The tipped image of a lying woman on a bed-plate formed. In contrary to the image the activity demanded the continuous input of power of the body to adhere this imagination. Without the wall the movement impulse would become to a forwards movement which had unfurled in horizontal direction. With this the latent axle of movement of a performance (dance, sports or theatre) would come into play. But the direction of movement is stopped in favor of the static of an image because the attention and dosage of the force of the vertical movement counts, thus the effect between body and gravity. One could therefor speak of a stopped choreography by sculptural aspects. In this way is made visible a blockage of the axle interactions which constitute the play of forces of composition of sculpture and archi- tecture on one hand and movement in dance and theatre on the other.

The performance by Pantel keeps the tension between these art forms without it being frontier crossing between the arts. In contrary to the opinion that the aim of performance art were to act intermediately  Pantel shows a blockage. One could also say that she brings the frontier crossing to its limit to let the borderline between the art forms be designated by gravitation. Each time she works towards the critical mark where the verticality of sculpture and architecture merges to the horizontally  of movement in dance and theatre and vice versa.

The sequel of Pantel's performance  with a large amount of slats that were come across in the rooms of an empty shop revealed the impossibility of a frontier crossing drastically. Pantel leaned her body respectively against one  of the slats pushed horizontally against both walls of the room corner encompassing the slat bi-manually with stretched arms. With put together feet - far away from the room corner - she tested the limit of the carrying capacity  of each slat which under different angles of the positioned body  eased  springily untill it cracked. During  this Pantel's body  was exposed so strongly to gravity through  inclination that it crashed against the wall undamped when the slat cracked  because Pantel's hands stayed restricted in the grip. In the play with stability and instability of masses minimalist persistence on autonomy of sculptural art prevailed over movement in dance.

The complete description of all 7 parts of the performance cannot be done here because of space reasons but th lat part that extended the per- formance onto the street should be mentioned. With the bedplates and one slat that was clamped between the forehead of the upright standing performer and the house front a temporary blocking of the side walk was attained here. This exercise as well let conceptual formulations come alive as they are known from Body Art, without them appearing worn down today under the changed conditions within 3 decades. Ultimatly the conditions for the body have changed in a way that couldn't have been foreboded then. In fact relicts and documents of Body Art are archived and conserved by museums by now and by this withdrawn from physical experience but even stronger than in the past today the tendency to withdraw physical risks from individual availability is obvious. One likes to eliminate physical risks generally with the excuse to protect life so that a resurgence of Body Art today would be perceived as obscene  because the here staged physical risk is simulated more and more often on the medical-experimental level (animal and human testing, crashtests). Contributing to this are minimally invasive methods of medical surgery and more and more precise methods of imaging which admittedly have been attained on the basis of an executed American prisoner cut in paper-thin stripes. A wished for effect of bio politics is the fear of epidemics fueled by staged scenarios producing a downright panic tendency to do whatever to stay healthy ensuring exorbitant profits for the medical-pharmaceutical sector.

3. To jump to live (impact)

With his public report Holger Steen entered a borderland that can be regarded as a self-trial with free fall only because he survived his suicide attempt and broaches the issue of it with art means. Steen tells about his depression with all its torments and the preparations for the jump out of the window with that he was going to free himself from this situation. He told off the cuff and descriptive with an actor's talent that let only those amongst the attendees suspect that the first-person narrator was the protagonist who already knew his story.  He gave this unbelievable story a plasticity that made listening mandatory. Also adding to this was the