a selection of feedbacks written by participants.

"A letter to the next PAS-participants.
I would call PAS and actually Johannes himself (btw, don’t forget to ask him, why BBB, cause I forgot) a Football match that can change you!
The whole week felt like a game in a way. Not because of “yeap, let’s laugh a little and kick some ball (-s?)”, but because you lose the sense of time, explore yourself through collective experience, and well, it is most definitely fun…Well…Except those times when a stupid inner artsy-fartsy-judge starts bullshitting and you feel like “something is still not there”, “this is not enough” etc. etc. So, in that moment – go ask the mister BBB some stupid question. Yea. Just ask. This kind of behavior (curiosity, reflection in loud voice, questioning) are so awesomely welcome in PAS. So enjoy and find things out.
…Aaaand you will play. Football. But be sure to get in a right team, or well…the BBB always wiiins!!!

- Larysa Bauge / # 50 | roots in motion / 2016

"As an actor, I’ve taken a number of “workshops” and abbreviated classes - everything ranging from text work to primal voice to physical theatre. I find most of these to be very insightful; offering new ways to work and be present. But most of them tend to center around “feeling it out” and getting in touch with a nebulous interpretation. These “workshops” are very hippy-dippy in that way.
What I found so refreshing about PAS was how practical the work is! There are solid practices and exercises to build tangible skills. The “script work” gave me a real understanding of a body as a line in space and it finally made the “golden cut” idea accessible - I can totally see how this is a skill that grows with time. The one minute proposals marathon, is an actual brainstorming and inspiration machine - that was absolute overload for me in the best way. The wall-collage! This approach to building cohesion and slapping images/thoughts up on a wall really grew on me. I know other artists that use some version of this method, and it never appealed to me. I’ve tried it and became frustrated with it. But having the room to be patient with it allowed me to realize what it can be - especially when I went back to it for inspiration to make the “Springsteen” piece. The wall worked like an echo-chamber. It bounced back everyone’s ideas/thoughts, and I found myself landing on a bit of information that I didn’t find inspiring before, but in that moment became crucial.
I very very very much appreciated the “there is no wrong or right” motto and you sticking to it! I have heard these very words from other teachers and then very quickly it is revealed that there is in fact a “wrong”. When that happens, I shut down and second guess my impulses…it’s debilitating and I’m in a state of fear. But throughout the PAS course I felt a growing freedom, a deeper confidence, and a respect for my gut impulses. And I would say that is attributed not only to the “no wrong or right” mentality, but as well to the strong ideology of researching materials. The more I researched, the more confident I could be in my choices; also the more a material or image revealed itself to me.

- Kevin Meehan / # 50 | roots in motion / 2016

"Just lately I was confronted with the gallery owner of an upcoming group exhibition/performance week. Upfront she was interested in two former pieces of mine - a life-size cut-out series which shows me and an older live performance I repeated three times. I told her not doing the performance, just showing the representatives of mine. Easy deal, I assumed. (But I already had you guys sitting in my neck, telling me what the heck I am doing...) - On the same night I met the guy who built the gadget for the specific performance. The performance is called "Performing documentation" and deals with Performance Art history as well as with the very moment. My experiences. The audience. The texts are typed, printed, conveyed through a converter belt and eventually shredded at the end of it. - We started talking and I told him that I am not able to do this performance anymore. "The time is over", I said. He responded that he thinks especially with this piece, it seems to be eternal as time and memory is part of the process (Places of duration). I answered: "But I have forgotten so much". - This trivial sentence came back to me two days later and made me think about this piece of art more closely and deeply again. What happens, if the oblivion, the new memories and experiences become part of the piece and the piece itself starts to tell its own (Performance Art) history? - And there it was: "Trust your image, your action, yourself!" - PAS-studies empowered me to take MY (Performance) Art more serious, called my attention to the structures of performances, co-performers in performances and especially really precisely to materials and objects. All in all I learnt a general attentiveness and it gave me the needed boost to grow up and risk."

