For Magma Maria and fffriedrich (Offenbach & Frankfurt) – the groupshow "Can You Hear the (...) Thinking?" written by Emily Nill KUBA PARIS 

Daria Nazarenko's approach to the open thematic complex of performance, body, space is less tied to an actual body. In the corridor illuminated by a single spotlight, a pink and blue parachute (Flight Attempt 2) hangs from the ceiling by its strings attached to a tube; a low concrete pillar prevents it from touching the floor. The spotlight creates a wall-filling shadow play that lends something intimidating to the object, which already seems strangely alive. Opposite the hybrid figure, a video is projected onto the concrete wall. In it, Nazarenko shows a performance oriented to urban street dance with the parachutes on display in the contrasts of free nature and urbanity. On a meadow under a blue sky, the fabrics spread out into asymmetrical shapes due to the wind or inflate above the performers into bulging tarpaulins that threaten to slide away. In contrast to this are the images of two performers sitting opposite each other on the gravel of a railway track, with the illuminated city in the background. Their entire bodies are covered by the nylon of the shutes, like a fragile protection from the outside world. In the movement between groundedness and flying, longings for the unknown and the unknown and free spaces, fear of isolation, and dance expression as a cathartic moment become the subject of reflection.

Another Flight Attempt work by Nazarenko hangs in the light-flooded entrance hall of Magma Maria and once again makes clear the duality of free flight and standstill. In the concreted hallway, the parachute sculpture is largely confined and inevitably more museum-like, as is the performance on the video screen. In contrast, Flight Attempt 1, through the openness of the window front and the spatial dominance of the work, exudes the esprit of taking off into nowhere, despite the upward limitation