Unveiling the Depths: “Splash” Performance in Winterthur

A unique performance, titled “splash” captivated audiences at the Altes Busdepot Halle F in Winterthur on August 14, 2022. This evocative piece explored profound themes through the raw interaction of water and the nude body. The performance, conceived and directed by Belinda, featured Marc Lüthi as a co-performer, with Philemon Mukarno capturing the ephemeral moments as the camera artist. It unfolded as a significant part of the “Dreamworld 360° – Artist in Residence Program,” curated by Elias Kirsche.

“splash” itself is inherently striking, immediately signaling a performance that moves beyond mere visual exposure. “Splash” suggests dynamic interaction and impact, while “naakt” conveys raw vulnerability and an unmediated state. This linguistic choice reflects a deliberate artistic decision to evoke a primal, sensory experience, setting a powerful tone for the entire piece. Furthermore, the selection of the Altes Busdepot Halle F as the venue, a repurposed industrial space, created a compelling tension. This juxtaposition of the organic, vulnerable human body and water against a stark, utilitarian backdrop suggests the artists aimed to amplify the performance’s impact, making the venue an active participant in the artistic narrative.

The Canvas of Winterthur: Altes Busdepot Halle F

The performance found its home within the Altes Busdepot Halle F, an industrial building located at Tösstalstrasse 86, 8400 Winterthur, Switzerland. This venue is widely recognized as “Kunst im Depot,” an institution dedicated to fostering artistic innovation. Kunst im Depot functions as a dynamic space for new creations, supporting large-format works, smaller pieces, performative rehearsals, and in-depth artistic research.  

The institution actively encourages experimentation and exchange among artists from various disciplines. Its mission centers on transdisciplinary collaboration, fostering mutual inspiration and the development of initial ideas. The consistent description of Kunst im Depot as a hub for “performative rehearsals and artistic research,” “experiments,” and “transdisciplinary collaboration” indicates it is far more than a simple exhibition space. It is a dedicated environment designed to cultivate and showcase boundary-pushing art. This suggests the “splash naakt” performance was not an isolated event but a direct embodiment of the venue’s core mission, reflecting a deliberate curatorial alignment between the artists’ vision and the space’s purpose. The name “Altes Busdepot Halle F” itself evokes an industrial, utilitarian, and unembellished setting. Placing a performance focused on the nude body, water, near-drowning, and rescue within such a raw environment created a powerful, intentional contrast. This juxtaposition heightened the themes of human vulnerability and fragility against an unadorned architectural backdrop, indicating a deliberate artistic choice to strip away conventional theatricality and ground the human experience in an authentic, raw space.  

Dreamworld 360°: A Residency’s Embrace

The “splash ” performance was presented within the framework of the “Dreamworld 360° – Artist in Residence Program,” a significant initiative conceptualized and directed by Elias Kirsche in 2022 [User Query]. Elias Kirsche is known for his curatorial interests, particularly in body and performance art that incorporates nudity. For instance, he served as the curator and artistic director for the “EROS 24/7” project in 2021, an endeavor that explicitly explored “the naked body and its relationship to public space”.  

Kirsche’s repeated association with projects like “EROS 24/7” and “Naked Slow Walk Zagreb” strongly indicates a consistent curatorial interest in themes of nudity, the body, and their interaction with public or performance spaces. This suggests that “Dreamworld 360°” was not a random residency, but a continuation of Kirsche’s established artistic direction. “splash” performance, with its explicit focus on the nude body and vulnerability, aligns perfectly with this consistent thematic framework, implying a deliberate selection of artists whose work resonates with Kirsche’s vision. Furthermore, the explicit mention of Philemon Mukarno and Marc Lüthi (referred to as “Mark Lüthi”) collaborating with Elias Kirsche on previous projects, specifically within “EROS 24/7” , reveals a pre-existing artistic network among the key individuals involved in the “splash naakt” performance and the program director. This suggests that “Dreamworld 360°” likely fostered a cohesive creative environment, building upon established working relationships rather than initiating entirely new ones.

Concept, Body, and Water

The driving force behind “splash” holding the roles of concept and direction [User Query]. The performance’s core narrative revolved around water interacting with the nude body, a moment of near-drowning, and a subsequent rescue by a man [User Query].Her work on manifesting “unconditioned truths in bodies towards collective healing and liberation”. Her research into “radical pleasure play practices” intersects performance arts with breathwork, storytelling, and tantric principles.  