- Veronika Merklein / # 38 | Places of duration / 2015

"It is not only the experience I gained, it is not only the opportunity getting to know people with different cultures, it is not only the feeling of creating in the field of performance and getting inspired passing from theory in action and experimenting artwork in time and space, it is not only the knowledge from the fine collaborations and teachers from around the world, it is not only the different places you get to see and how you experience the space having to produce art there nor the feeling of not being weird working among other artist exploring the same absurdity in their own unique way each one. It is not only the few words you may say and every participant in the group respects it despite the different opinion one may have and what so ever the quick decisions and actions that teachers had to take like Johannes did in addition everything would be arranged on time… With a few words it is all about communication.”

- Sophie Terlega / # 38 | Places of duration / 2015

"Meeting. We meet each other every day. But it is very rarely that we change the way how e perceive the world. Why? Maybe because we are used to listening, but not to hearing, looking but not seeing, touching but not really feeling ... Getting away from our habits is hard and most of the time hurtful. But it is the only way to make a change.
To make a change together - PAS is all about that.
Let's meet in a way that after it we cannot be the same. Opening doors and windows of our bodies."

- Ieva Savickaitė / # 37 | Critical Reflection / 2014

"Words cannot articulate how precious and beautiful PAS is. PAS is priceless.

My experience on PAStudies #35 has given me many tools for the future, both as a performer and as a person. I have learnt that performance could be a tool for communicating something about being human, it could be a tool for sharing and speaking out, and it could be for encouraging and inspiring. Performance can be for shaping and tuning the unknown into an experience in which we can all translate and relate to. Or it could be a tool for articulating the things that words cannot articulate.
PAStudies is a study for life not just for performance, it has enriched my thinking and has given me the hunger to keep asking questions. I am inspired and grateful for the experience."

- Vivian C. Ezugha / # 35 | Resistance / 2014

"I discovered PAS by chance on the internet and my desicion to join the studies was completely intuitive and I’m so glad I did it! This two weeks were a gift for me, a roadsigh, a wild discovery, a bunch of inspiration. Also sometimes a challenge, especially the living-and-working-together-situation: To arrange myself with having no private space and few private time was not always easy for me. But in the end I can very well understand this concept and estimate the sense and the worth of it: only through this intensity of sharing almost everything it is possible to establish this amazing common-sense and a deep trust level in a group of strangers – and I guess this is just a wonderful thing. I really have a deep respect for the dedication of Johannes and his team to performance art, the multiple and clever ways they have developped in order to mediate it and their openness towards the diversity of the participants.
in this two weeks I discovered new ways of creation and especially about the creative capacity of material. I found out a lot about myself, about creative processes and about the open field of performance art."

- Nina Willimann / # 32 | Absurdity / 2013

"I really enjoyed the directness and forwardness of Johannes. Everything was possible. At my University, there are always doubts and always „Think about it!“ - No! Let's do it! It was a strong experience in trust! Trust yourself, trust your images, trust your senses, trust your feeling for timing, trust your own personality. It was quite spiritual, without being „exhausting spiritual“ - there was room for experiment and for concept. But most of it, it was a lesson in IMAGES, and for that I'm really graceful!
Well organized! Perfect timing of tasks (if the participants would be perfectly on time … sorry again)! Great job, Monika! Thanks for the great pictures and I'm looking forward to see you again :)"

