BOMBSVILLE means creative destruction. A couple tears their apartment apart , dances and plays it to pieces and destroys the whole furniture by means. Until it looks as if a bomb had exploded. The liberation from every day's life, from habits, from posessions is complete and radical. Finally naked they are looking towards a new beginning.

The couple crosses borders with cooperative violence against objects and sometimes in a genderfight. Anger, craving and curiosity drives them to discover themselves in a new way. With unbelievable physical engagement they treat the furniture until it tears, splinters, bends and breaks. They play with each other, challenge each other, seduce each other and look for a new relationship to the object through alienating its use. Sleeping in a shelve, throwing cutlery, beating each other with tables, letting the bed dance, measuring the space with a standard lamp, falling with books, hanging at a coffe machine like a spider. The woman takes revenge at the furniture she is supposed to look after, with her body only she smashes a chair and tears its upholstery until the last wire out of its interior is knocked down. When everything is transformed to garbage in the corner they start to tear the clothes. In an insane act they tear each others pants, shirts and underwear. It is obviously not a trick and the clothes react in hilariously funny ways. At the end the man throws a cobblestone into the TV which implodes with a loud bang, liberating himself from the medium which manipulates us, standardizes our life. Naked they stand close to each other holding a pumpkin and watch the smoking ruins, a hopeful image of breaking out and starting new.

BOMBSVILLE is no orgy, the performers act with seriousness and perseverance. Is it perhaps just an image for life which processes everything to garbage? A kind of quick motion showing that human work means always destruction ? A drastic exhibition of consumption ? The imagery is manyfold and leaves it open. When at the applause both completely exhausted performers meet their audience the effect of their bodercrossing can be felt clearly also in the auditorium.

Le Soir

by Jean-Marie Wynants

“You've got to see it to believe it...Britta Lieberknecht, dancer, and Reinhard Gerum, actor, have succeeded in creating work that will make your hair stand on end, viollent and funny...images that crackle with electric power, they are unbvelievably tough,making the movie “Fatal attraction” by Zulawsky seem like a harmless kindergarden story.”

Die Tageszeitung

by Beate Ramm

“A complete work of art revealing new purposes of humans and objects.”



Duration: 60 Min.
By and with Britta Lieberknecht und Reinhard Gerum
Lighting Design: Marco Forcella
Music: Mike Batt
Text: Daniil Charms
Videodocumentation: Filmcoop Schlachthof Bremen
Trailer: Mathias Schwerbrock
Videostills: Filmcoop Schlachthof Bremen