© Alexander Harbaugh 2016
Verena Stenke (b. 1981) and Andrea Pagnes (b. 1962) have been working together since 2006 as VestAndPage and gained international recognition in the fields of performance art, performance-based film, writing, publishing and with temporary artistic community projects. Since over a decade, VestAndPage have been exploring performance art as a phenomena through their collaborative creative practice, as well as through theoretical artistic research and curatorial projects. Their works – a celebration of life – have been presented in museums, galleries, theatres, cinemas and a variety of sites worldwide. Their writings have been extensively published and translated for international readers.
They are currently presenting the cycle of live collective performances HOME, premiering their films Plantain and SIGNUM, and developing a performance-based art film on Deep time, as well as a series of videos in which they host conversations under existential focus with people from the arts, culture and science.
Between 2010 and 2012, Stenke and Pagnes worked and studied in Antarctica, South America and Asia, where they produced performance cycles and the performance-based film trilogy sin∞fin, and strengthened their international network.
On December 2012, VestAndPage conceived and initiated the live art exhibition project VENICE INTERNATIONAL PERFORMANCE ART WEEK. Between 2012 and 2016, the project showcased in the Trilogy of the Body historic pioneer works on exhibit in conjunction with live programs of durational performances, presenting over 120 international artists and an ongoing educational program. Since 2017, the project presents in the new format Co-Creation Live Factory an international educational platform with residential character.
Between 2014 and 2017, alongside further annual live performance cycles, VestAndPage produced Plantain, the art film based on their month-long performance walk from Northern Germany through Poland to the Russian region of Kaliningrad in May/June 2015. The project is based on true historic events of the escape of Stenke's family in the civil exodus from former East Prussia in winter 1945.
VestAndPage's writings have been extensively published in books and magazines of contemporary art, among which Performance Research, Flash Art, Studio Research, Art&Education, Research Catalogue, Nexus. Their own publications by VestAndPage press investigate the intimate tissue of creativity and artistic practice, questioning performance art as urgency.
VestAndPage's art practice is contextual and situation-responsive, conceived psycho-geographically in response to social contexts, natural surroundings, historical sites and architectures. They inquire performance art as an urgency to explore the physical, mental and spiritual bodies through the possibility of crossing the exterior-interior boundary, and to interface with the ephemeral matter of art and existence. In a "Poetics of Relations" they examine notions of temporalities, memory strata, communication and fragility of the individual and the collective within social and environmental spheres. They apply the themes of trust in change, endurance, union, pain sublimation and risk-taking with a poetic bodily approach to art practice and a focus on universal human experiences. They are devoted to a poetic approach in experimental, personal filmmaking based on performance art, questioning the perception of reality, and how we process and store information. For VestAndPage, film can delude space-time and reveal processes and relations by linking apparently disconnected happenings and actions.
Their collaborative practice has roots in contemporary visual and conceptual art; classical, Oriental and Social theatre; philosophy, anthropology, anthropoetics and political science. The study of rites, myths and spiritual-philosophical sciences – parti-cularly alchemy, ancient Greek and Christian iconology, Yoga-darsana and Sufism – serves to analyse the significance of a subject's matter within the culture that produces it. Working with material from a personal and genetic library accessed through insightful thinking and spiritual practices, VestAndPage's works are accessible by a wide audience, allowing viewers to address realistic contents through fresh iconography in an otherworldly surrounding.
Their durational performances are distinguished by actions and sensorial details that undermine the conventional and put elements of logic into question. These performances can have durations of 24 hours (Fear vs Love vs Fear), five consecutive days and nights (Without Tuition or Restraint), or are month-long (Plantain).
Their performance cycles (Balada Corporal, Panta Rhei, Thou Twin of Slumber, Dyad, Aegis, Home) and film works (sin∞fin, Plantain, SIGNUM) are developed consecutively and in situ. While encompassing a range of subtly different concepts, they primarily present VestAndPage's view on reality while revealing poetic elements as a rebellion against discrimination among human beings.
German artist Verena Stenke – prior to her artistic, curatorial and editorial activities with VestAndPage – studied visual arts and holds qualifications as special effects makeup and mask artist. She is trained in Social and Oriental Theatre, as well as in athletics and martial arts (Gōjū-ryū, Taiji, Qigong, Hung Ga), and is a practitioner of Hatha and Ashtanga vinyasa yoga.
Venetian-born artist and writer Andrea Pagnes holds degrees in philosophy and modern literature, certificates in museology and art critic, diplomas in creative writing and as actor and operator of Social Theatre. He has worked as an independent curator, glass sculptor, and writer, as well as artist and coordinator at several Venice Biennale projects.
Stenke and Pagnes met in Berlin in 2006, live and work together as VestAndPage, and are married.
