Kunsthalle Mannheim


Moran Sanderovich

Performance: Moran Sanderovich

Choreografie: Lyllie Ronvire

Elektromechanik: Amihary Gonen

Das Monströse war im Sinne des Barock (…und so zum Beispiel auch in Mozarts »Idomeneo«) ein Wunderzeichen Gottes, bevor es durch die Wissenschaft zum bloßen Fehler des Naturgeschehens degradiert wurde. Die israelische Performancekünstlerin Moran Sanderovich wird in einer Kollaboration mit der Kunsthalle Mannheim eine neue Performance zeigen mit ihren durch Silikon, Stoffe, Industrieabfälle, Knochen, Haare und Latex monströs veränderten Körperlichkeiten. Ein wahres Monster als neobarocke Allegorie auf die Moderne entsteht – auf das Verschwinden des Subjekts in der Konsum-, Technologie-und Massenmedienindustrie und das Entstehen neuer Spezies. Die Performance wird im Atrium der Kunsthalle Mannheim gezeigt.


The monstrous was a miraculous sign of God in the baroque sense (...and so, for example, in Mozart‘s »Idomeneo«) before it was degraded by science to a mere error of natural occurrence. In a collaboration with the Kunsthalle Mannheim, the Israeli performance artist Moran Sanderovich will present a new performance with her body monstrously altered by silicone, fabrics, industrial waste, bones, hair and latex. A true monster emerges as a neo-baroque allegory on modernity – on the disappearance of the subject by the consumer, technology and mass media industry and the emergence of new species. The performance will be shown in the atrium of the Kunsthalle Mannheim.


Moran Sanderovich’s practice is an ongoing aesthetic examination of the mutated amputated and the ‘imperfect’ in dialogue between sculptural and performative art

Her solo piece – Anastatica – challenges normative social and cultural ideas about the human body: Transforming concepts of bodies to empower beyond binaries and norms

Anastatica does not only describe the Rose of Jericho – a botanical master of disembodiment and transformation – it also references a medical condition in which rose-like wounds appear on the skin. Physical and psychological wounds mark our bodies in different ways: They cross the border between inside and outside, create a gate and leave scars. Wounds manifest as the body’s sensitivity to external conditions as well as its organic ability to heal and renew. Anastatica is  challenging normative perceptions of beauty by exposing the sensual nature of wounds and disfigurement 

Looking at these openings at the surface of a seemingly sterile world shows its messy insides

Defying what is viewed as ‘natural’, Anastatica proposes possibilities for a non normative human evolution and the radical potential of ‘new’ and ‘other’ bodies: post mystic and new mythological figures in contemporary science-fiction. The solo figure Sanderovich creates and performs in Anastatica is a 'Shape-Shifter'. Believing in the power of uniqueness the character is a reminder of many fairytales and mythologies depicting stories of abnormal, supernatural bodies, drawing strength from their otherness.



Eine Koproduktion von »Mannheimer Sommer 2022«
und Kunsthalle Mannheim