"skyhooks would be wonderful things to have, great for lifting unwieldy objects out of difficult circumstances, and speeding up all sorts of construction projects. sad to say, they are impossible." (daniel c. dennett)  

skyhook, virtually an imaginary means for suspension to the sky, metaphorically stands for the supranatural, in contrast to the crane which stresses the natural process of evolution. these two contrasting evolutionary concepts were especially juxtaposed by philospher daniel c. dennett. the main question is: can design be explained without skyhooks, say, as simple products of an algorithm... ?
or, to put it differently: can art be extrapolated blindly or does it need a divine spark?  

 

 

modular performance

skyhook is another module in the love turn cycle. the system of miniature performances (love turn, skyhook, dinner mit jérôme) is constructed like a serial novel written by different authors parting only from the last sentence of the previous chapter.

alex, the main male character in love turn has just experienced the end of his relationship and is now hallucinating possible ways of a future love. the audience arrives at an unknown place at a deserted and utopian urban site where visual, acoustic and performative elements join to create a complete artistic piece that can be experienced on various perceptive levels and from various perspectives. film and reality become blurred within a realistic setting of futuristic architecture.

skyhook is a superimposition of vertical dance, acoustic experience, video screening and performance taking place at an urban site unknown to the audience.

at this site, the last ride of the love turn car ends and skyhook begins. the passengers are watching the piece from the backseat of the limousine. the rest of the audience, having arrived by shuttle bus or walking, is watching the piece from another perspective: from the inside of a building or a bus.

skyhook can be performed singularly or in connection with love turn and dinner mit jérôme.