"A great strength is her extraordinary dancing talent.

She is able to make her sensual - emotional body knowledge visible to the audience.

Mind, body and soul are connected. This is something that is hard to learn.

She has a rich fantasy, a strong imagination and works very intuitively,

has access to her subconscious, from which she knows how to draw deeply".

Regine Fritschi (Dancer - Jasmin Kiranoglu's longtime Mentor)

Extract: Newspaper article ZSB by Hannah Scharnagl

 

Between the flowing cloths and splashing oranges

It is a dance between tenderness and violence.

The young artist Jasmin Kiranoglu experimented in the cultural space with different forms of concealment and revelation. Her performance was the prelude to the four-day catapult festival.

 

Slowly Jasmin Kiranoglu takes an orange out of the drawer. She looks at it for a long time and carefully cradles it in her hand. Then she takes out a knife and cuts the orange in half with a loud scream. The audience shrugs. Break.    

Then, almost desperately, she tries to bring the two halves back together, becoming more and more energetic,

so that orange juice splashes all over the stage. Break. Silently she looks at the orange and places it on the table in  

front of her. Then she takes the next orange from the drawer.

 

Revealing through concealment

With her performance "HÜLLEN" the graduate of the Bern University of the Arts explores boundaries. She opens this year's Catapult Festival in Thalwil. 

Envelopes that constrict, envelopes that protect, envelopes that hide, that draw attention. In her performance,  the 26-year-old experiments with the possibilities and limits of concealment and unveiling. At the beginning she lies on the floor under a large cloth. To atmospheric music she slowly stretches herself up into the air - her face always covered. Then she takes a black cloth and holds it in front of her body like a curtain. She runs towards the audience like on a catwalk, the fan in front of her blows the cloth against her body so that her contours become visible. While she repeatedly covers and unveils herself in different ways, she slowly but steadily exposes herself to the audience.

With each part of the performance the audience gets to see a little more of the young artist.

 

"Envelopes protect and expose us at the same time," Kiranoglu says later during the question and answer session.

"Often you just draw more attention to what you want to protect". She had always been interested in the hidden, in what

is behind the curtain. She had been inspired by the visual arts for her performance and tried to translate familiar motifs of disguise on stage.

 

Oranges as a symbol for the body

Bent over a table, she takes oranges out of the drawer, frees them from an artificial fabric peel. Then she violently slices, crushes or bites them one by one, only to desperately try to get them back to their original shape. It is a dance between tenderness and violence. "You can equate the oranges with the body," says Kiranoglu. "We can disguise ourselves optically, but also internally". It shows the vulnerability that is there without the peel. Despite the comparatively tough shell, the oranges are very soft and vulnerable on the inside.