Input Improvisation 1, Performance with Daniel Gianfranceschi, Pandora Art Gallery, July 2025
© Camilla Metelka
The poem Time As Scape was first presented as an improvised spoken element during the performance Echoes As Embodied Sound at Junge Nacht, Museum Brandhorst, in June 2025. It was later performed in fragmented form during Input Improvisation 1 at Pandora Art Gallery. In both performances, the poem unfolded live—composed of layered vocals like a sonic sculpture, interwoven with drone, noise, experimental sound, movement, and the spatial architecture of the venues. Rather than treating time as a linear sequence, Time As Scape approaches temporality as an embodied and spatial phenomenon: as environment, as an instant within a passage, or as a transitional moment. Across its verses, the poem navigates time as physical movement, as parallel development, and as an imagined landscape. Each moment offers a fleeting notation of presence and absence. As a performative gesture, Time As Scape proposes a form of moving literature—a language that does not seek to capture, but to evoke. It becomes an attempt to build a topography from bodily fragments and temporal strata, in which time is not measured, but experienced as a poetic space that constantly shifts, fragments, and reshapes.
Time As Scape
Desert
Ice
Rivets
Light
bodys strive
Into the humid air
Open field
a few carries the origin
Mirrors reduce
until the glare melts away
Slow flow
eternal summer
The sun of tomorrow to now
something changes
just
because
something happens
Moving the new
the old in the new
between
The scape of untime
Biografie
CAMILLA METELKA (*Berlin, Germany) is an artist and composer whose practice spans film, sound, performance, installation, and choreography. Her performative concerts unfold as multilayered explorations of time, space, and perception, using time-based media to draw attention to movement and its interaction with the body and spatial environments. As a musician, she composes sound pieces through extended techniques, synthesizer, noise and drone elements, voice, and the microphonization of site-specific settings—serving as poetic invitations situated between concept, material, and transformation.
