"Having to wait and not knowing when it finally goes on is annoying, because it is involuntary. That leaves the self-determined and well-organized men from turbo capitalism spin at idle - until he achieves the Zen state of the raging standstill. He ceases running in place as the jogger at the red light, he stops. This decelerated mobility is a donation of time." (Sabine Vogel, Feuilleton, Berliner Zeitung, 20.05.2010) 

In the site specific project Verstilling from Nathalie Fari and the multi-instrumentalist Bernhard Reiss the term „standstill“ is as a starting point in the development of sound-performance series. For each new site the artists create an unique atmosphere and action by examining on one hand. the aspects and characteristics of the selected site and on the other, by absorbing the topic of „stillstand“. The main goal is to generate a space for experiencing the „standstill“ as a sort of emotional or mental state: While Nathalie is performing her very slow, reduced and accurate movements, Bernhard is playing his complex and spherical guitar sounds. By doing that they aren’t just questioning the today’s overflow of information and amenities, but also inquiring how and what triggers this state. At the same time, the spectator is also invited to take part in this experience and to let go. 

The first performance took place in the context of the artist-in-residence program Hotel 25. The second was designed especially for the studio of the Romanian pianist Cristian Niculescu, while the third happened in the context of the MICA MOCA projects - a main feature at all of these places was that they were either being used temporary or in a changing process.  

Lamps, bulbs, concrete mixer, stones, bass guitar with pedals and amplifier. 

2010/ June - 2011/ July

Concept and Performance: Nathalie Fari // Music: Bernhard Reiss // Video: Cris Wiegandt // Photography: A. R. Laub 

Press Notes: 

"No-one really knows that the performance has started because it takes place in a back yard that you are not allowed to enter (part of the performance tactics). You are surprised that the performance has started bang on time, as if TV broadcasting rights depended on it.

You see Nathalie Fari through the windows of the gallery as she puts her head into a cement mixer and performs a handstand, accompanied by meditative sounds from a bass guitar played by an almost motionless bassist. You think that she can’t hear anything in there.

Germany could win the World Cup, you imagine, and Nathalie Fari would throw stones into the cement mixer with the same unshakable seriousness. And that is what she does three times." 

Thorsten Schmitz / Süddeutsche Zeitung, 28.06.2010