The better you look the more you see. A word game out of the Vogue. The closer you look at the latest work of Isabelle the better it gets: a party version at the Lovelite in Berlin-Friedrichshain, which was preceded by a stage version (…).

The performing artists are invisible part of the common “dance folk”. The movie “Ocean’s Eleven” – a large-scale casino robbery- is presented on several VJ-monitors. When the lights go out in the movie, there is a short circuit in Lovelite. The sequences of the “real-actions” are exactly timed in accordance with the movie. Synchronisation of the watches. Time codes are written on the lower arms of the dancers. Then happens the following: a frozen man at the bar who doesn’t move any more, a woman suddenly laying on the dance floor, a short massage on the guest.

The casino surveillance in the movie is a mini camera surveillance in Lovelite, from the media master Jim Whiting constructed on top of remote controlled mini toy. The camera observes the empty promiscuity of lounge people and lounge drinks. (…)

And everybody joins this invisible dance, not like in the past with Augusto Baal, to politically challenge the world, but to check, that everybody wants to look so well, that nobody can distinguish the dancer from the “dance folk” any more.”

Arnd Wesemann, Ballettanz, february 2003

Remote controlled thigh drive

And once the dancers are naked they stay naked.

"Whom did you seduce last?" And: "was it worth it?". Questions, unspoken answers. Stories in all our heads. The images: 2 female and 1 male dancers are posing, integrate inconspicuously their own movement material and sensuality. They dance in the middle of an empty stage, in the middle of the public, on top of this are floating a big screen monitor and fitting music from pop to electro.

From the computer desk, Olivier Heinry is zapping through films and stills of performers, fashion clothes and nakedness. Always connected with what happens on stage, sometimes he writes even instructions to the performers: "make eye contact with a stranger".

“The better you look the more you see” is the fashion allure title of the flexible “work in progress” by Isabelle Schad. Intima*s, sexuality, their staging and instrumentalisation are the central themes of the Berlin performance-experiment. Available for stages, galleries and lounges, they choose different constellations and locations to perform their actual version. In Tanzhaus NRW Düsseldorf the classical stage situation was- in spite of the movement possibilities for the spectators- maintained.

Intense on stage: between dance theatrical question rounds and TV- zapping Monologues, sudden blackout is accompanied by inciting rhythms. In the middle of that: staged group sex and ripped off clothes. The darkness is offering from that only short flash moments and photos on the screen- scenes like out of the calculated shock advertisement of Italian fashion labels. And as the dancers are already naked, they stay like that. Dance, lay, do acrobatics around and on top of each other.
The camera travels with.

On all this the public has multiple perspectives: Jim Whiting, specialist in bizarre and playful technic-art, sets up a camera on a remote controlled toy car. We know, that cars can be sexy man toys. But we didn’t know, that one can drive with it directly between women’s legs. We owe that to Jim Whiting, as well as the intimate close-up recordings that this travelling camera is delivering to the video screen.

As everybody is again in T-Shirt by Puma or H&M, the performance finishes soon. No real ending, everything is open, an ongoing experiment. (…)

Gesa Pölert, Rheinische Post, 22 february 2003