VestAndPage have exhibited and performed among others at:
Correr Museum/Thetis Foundation, Venice; Museum der Bildenden Künste, Leipzig; Berliner Kunsthalle/Maschinenhaus Theater/Ballhaus Ost/Kino Babylon, Berlin; National Art Gallery of Albania, Tirana; Kosovo National Art Gallery, Pristine; National Gallery of Arts, Sopot; Venetiaanse Gaanderijen, Ostend; Student Cultural Centre, Belgrade; UKK, Uppsala; Taidehalli, Helsinki; Sculpture Quadrennial Riga; Royal Academy of the Arts, Copenhagen; Arti et Amicitiae, Amsterdam; Solyanka Gallery, Moscow; Museo de Arte Tigre, CCEBA, Buenos Aires; Museo Universitario del Chopo/Ex Teresa Arte Actual/Alumnos47 Foundation, Mexico City; CANTE, San Louis Potosì; Centro Cultural FIESP - Ruth Cardoso, Sao Paulo; Homero Massena Gallery, Vitoria; Museo de Arte Moderno, Santo Domingo; MACC, Celarg Foundation, Museo Alejandro Otero, Caracas; Universidad Teatro de Chile, Santiago de Chile; Museo de Arte Contemporaneo, Valdivia; Sarai Centre, New Delhi; Goodman Arts Centre, Singapore; University Art Center, Chang Mai; 798 Art District, Beijing; Taipei Artist Village, Taipei; Seoul Art Space, Seoul; Alt, Istanbul; Museu José Maloha, Caldas da Rainha; VIVO Media Arts Centre, Vancouver; Boston Center for the Arts, Boston; Columbia University - Macy Gallery, New York; Schlachthaus Theater, Bern; PVA Centre for Contemporary Art, Aberdeen; Arnolfini, Bristol; London Art Fair.
VestAndPage collaborate with cultural institutions, theatre companies, humanitarian organisations and academies in production, education and as Visiting Artists, presenting lectures and a methodological Intensive Workshops and Classes, among others at:
RCA Royal Academy of Arts, London; SAIC School of the Arts Institute, Chicago; NYU Steinhardt; ArtEZ Master's Theatre Practices Arnhem; University of Exeter; Athens Schools of Fine Arts; Artscape Toronto; Seoul Art Space; Hong Kong Centre for Community Cultural Development; Lingnan University Hong Kong; Universidad Austral de Valdivia; UNEARTE Caracas; European University of Cyprus; School for Curatorial Studies Venice; SALT Galata Istanbul; TeaK Theatre Academy Helsinki; Albanian University of Arts; Gray's School of Art Aberdeen; BITEF Theatre, Instituto Italiano di Cultura Belgrade; Venice Academy of Fine Arts; Deutsches Institut Florence; Goethe Institute Thessaloniki; Fabrica Braco de Prata Lisbon.
Stenke and Pagnes have received the following recognitions:
• Best Film Award (Berlin Independent Film Festival, 2018)
• Project Grant by the Federal Government Commissioner for Culture and the Media (2015)
• International Residency Grant by the National Antarctic Direction of Argentina (2012)
• International Residence Grant by AiR Taipei (2012)
• Treviglio Video Poetry Prize (2011)
• Culture Prize of the City of Nassau (2011)
• Project Grant by the Heinrich-Böll-Foundation (2010)
• Storie Literary Prize (A. Pagnes, 2008)
• ArtKontakt Prize (2007)
• Windsor&Newton Millennium Painting Award (A. Pagnes, 2000)
• Robert-Schuman-Silver Medal for European Unity (A. Pagnes, 1990).
VestAndPage examine universal human experiences through the prism of extreme environments: taking the familiar and staging it within in an epic, alien landscape; the result being a heightened reality: both entirely surreal and as familiar as a dream.
David C James, London City Nights
VestAndPage are able to create images that are not only intense and touching, but in the best sense: new.
Dr Ralf Peters, Cologne
VestAndPage don't work at heights. The vertigo comes from elsewhere.
Santiago Cao, "Performances in Closed Spaces as Shared Intimacy"
VestAndPage visit a limit that runs along the sleep and nearby the dying, along the remembering and next to oblivion. They are not declaring the limit between, they are dancing on it. We dance together with them.
Francesco Kiais, Writer and Curator
Stenke and Pagnes work on complex themes such as abuse, contamination, death, solitude, fragility, exclusion and rejection. Verena and Andrea of the sensitive bodies are searching for other sentients between those that observe them acting.
Jessica Berlanga Taylor, Curator
VestAndPage challenged ideas about what it means to be in a body and conjured romantic notions of what can be experienced beyond the physical realm.
Sandrine Schaefer, The Present Tense
Andrea Pagnes and Verena Stenke are here to tell us that real communication cannot be replaced by mechanical, mediated actions which have no relevance because they do not convey anything, and the need to exist as individual willing to open up and exorcise all fears is more acute than ever in the twenty-first century, in spite of all the cultivated illusion of the cocooned global village.
Dana Altman, Art & Multiplicity