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[...] The choreographer and video artist Walter Bickmann realizes his projects using complex image, sound and movement levels. [...] The projected images extend the physical presence, they make it easier to create different moods at the same time: while the dancers move on stage, images of their moving bodies are projected via video on the screens. The technologically produced images are as powerful as the live performance itself. This doubling allows the dancers to appear closer, more fragile and ambiguous - coming to the fore as sentient human beings [...]
Marianne Burki, Neue Zürcher Zeitung 03.09.2011

[...] His (Bickmann's) strength is the complete absence of irony. His choreographic art: images without false bottom, brilliant dedication to the craft. [...] It is the video projection, the additional technical image, that transfers the first impression of the body to sense and emotion. [...]
Arnd Wesemann, tanz Juni 2011

[...] to see Walter Bickman's choreography for "OVAL - Ah!" set confidently outside of the boundaries of theatrical presentation is an inspiring vision of choreography in multiple dimensions. Directed by Darko Dragicevic, the piece implies a rich mutual understanding among several artistic visions -- director, choreographer, composer, and performers. It's set to an original score by Markus Popp, a respected electronic artist from Berlin (on Thrill Jockey), and features Isabelle Rune in a carefully constructed collage of images that an audience can never really see on a stage. Here the details of movement become apparent, and while woven into the larger fabric of Bickman's design, they have an inevitable immediacy. "OVAL - Ah!" is a look at what choreography can become in the multiple dimensions of a broader creative world - the world of recording and production. [...]
By aotpr, &, 22.09.2010

White Noise/  Walter Bickmann’s new production at DOCK 11 turns the dancer into an “icon”. The room itself already holds tension. On the back wall four white screens are mounted. The floor is covered with white marley. The screens and the marley in their clarity chafe against the raw brick walls in the performance space of DOCK 11. Blurrily fragmented and jerkily slow, a camera moves over bodies, heads, and hands. It’s about people, their reflections in the video, the interaction of image and reality, what Walter Bickmann develops as “icon” in the course of an hour, solidly and quietly. [...] The first highlight is Zannou’s floor solo, which starts with a pointed finger of a lifted arm, using the arm as a motor. The body gets twisted into unreal sculptural figures, with an increasingly larger and faster tumble across the floor. Again and again in what follows, bodies are looking to burst open their limits. Taking over Zannou’s play with hands at first, the three dancers then fall into prismatic patterns, shaping them into liminal beings, grown together at the heads. That leads to two parallel duets, one head to head, the other with linked legs. Simultaneously their video images are sitting in tight chambers. What Bickmann created in this live dance alone, in terms of the organically woven togetherness with no loss of contact is unique in the Berlin scene. [...]
Volkmar Draeger, Neues Deutschland 29.06.2010

[...] the projections together with the dance display such a suggestive power, that from the first minute on a strong pull emanates from the events… in front of the screen the dancers move into an interplay of transgression and control. Distorted movement sequences, manic gestures or even hard floor contact [...] With ”Protect me from what I want” Walter Bickmann managed to create a dialogue between video and dance well worth seeing.
Annett Jaensch,, 12.11.08

[...] With his works between performance and video, sometimes presented in the theatre, sometimes within the framework of exhibitions, the choreographer and video artist Walter Bickmann seems to be rather a loner in Berlin. As a classically trained dancer he discovered his penchant for “walking the line” at an early point. Back then he switched abruptly from engagements as a ballet dancer, at, among others, the Vienna State Opera, to Johan Kresnik at the Berliner Volksbühne. Since then, in his own work, Bickmann shows body and objects from an unexpected point of view and puts them into an extreme relationship. [...]
Berliner Morgenpost, BerlinLive 31.10.08

[...] images that tell of an almost unbearable intensity of suffering, to be understood as an attempt  to orient oneself, fed by the pressing need to return to the essential, the origin, the reason for our being. Bickmann and Klement succeeded at impressive visual compositions, that pose the highest demands on them and that let the audience marvel at the multifaceted movements that two people can accomplish on stage [...]
Ilka Heiner, DerWesten, Westfälische Rundschau, 24.11.08

[...] In an experimental mix of dance- and video art, of poetry and ironie, “Close Up” asks the question “What is beautiful?”. Walter Bickmann shows how intimate and simultaneously public the human body is. [...]
tip Berlin Magazin, Ausgabe 2. - 15.11.2006

[...] Out of the dance film "JR's Stiefel" came a ludicrous, poetic grotesque about the crazy blending of TV world and reality [...]
taz, 02.07.2005

[...] inspired by the legendary 80’s series "Dallas", "JR's Stiefel" addresses, with just as much humour as poetry, the merging of imaginary and dream worlds in media and reality. Ambivalence is always part of Walter Bickmann’s multi-layered work, who understands how to asks socio-critical questions and connect them with a humorous approach. [...]
Berliner Zeitung, 14.07.05

[...] "Blaubart - die letzten Männer" at the Volksbühne, Berlin: In an explosive mix of word and movement Bickmann quotes Rainer Werner Fassbinder’s sadomasochistic marital drama as well as the offers of relevant fresh meat purveyors and statements from clients of mail-order-bride services. Walter Bickman, who used to dance for Johann Kresnik, finds his own strong images for the commitedly articulated subject. [...]
Berliner Zeitung, 18.12.1997

[...] Walter Bickmann sets a course for contemporary dance theatre…In each production he is guided by a clear idea, which he carves out consistently…[…] Consistently present is, in fact, an estrangement into the surreal, the dream-like, an absurd to macabre humor and a peculiar binding of motive and movement…Walter Bickmann, as his work in Stendal shows, carries the hopes of future dance theatre. [...]
Tanzarchiv 05.1993