Bloodline - Hommage to Eva Voss
Karel Halir was the grandfather of my mother and a famous violinist of his time (1859-1909).In his birthplace Vrchlabi is a music school on his name and an annual festival dedicated to him. As part of the festival, the concert, the 9th tribute to Carel Halir, took place with Roman Patocka on the violin and Aaron Wajnberg on the piano.
Invited to perform as a descendant of Halir I ask my mother, my daughter and my granddaughter to join me.
As part of the Joy of Weaving project, I also work on the subject of manual work in a performative context. It is important to me, in all these works, to combine threads, strands and other materials in such a way that a newly designed object is generated. In this case, I adapt the activity to the abilities of my teammates and we choose knitting and crochet as a technique to tie threads by hand.
At the entrance, people can see how we, four female externally completely different members from four generations of one family, all similar dressed in white, work with wools of different colors on workpieces. Placed at the end of the nave during the concert we knit and crochet. On the unoccupied chair, there is a picture of my grandmother who has already passed away, the tie between us and Karel Halir. We braid each others hair, the mother the hair of her of the respective daughter. At the end of the performance, each one cuts off the wool and dismantels her work again. My mother wraps up a ball of yarn and passes it on to me, I wrap my used wool on it, then my daughter, and finally the youngest wraps a big ball and puts it on the last chair.
What can the members of one generation pass on to the next? In psychotherapy there is much talk of traumas transmitted. But can passions, gifts and interests manifest themselves in different generations? How does a transfer happen if a personal meeting is not possible?
Noticable are the extremely differences in the female line of the family in their appereance. Different ethnic groups are part of the gene pool of the family today and the identification with the “Böhmisch” roots of one side of the family is rather vague.
Is the fame or the specific talent of Halir the motivation to reconnect with those roots? Is there a genetic predisposition, e.g. in musical talent? None of the family has yet followed in the footsteps of Karel Halir. The artistic and musical is nevertheless dominant in the family. Was the preference for this achieved by one of the family's further value systems?
The early death of Halir, who made Eva Voss orphaned at 15, the war and other disruptive factors in the family history also affect the members to this day. The common handcrafting of each according to their abilities connects the family members with each other, with their roots and with the open possibilities in the future. The meditative action represents a conciliatory aspect concerning the processing of their heritage.
Invited to perform as a descendant of Halir I ask my mother, my daughter and my granddaughter to join me.
As part of the Joy of Weaving project, I also work on the subject of manual work in a performative context. It is important to me, in all these works, to combine threads, strands and other materials in such a way that a newly designed object is generated. In this case, I adapt the activity to the abilities of my teammates and we choose knitting and crochet as a technique to tie threads by hand.
At the entrance, people can see how we, four female externally completely different members from four generations of one family, all similar dressed in white, work with wools of different colors on workpieces. Placed at the end of the nave during the concert we knit and crochet. On the unoccupied chair, there is a picture of my grandmother who has already passed away, the tie between us and Karel Halir. We braid each others hair, the mother the hair of her of the respective daughter. At the end of the performance, each one cuts off the wool and dismantels her work again. My mother wraps up a ball of yarn and passes it on to me, I wrap my used wool on it, then my daughter, and finally the youngest wraps a big ball and puts it on the last chair.
What can the members of one generation pass on to the next? In psychotherapy there is much talk of traumas transmitted. But can passions, gifts and interests manifest themselves in different generations? How does a transfer happen if a personal meeting is not possible?
Noticable are the extremely differences in the female line of the family in their appereance. Different ethnic groups are part of the gene pool of the family today and the identification with the “Böhmisch” roots of one side of the family is rather vague.
Is the fame or the specific talent of Halir the motivation to reconnect with those roots? Is there a genetic predisposition, e.g. in musical talent? None of the family has yet followed in the footsteps of Karel Halir. The artistic and musical is nevertheless dominant in the family. Was the preference for this achieved by one of the family's further value systems?
The early death of Halir, who made Eva Voss orphaned at 15, the war and other disruptive factors in the family history also affect the members to this day. The common handcrafting of each according to their abilities connects the family members with each other, with their roots and with the open possibilities in the future. The meditative action represents a conciliatory aspect concerning the processing of their heritage.