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Lilla v. Puttkamer - 1973 born, lives in Berlin From 1994-1997 she studied architecture at the Academy for Applied Arts in Budapest. Studies of painting with Prof. M. Frisch at the Academy of Arts in Münster followed. In 2003 she graduated. Since 1996 she made exhibitions in Germany and Hungary, amongst others "Kirakat" (= "Showcase") in Budapest/ Hungary (2000). In 2001 she received The Lucas Cranach Prize in Kronau. She exhibited "Drehmomente" in the Galery ZeitZone in Berlin and the Galery Andrea Brenner in Düsseldorf (2005). In 2000 she began to work on interdisciplinary dance performances (dance, painting, music) with Karen Bößer: "Movementum", Academy for Dance, Arts and Music, Bielefeld. During 2002-2005 von Puttkamer participated in another cooperation called "See no evil - hear no evil", in Düsseldorf ("PLATZDA"), Münster, Budapest. In 2001 she received a DAAD-grant, in 2005 she got a further grant for printing graphics in Venasques/ France. Since the year 2000 she is the president of the Elbe-foundation, a foundation for the purpose of early multilingualism in the field of music and visual arts.	Karen Bößer - 1972 born, lives in Düsseldorf She studied dance in New York City 1996-1999. She has developed many performances in the States and abroad already since 1991 and was a 2nd prize winner of the Ruhr/ NRW Dance Festival for her choreography of "Obwohl aber immer auch ...", 1994. She worked with the performing group Theater Junges Ensemble/ Düsseldorf, the Ballet for Young Audience/ NYC, Urban Art Tribe Multimedia Performance/ NYC, Healing Theatre/ Köln/ Leipzig, Arma Theatre/ Israel, tatraum theater/ Düsseldorf, and with Howard Katz Fireheart, Frey Faust, Elaine Shipman, Felix Ruckert, Dyane Neiman, Franz Bößer. Within an artists exchange in 2003 she performed in Ein Hod/ Israel and in Kyoto/ Japan. In 2005 she was teaching in Poland on behalf of the Carl Montag Foundation/ Bonn. Karen Bößer is the creative director of the project Gilgameschin. see press reports	Eva Schampaert - 1977 born, lives in Gent/ Belgium After her studies for dancing at the P.A.R.T.S. in Brüssel Eva Schampaert went to New York for six years in 1999. Here she found her vocation as a percussionist, singer, and composer. As a percussionist Eva Schampaert worked for the New York University, Merc Cunningham Studios and the Alvin Ailey American Dance Theater. In NYC she was playing for different bands and worked as a composer for the Cedar Lake Dance Ensemble. At the moment she is on a tour with Gabriel Rios, Moiano and Mrs. Hyde. In her studio in Gent she also works as a co-writer and studio musician.
Nele Ana Riepl - 1972 born, lives in Stuttgart She studied history of art and comparatistic science of literature at the Stuttgart University. In 1993-1996 she received her training in modern and contemporary techniques of dance. As a dancer and performer she worked 1996-2000 in Germany and abroad, the last time with Ismael Ivo and Marcia Haydée. From 2000 to 2005 she was a group guide for the Ludwigsburg Schlossfestspiele, an annual Castle Festival. 2001: assistant productioner of "Die Zofen" (the lady's maids)/ directed by Yoshi Oida in Stuttgart, 2003: artistic cooparation with the Compagnie dégadézo/ Straßburg, 2004: director of the production "Frau tanzt" from the Stuttgart choreographer Lior Lev, 2005: Dramaturgy with the Rebecca September vzw in Belgium and the tatraum theater/ Düsseldorf. André Wenzel - 1966 born, lives in Düsseldorf After finishing his education in film studies (cinematic technique) he studied history and German literature science from 1993 to 1996 at the Freie Universität Berlin. Between 1996-2003 he first was taught from Prof. Paul Isenrath (sculpture/ object art), then from Prof. Andreas Köpnick (film/ video/ new media) at the Academy of Arts in Münster. Beside art environments (2005 Büro für Alleskönnerei [the omnipotent office] "süss-sauer:\\angemacht"/ Gütersloh) André Wenzel is putting his emphasize on the connection between media arts and performance art (2003 Medien-Performance-Projekt "stay on the scene"/Münster) The cooperation with Karen Bößer aroused as a consequence of his documentation of her project Gilgameschin. 0

press reports on Karen Bößer: back to "Vitae" home

Lived it up … However, the big surprise of the evening was Karen Bößer: Her dance show caught the breath of the audience. After she performed a modern and lively Pas de Deux (Putney Dust) which she danced with Chris Parker exceedingly straight in techno-style, the second half of the evening was assigned to herself. Scarcely has been seen in Neuss such a versatile dance talent. First she squats into an angle with the bearing of an embryo and plunges her heated cheeks in an ice bowl, then she is pushily dancing against the walls and crawling weakly over the ground. She skilfully slips down the banister and keeps track of the possibilities left by the crooked shape of the dance floor. Her passion for dancing was remarkable in every movement of the performance. After Chris Parker presented her choreography "Tan(t)z", in "Improvisation" both dancers put their sparkling fantasy of dancing into reality. They are dancing sometimes together sometimes against each other and they more than once move along the limits of their power. This was an intense finish of an extraordinary evening which should be repeated anyway. Westdeutsche Zeitung (Feature Pages), Oct. 24th 1995 "Changing Life by Stepping Through" On the contrary to many other organizers the Tanzhaus Düsseldorf is not fixed to its own company but is serving as a meeting point to different positions. Also under these premises the performance "Dance Tank I" came across as a successful debut. … Karen Bößer's introverted solo "Changing Life by Stepping Through" was following as a heavy contrast after that. Bößer confines herself to the body and to pure choreography, finds unique expressions for violation and underwent memories by embodying animals through her dance. Alienated organically, oppressive even with its humor, her metamorphosis into a bird means an escape from the past and the personification of pain through the cry of an animal. Rheinische Post (Feature Pages), Jan. 27th 2001 In her performance "Changing Life by Stepping Through" Karen Bößer was dancing steps of her life to the sound of a rain man, the music of a gong and the rhythm of drummer Karl Godejohann. Memories are forcing on the dancer, is becoming part of her. She is like a bird, even transforming into one, into a shrieking craw, a seagull, and then into a peacock. High lights of dance scenes followed, full of life vibrations, falling down from heaven, and stumbling on the ground - until the memory is striking the present and the final sound of the bird is fading away. Neue-Westfälische, March 17th 2001 "Europa in Balance" As a completion to the official Inauguration of the sculpture "Europa in Balance" there was a happening performed by Franz Bößer and … his daughter Karen. This spontaneous wonderful dancing, shaped through art and expressions made visible that the avant-garde of European art was present in Prudnik for a few minutes. Somebody had to come over from Germany to build the symbolic European house, a house of a Europe which is connecting people. Tygodnik Prudniki, Poland, June 19th 2002 (Transl. from the orig. Polish by Mrs. Urbach-Mokrska) More notes of the press: "The Encounter with the other one" - a Celebration, Schwäbisch Gmünd/ Kultur, Jan. 17th 1995 "A Moment of a Magic Approach" Rems-Zeitung/ Kultur, Jan. 21st 1995 "Night Body Skin" Sprawling around in the Road of Yearning, Die Leipziger Volkszeitung/ Feuilleton, Oct. 4th 2000 Bonner Generalanzeiger, Nov. 10th 2000 Art as an Impulse - There is only "One World" Neusser Feature Pages/ Grevenbroicher Lokalzeitung, Oct. 25th 2000

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