She stated aim to “manifest the unconditioned truths in bodies towards collective healing and liberation” provides a profound interpretive lens for the “splash” performance. The act of near-drowning symbolizes an extreme state of vulnerability and existential crisis, while the rescue represents a return from the brink, a form of rebirth or collective intervention. This suggests the performance is not merely a dramatic spectacle but a deeply resonant, transformative experience. It invites the audience to confront raw human states and consider pathways to healing and liberation through shared vulnerability. The explicit use of water in the performance, with the body immersed and “almost drowned,” transcends its literal presence . Water is a universal symbol of life, death, cleansing, and renewal. In the context of near-drowning, it embodies peril and a loss of control. The subsequent rescue by a man introduces themes of intervention, interdependence, and a return to safety. This duality of water amplifies the emotional and symbolic depth of the performance, portraying a journey through crisis and towards renewal, making it an archetypal narrative of human struggle and salvation.

Nudity in Performance Art: A Historical Current

Nudity in live performance has a rich history, evolving significantly in Western cultures since the 20th century. Its use extends far beyond mere shock value, serving instead for symbolic meaning, enhancing freedom of movement, and accentuating the body’s characteristics. Performance artists often employ nudity as a powerful medium to explore identity, challenge societal norms, and delve into the physical body. This approach allows for a raw exploration of self by stripping away conventional expectations.

Historically, female nudity in art has often been linked to objectification and the male gaze. However, contemporary performance artists, particularly those influenced by feminist movements, have reappropriated nudity as a tool for agency and social commentary. Yoko Ono’s “Cut Piece” and Carolee Schneemann’s “Meat Joy” exemplify works exploring vulnerability, objectification, and liberation. Ana Mendieta, for instance, used her naked body to “explore and connect with the Earth” and to “emphasize societal conditions,” notably in her “Creek” piece where she merged with water. While nudity can be provocative, its consistent use in performance art demonstrates a deeper artistic intention. It serves to “strip away societal norms,” allowing for a “raw exploration of self and identity”. This implies that in the “splash” performance, nudity is not for sensationalism but to convey extreme vulnerability and the unmediated human condition. It compels the audience to confront discomfort and preconceived notions, fostering a deeper, more authentic engagement with the themes of survival and rescue. The performance, especially if viewed through the lens , which focuses on “unconditioned truths” and “liberation” , can be interpreted as a powerful act of self-determination. The narrative of being “saved by a man” could be a nuanced exploration of interdependence, challenging traditional power dynamics by portraying rescue as a mutual act of care rather than patriarchal dominance, or even a commentary on societal expectations of gender roles in moments of crisis.  

The “Splash” Performance: Vulnerability and Salvation

The central narrative of “splash naakt” depicts the nude body’s interaction with water, the harrowing moment of near-drowning, and the subsequent act of rescue. Each stage carries significant emotional and symbolic weight. The performance evokes empathy, prompting reflection on human fragility and resilience. It connects to broader concepts of rebirth, overcoming adversity, and the profound importance of human connection. Philemon Mukarno’s focus on “investigation of the body to address the subconscious” and “deepening of his consciousness” aligns perfectly with the introspective nature of this work.  

The narrative of “almost drowned and then saved by a man” is deeply archetypal, tapping into universal human fears and hopes. Drowning can symbolize being overwhelmed, a loss of self, or a brush with mortality. The act of rescue, conversely, signifies hope, intervention, and the profound power of human connection. This narrative structure elevates the performance beyond a mere physical act, transforming it into a powerful allegory for confronting existential threats and experiencing renewal through the support of another. It speaks to the human need for connection in moments of extreme vulnerability. The performance meticulously combines three potent elements: the raw, exposed nude body; water, with its dual symbolism of life and death; and the presence of a rescuer. This creates a dynamic interplay that explores the multifaceted nature of human experience. The nude body emphasizes raw humanity and vulnerability, while the water immerses it in a state of peril and potential purification. The rescuer introduces the critical element of interdependency, suggesting that even in our most vulnerable moments, human connection can provide salvation. This triad offers a profound commentary on empathy, shared humanity, and the delicate balance between individual struggle and collective support.

