Is (Machinima Version) unfolds against the background of ever-expanding so-called “linguistic capitalism” (Frédéric Kaplan) and
its current trends in digital, AI- and robot-controlled language production in cultural industries. The film’s script focuses on communication through text and speech with
artificial intelligences such as chatbots, virtual assistants and other AI-based tools that increasingly pervade and govern our everyday lives. What can be heard is a
dialogue that is based on the artists’ communication with (and short-circuited by) artificial intelligences such as algorithm-controlled chatbots from a variety of fields
within current user culture. This dialogue uses and reflects in a poetic manner the peculiarities of and differences between this kind of communication and that from
person to person as well as the features that they both share.
If You Tell Me When Your Birthday Is (Machinima Version) combines 3D scans of real objects, CGI world-building, avataring and motion capture elements. As with all
'Machinima' productions, computers generate 3D environmental graphics in real time to create a film project that is “filmed” entirely in the so-called virtual world. The
absurd and confusing aesthetic qualities of its specific fusion of analogue and digital elements facilitate the appearance of a particular form of contemporary reality and
highlight its problems – the conflict between the analogue physical and virtual digital worlds is written into the “rips” in the interface that pop up in between these two
worlds. Here the absurd, comic and even uncanny short-comings of these techniques remain deliberately transparent, rather than striving for absolute seamlessness and
perfect consumability.

Written and directed by: Stefan Panhans and Andrea WinklerVoices: Lisa Marie Janke, Uwe SchmiederAvatar Heads: Lisa Marie Janke, Uwe Schmieder,
3D-Scan Operator: Andrea Winkler, Friederike Wörner, Programming / Avataring: Nils CorteUnity Operator - World Building, Visual Design,
Animation: Max Schweder,
Sounddesign: Nils Corte, Stefan Panhans, Andrea WInkler, Kindly supported by the Academy for Theatre & Digitality, Dortmund




Freeroam À Rebours, Mod#I.1 – Installation Version, 2017/2021, Stefan Panhans und Andrea Winkler, 4K video, colour/sound, 16:13 mins.,
single-channel projection, stage elements, queue management systems, chains, handbags, motorcycle helmets, carbon, silicone, pizza
delivery bag, mannequin leg, leggings, functional shirts, novel, etc., size variable

The starting point for Freeroam À Rebours Mod#I.1 lies in deficiencies in the behaviour of human-controlled avatars in computer games. These “error scenarios” are then
translated back into the real bodies of performers and restaged using film techniques. Displacement activities, idling modes, failing to repeat attempted actions, the
imperfect imitation of human movements and gestures and other “behavioural flaws” by avatars in the game are usually regarded as inefficiency and incompetence in a
society whose characteristic aims are functionalisation, economy and (self-)optimisation. However, the film works with just such “flaws”, operating where
experimental film, videoclips, performance and forms of contemporary dance overlap. It shows dancers and actors who have analysed and learned precisely these
flaws that appear in the algorithmic behavioural patterns of computer game avatars and go on to arouse occasional uncertainty and lack of concentration in real persons
who are sitting in front of computer screens guiding the avatars. The performers “reenact” these movements at performance sites and within scenographies that are
derived from computer games and integrate sequences from these games. Installation: a stage, half set up, the space in semi-darkness, the objects, some of
which are used as props in the film, are sculptures in their own right here. Here the restaging of an abstractly transformed showroom from the computer game overlaps
with the sculptural installation that has been placed in the exhibition space: an “hermaphrodite space” is created in which the filmic and the real, physical exhibition
space merge to form an expanded narrative.




Untitled (Vests), Andrea Winkler,  2021, nylon taffeta, viscose, volume fleece, aluminium rods, fittings, tape, size variable



“Also in her new work, Untitled (Vests), one can connect the vest-like material collages with fighting outfits in video games.
Body shape is simultaneously fluffed up with down fabric and fleece and sewn up in distorting fashion. Visually these hunched
volumes draw on protective clothing. Their simulated armour makes them appear more precarious. The soft, material nature,
the loss of any hardness, opens a space for reflection on the overloaded subject, or better: on the present form of subjectivisation
through overload. A hold merely provides the framework. Its rods end in stump-like appendices, dysfunctional or precisely
because of this, as one might hope along with Haraway, “capable of connecting with others”(1) or open for entirely new structures
and forms of becoming.”(2)

1 Donna Haraway, “Situated knowledges: the science question in feminism as a site of discourse and the

privilege of a partial perspective”, in: dies.: Simians, Cyborgs and Women: The Reinvention of Nature, New

York, 1991.

