Reception, perception and apperception. These are the three stages of perception, as Gottfried Wilhelm Leibniz defines them in his 17nth century monodialogy. An inner principle, which he describes with the term "appetite", facilitates the change or the transition from one perception to another. Apperception is the stage of perception, which attentively considers the sensual experience, raises it into the conscious and establishes context, from which a decision for an action can be made.
Listening is a sensual experience, which we as humans can hardly elude. We can close our eyes, but we can only tap our ears. Hearing is inseparably connected to a sense of situation, to the experience, feel, and (self)perception of a body and its surroundings as well as the exchange between people. Perception of space is also always connected with the hearing sense. But when does the perception of the heard raise above the subliminal noise and turns into a conscious process? When does the perception of space turn into the perception of the human itself?
Stemming from the sculptural arts, my understanding of art is an understanding of shaping space. In my installations and objects I question the room, develop new spaces of perception and concentrate on the sound within. The discovered sound of things and surroundings is inspiration and foundation of my work. It is my material, from which, in accordance with the respective concept, I playfully explore and filter the purring, humming, clicking, crackling - the specific sound, the specific form.
My own acoustic experience is the body of resonance for an open production of insights. Thus, I for instance collect wind sounds and compose them over the years, make a train station resonate or discuss the neuro-scientific measurement of perception, by condensing the sound of MRI scanner used in brain research into a space-time composition.
In her performances, Daniela Lehmann wanders astray. With her dancing compositions she explores places only distantly associated with dance in the urban space. Her language of movement is inspired by these landscapes, by their textures and interacting population. A central method of her process is value-free scrutiny, which enables her to easily integrate odd gestures into her abstract dance compositions.
Thus, she designs personages, who dare to be regarded as weird and crazy by the viewer, e.g. with Mina - a solo performance which received the first price and audience award for The best German dance-solo at the euroscene festival.
Daniela Lehmann is a trained dancer and choreographer. She also studied sociology and philosophy. She is a member of the Zentralwerk e.V. and the TanzNetzDresden.
Time after time, she questions common structures and by means of her own curiosity transforms them into new combinations. This is also reflected in her production process, in which performing and fine artists work side by side with craftsmen and people of various professions. Recently, she worked with a clock-maker, an e-guitarist and a cellist on the piece NEBEN DER SPUR, premiering on September the 1st 2017 at the Zentralwerk Dresden, in wich the stage scape consist of a car wreck and 100 wheels.