Nicola Kötterl: Tears and Squats for Cicero

In the organizer's words:

The dance performance Tears and Squats for Cicero examines the political dimension of emotion, body representation and media staging in sport. The starting point is the

Leni Riefenstahl's Olympic films (1936), whose imagery idealizes the athletic body and instrumentalizes it for propaganda purposes. Following on from this, the performance examines body images from antiquity and fascist aesthetics to current media representations in major sporting events, on social media and in AI-generated images. The combination of dance, video projection and algorithmically generated image material creates an examination of images of the body, people and emotions in a sporting context, in which movement, affect and image production are related to one another.