- Aron Lesnik / # 30 | the moment when the end surprises the beginning / 2013

"To me the PAStudies have been the door to a world I just sensed a part of it. Like the tip of an iceberg, and now knowing some of the larger dimensions under it: PAS has something like an Olympic spirit: you sweat, you bleed, you train, you project, … . For me it is impossible to separate art from my current life and the experience of living with so many people in one space, where cooking, sleeping, laughs, tears and the development of our performances has been like getting a bunch of keys to open a thousand locks which until now my brain had closed. With Johannes I have reinforced values in the culture I come from and they were filled until now with less meaning: perseverance, effort, strength, intelligence, intuition, responsibility, method, ... PAS helps you to get high on your artistic career and opens for you the door to improved public, best art galleries and top curators. PAS transcends the concept of workshop to get you to a higher stage where every day is a challenge for yourself, but sometimes you have to overcome this with the help of others. Performance is a great power, that in the wrong hands can cause much damage ... and here they teach you to control it. And if there is something that really I have learned these days. It is that the consequences are always inevitable, especially when the consequences want you to be a better artist and a better person."

- Emi Wilcox / # 27 | After Image / 2012

"PAS was the right choice at the right moment with the right people. Immediately the question rises in me ‘do you create these moments yourself?’
Raising questions I learned during PAS is something vital for me, it gives air and it helps me developing my work and my thoughts. Answering them is not directly a goal, asking more questions is helpful.
My goal for these studies was to learn about my own working process. I know now that it is most important for me to create a situation in which I allow myself to research, to make mistakes. To enjoy this process is something that I will be aware of forever and I can start with ride away.
I was also searching for a new way to re-implement objects in my work. I didn’t find the answer how to, but I did find possible ways to start working with objects and space as a beginning and on the other hand simultaneously work on the content. The great thing is that this ways of working I already knew from my past work, but I forgot about it because I decided it was not me.
Can you still follow me?
In this PAS you gave me and the group an amazing energy and pile of thoughts to ‘re’think about. What is most special is the way you built it up, the endless trust and the professional but practical approach.
I can recommend PAS to everyone who is open for active work research.
Doing this within a group gives you remarkable feedback and valuable possibilities, all in a such a speedy tempo that it makes you spin so hard that it becomes clear again."

- Kirsten Heshusius / # 26 | Object trouvé / 2012

"I'm really glad that I joined the PAS study because it was exactly what I needed. Some people that give me a kick in the ass :)
The study helped me to find out what my strength and what my weakness is and how I can work with it. During this studies I found out what I like about performances and that I'm more a long duration performer then a short one.
You are both really good teachers, with different backgrounds and influences. For my opinion you approach everybody on personal way, what is best for them, I like that. You put some pressure on me, to make my head overloaded with ideas and at a point where I should make decisions and I couldn't, this difficult part helped me to make some bigger steps, thanks for that. It was really good that Johannes told me to draw (thanks for that because I can now see also the value of my sketches, before I always find them too ugly) and always make the performances one step higher by saying some critical notes about the title or I should also make 20 minutes performances with the stones as one part of the performances (while I know I rather make long duration performances, because I find it difficult to make beginnings and endings)."

- Liesje van den Berk / # 20 | in context / 2011

"It was my second time I took part in PAStudies. It was very special because it was 20th (!!!) PAS and this way I realized, that it's not true that only ass kissers with their huge asshole companies can survive for this many years....Johannes, Marcel and the whole crew are great for everybody, fair and friendly, they are active artists themselves, and this guarantees another, best quality of all the corrections they're giving, and conversations. I think that they won't ever kiss any butt because they're just really good with what they're doing. That's definitely enough to remain true for life!
I must say that I've learned a lot. That was the first time I was concentrated non- stop for such a long time, always thinking about what I've heard and new ideas. I was sweating a lot there, but I was not really tiring... I will quote Johannes: " Don't thank us, demand more".
Diversity of guest lecturers, was composed very nice. I liked very much that you can confront what you've heard the day before with what you're hearing in the moment...this way you reduce and accept some aspects from all the lectures, creating your own definition of performance art and art itself.
I hope that I will have more opportunities to cooperate with those dudes. I miss them, I miss Berlin, I miss other workshop participants, I miss Beuys!
I want more again!"