2 Kathrin Busch, Radical Passivity – Politics of the Flesh, nGbK, Berlin, 2020.





HOSTEL – Installation Version, 2018, Stefan Panhans and Andrea Winkler, 4K video, mini-series 4 episodes, colour/sound, 79 min., Co-Regie and Production Design: Andrea Winkler

UHD video monitors, media player, amplifiers, loudspeaker, non-slip mats, beanbags, peanut ball, exercise ball, yoga mats, battle rope, folding camping stools,
resistance loop, camping lamp, body power exercise equipment, etc. approx. 5 m x 5m


Ein Hostelzimmer als Mikrokosmos und Sinnbild der globalisierten Welt des 21. Jahrhunderts ist der Schauplatz von HOSTEL. Als Serie konzipiert umfasst HOSTEL vier Episoden. Sie spielen in einem vollständig besetzten Hostelzimmer, das mit Metallstockbetten und Schlafsäcken, aber auch Sportutensilien wie Yogamatten, Gymnastikbällen, einem Stepper und Kletterseilen ausgestattet ist. Die vier Protagonist*innen sind Kulturschaffende unterschiedlicher Herkunft, die prekär und flexibilisiert leben. Im Dialog oder in direkter Ansprache an die Kamera liefern sie sich ein ruheloses „spoken word battle“. An diesem ist auch die Stimme von Apples Personal Assistant Siri und mehrere Avatare aus Computerspielen beteiligt, deren animierte Räume immer wieder eingeblendet werden. Die Darsteller*innen inszenieren sich, verschaffen sich Gehör und Aufmerksamkeit, trainieren nervös an einem der Sportgeräte oder interagieren mit einem Smartphone oder Tablet.
Das Skript ist eine Collage aus Versatzstu?cken, die zu großen Teilen auf aktuellen Erfahrungen und Träumen der Performer*innen beruhen. Schilderungen u?ber die zunehmend beschleunigte kulturelle Arbeitswelt, prekäre Lebensbedingungen und Erlebnisse von Rassismus in Beruf und Alltag werden verwoben mit Floskeln aus E-Mails und Passagen unter anderem aus der Serie Heroes, aus Songs von Kate Tempest und Kendrick Lamar, aus einem Interview mit Renée Alway, der Finalistin von America’s Next Topmodel 2007, und einem Zitat von Frantz Fanon, einem Vordenker der Entkolonialisierung. Zugleich zirkulieren die Texte zwischen den Performern, die damit Teile der Identität der anderen annehmen. Nationale Zuschreibungen zirkulieren in Form von klischeehaften Kleidungsstu?cken wie einem Pakistanischen Anarkali, einer Trachtenweste, einer blonden Peru?cke und einem asiatischen Kegelhut. Dieses Prinzip ähnelt der Auswahl von Figuren in Computerspielen und ihrer Ausstattung mit Frisuren, Kleidungsstu?cken und Accessoires. Diese Typen sind nicht selten von rassistischen Klischees geprägt wie etwa jener des dunkelhäutigen Gangsters. Die Figuren in HOSTEL hingegen formen
die Stimme einer multiplen Identität, die Klischees dekonstruiert.
Als Setting fu?r dieses Kammerstu?ck u?ber eine globalisierte und zunehmend ausgebrannte Gesellschaft fungiert ein Hostel, ein exemplarischer Nicht-Ort im Sinne Marc Augés als Transitraum fu?r verschiedene Kulturen und Nationen. Die Anzahl solcher Räume hat in den vergangen Jahren durch ein stärker gewordenes globales Netzwerk und eine erschwinglich gewordene Mobilität zugenommen. Ryanair, Flixbus und eben Hostels sind die Nicht-Orte jener geworden, die im schnellen Schritt der Globalisierung mithalten möchten. Hatte Michel Houellebecq die von Ökonomie durchdrungene Welt Ende der 1990er Jahre noch als Supermarkt bezeichnet, so ist sie heute zum Discounter geworden.









exhibition views: Jannis Wiebusch, HMKV - Hartware MedienKunstVerein