Collaborative Currents: Marc Lüthi and Philemon Mukarno

The “splash naakt” performance was a collaborative effort, featuring Marc Lüthi as a co-performer and Philemon Mukarno as the camera artist. Marc Lüthi is recognized as a performance artist, often working in photography, painting, and video. Importantly, “Mark Lüthi” has previously collaborated with Philemon Mukarno and Elias Kirsche as a “camera person” on projects like “EROS 24/7”. Philemon Mukarno is an accomplished performance artist based in the Netherlands, specializing in Japanese Butoh Dance. He is also a phenomenal composer who frequently collaborates with dancers and performers, composing music for stage and screen. Mukarno’s work focuses on the “investigation of the body to address the subconscious”. His prior collaborations with Elias Kirsche, particularly on the “Eros” (likely “EROS 24/7”) project, further highlight their established artistic synergy.  

The roles of Marc Lüthi as a performer and Philemon Mukarno as the camera artist, who is also a performance artist and composer, underscore the inherently collaborative and interdisciplinary nature of contemporary performance art. Mukarno’s background in Butoh dance and composition suggests a deep understanding of body, movement, and atmosphere, which he brings to his role as camera artist. This implies that the performance is a synthesis of diverse artistic talents, where each contributor’s unique expertise enriches the overall experience, pushing the boundaries of traditional artistic disciplines. Performance art is by its very nature ephemeral, existing primarily in the moment of its live execution. Philemon Mukarno’s role as the camera artist is therefore critical not just for recording but for interpreting and preserving this fleeting experience. Given his own identity as a performance artist, his lens would capture the “splash” performance with a profound understanding of its artistic intent, emotional nuances, and the subtleties of body language. This highlights the symbiotic relationship between live art and its documentation, where the act of recording becomes an integral part of the artistic process itself, ensuring the work’s legacy and broader dissemination.

Winterthur’s Artistic Pulse: The Festival Connection

The user query indicates a connection between the “splash naakt” performance and a (art festival) scheduled for Saturday, August 27, 2022, in Winterthur . While specific details about a major art festival explicitly at Kunst im Depot on that exact date are not readily available in the provided information , Winterthur is known for its vibrant cultural landscape and commitment to hosting diverse artistic events. For example, Kunst im Depot hosted a performance in September 2022 as part of “Kulturnacht Winterthur 2022,” a significant city-wide cultural night.  

Even if the specific on August 27, 2022, remains elusive, the fact that Kunst im Depot hosted a performance in September as part of “Kulturnacht Winterthur 2022” strongly implies Winterthur is a city with a robust and active contemporary art scene. This suggests that the “splash” performance, even if a standalone event on August 14, was part of a larger, ongoing cultural commitment to experimental and transdisciplinary art. The city provides a fertile ground for such innovative works, indicating a supportive environment for artists and their daring expressions. The discrepancy between the user’s query about an August 27th festival and the available information highlights a common challenge in the art world, particularly with performance art: the ephemeral nature of events and the often incomplete or decentralized documentation. This underscores the vital role of the camera artist, Philemon Mukarno, in preserving these fleeting moments. It also suggests that some performances or smaller events might be more intimate or less widely publicized, yet still hold significant artistic value within the local art community. This emphasizes the importance of direct accounts and artist-led documentation for capturing the full scope of artistic activity.

The performance, with its raw depiction of nudity, near-drowning, and rescue, taps into fundamental human experiences of fragility, struggle, and the need for connection. This aligns with the historical and conceptual significance of nudity in art, which often serves to explore deeper human qualities and societal norms. The performance, therefore, transcends its specific context, offering a timeless commentary on the human condition. It serves as a powerful reminder of art’s capacity to confront discomfort, evoke empathy, and facilitate a collective reflection on our shared vulnerabilities and resilience. The success and impact of “splash” were clearly amplified by the collaborative efforts Marc Lüthi, and Philemon Mukarno, operating within the framework of Elias Kirsche’s artist-in-residence program and hosted by Kunst im Depot. This collective endeavor, situated in a venue dedicated to transdisciplinary collaboration, exemplifies a key trend in contemporary art. This collaborative model fosters innovation, pushes artistic boundaries, and creates multi-layered experiences that are richer and more impactful than individual efforts. The performance stands as a testament to the power of diverse artistic talents converging to create a profound and memorable cultural event, leaving a lasting impression on its audience and contributing to the vibrant artistic landscape of Winterthur.