- Krzysztof Kaczmar / # 20 | in context / 2011

"When I look back, since I left Oslo the 6th of august at 23:00 until I came back the 18th at 05:20, everything seems like a 12 days performance.
I loose my bag on the way down, I got it back on my return, while I was in Radom I borrowed clothes form the others, I felt them using their piece of fabric. I got lost, I found myself, I had not enough time, but I had really enough…
The Global Communication studies was a door of personal research, and meetings, in witch I learned a lot about myself. I developed more my body, as a way of communication, as silence, as language...

This studies was not “just” performance art studies. There was more behind. It was a box of experiences, like a box of candies, that surprises you every day, with sweet and sour… You get confronted, not only with performance, also with another country, culture, with different people, you get confronted with coexisting together in a space, and to make this space yours (Form Bursa to Bursa Academy).
I enjoyed a lot this study session, and if I have the opportunity I will for sure participate again with BBB Johannes Deimling, because this kind of course gives you the opportunity to develop and create with others, work together in a team, as well individually. The space, the surroundings inspires you and gives new motivations, that is why I would also recommend it, not only for students or young artists, also for artists that are more experienced, because for all of us it is important to get new perspectives, fresh ideas, and to get impulses from others. It is always a present to work in a group!

I had no expectations when I got to Radom, and I went back with my pockets full of new “candies”."

- Franzisca Siegrist Schmid / # 11 | global communication / 2009

"The reason why I took part in the Global Communication studies was that I participated in one of BBB Johannes Deimling's previous studies at Norwegian Theatre Academy in Fredrikstad, Norway where I studied scenography. In the previous studies I found an interest in using my own body as mean of expression in addition to my interest in installation art and theatre. The Global Communication studies gave me the possibility to deepen my journey into my own body, and to explore my own presence when intently working on awareness on my surroundings and the audience. Seeing performances created by experienced artists during the festival was also an eye-opening experience on how I would and would not like to work. I find great joy in working with Johannes as he has a contagiously engaged and positive energy which give a lot of freedom for creation as his student.

The week in Radom also gave me a bundle of new friends. They are all people I am very happy to have met, and each and every one of them have left a mark in me. This happens when you meet in a situation where everyone gives, takes and shares of themselves in a common work of creation like in this studies."

- Susanne Irene Fjørtoft / # 11 | global communication / 2009

"For me it was the event of the year - absolutely valuable process of work.
I learned to trust myself and I found out what performance might be. It is a very real thing. Performance contains real feelings, environment and situation which the performer is able to create. Or at least is performance the situation where performer is able to be in. To express this thought more clearly I make comparison: It is the same real as swimming in real water or to sincerly fall in love in someone.
Also I learned to trust the process of work and the way it leads to complete work.
And I got important knowlege of time. I saw how long time is one hour or one day. I could make lots of decisions and construct a piece of art within hours. But it also counts, what kind of time has been before these hours. The preparation time also counts, probably the preparation time made these hours and days before the final presentation so fruitful.
During the preparation and practicing time I was very surprised of the the other participants. I was amazed to see their intimate sides coming out in their works, like I had never expected. Each one of these people surprised me in very good way.
I also enjoyed the studies socially as personalities started to draw out in front of my eyes. As well as I got the new knowledge of the abstract concept of human being, about the similar and different sides."

- mai sööt / # 07 | grass and asphalt / 2009

"Yes, this time was very remarkable for me, it helped me to keep on going my way and always to remember, I have to live my life! No matter what happened to me or all the blows of fate, I manage to survive through the power and energy that I could gather from this time. And if the sorrows or doubts are coming back it helps me to think again about this time. Just this memory gives me the power and strength to keep on fighting, to follow my way. I do not know exactly what happened to me during this time, but it changed me fundamentally in my deepest inner. I've learned to find myself! To fight for my dreams. Always believing in me and that there are people who stands for me. That's a great feeling !!!!!"

- Fiona S. / PASyouth just feel it / 2009