Untitled (Unfold, Nan Hoover)

Residency at Devir-Capa - Centro de Artes Performativas do Algarve, Faro, Portugal ( 18/9 - 2/10 2019

Untitled (Unfold, Nan Hoover)
Preliminary Research on Reinterpretation and the work of Nan Hoover (2015-2019)


Vera Sofia Mota & Fransien van der Putt


Untitled (Unfold, Nan Hoover) Is the title of the collaborative research by Portuguese choreographer based in Berlin Vera Sofia Mota and Dutch dramaturg based in Amsterdam Fransien van der Putt, on the work of the visual, performative artist, video art pioneer, Nan Hoover (New York 1931 – Berlin 2008).
The work is commissioned by LIMA Amsterdam (, and emerged in the frame of their project UNFOLD: Mediation by Re-interpretation (2016/2017 -, for which, a group of researchers and artists were invited by LIMA to investigate reinterpretation as a modus operandi for documentation, preservation and mediation of video and digital media art.
Nan Hoover is among the most well known pioneers of video, installation and performance art. With a background in drawing and painting, Hoover worked with video and performance since the 70s, first from Amsterdam and Dusseldorf, and later on from Berlin, where she died in 2008. LIMA is one of her great distributers, also holding big part of her paper work on behalf of the Nan Hoover Foundation (
To support and inspire the practice of preservation and mediation of video works in the collection of LIMA, we are exploring the possibilities of reinterpretation. As choreographer and dramaturge we propose reinterpretation in relation to dramaturgy as a way to map and deal with non-object or transitory aspects of works of art.
In our research we have been considering questions like: What could re-interpretation of another artist's work mean? Which kind of processes and relations are being produced when re-interpreting? Copy, quote, re-enact, de/re-construct or de/re-compose - what kind of choices are relevant to what cause?

Vera Sofia Mota & Fransien van der Putt, 2018


Fransien van der Putt (1965) is a critic and dramaturge. She writes for several magazines, currently: Theatermaker,, and Dansmagazine. Invited by in 2015, together with choreographer Vera Sofia Mota she has been independently researching the work of video-, installation and performance art pioneer Nan Hoover. Between 2011 and 2015 she developed a minor-program for the BA Dance, Artez, Arnhem. In 2018 she was again teaching at Artez, now at the Master of Theater Practices, on the phenomenon of fair practice. Between 1989 and 2001 Fransien mixed text and sound at Radio 100. Between 1989 and 1997 she wrote for the only Dutch dance, mime and performance magazine Notes. She studied performance studies at UVA, Amsterdam between 1984 and 1990. Fransien has a special interest in the role of discourse and archiving and how theatre- and dance practices are being re-presented. She wrote her BA thesis on the paradoxal character of the discourse on dance in The Netherlands. She likes to think of choreography as an expanded practice, intersecting with very different practices from dance and performance, physical theatre and mime, to music –, text – and object theatre, video or film. Her dramaturgical practice focuses on post-disciplinary work, although through the years she has been and still is collaborating with people working in new or contemporary dance.

Vera Sofia Mota (1982) is a Portuguese multidisciplinary artist based in Berlin since 2011. She studied choreography, performance, philosophy and yoga in Portugal, the Netherlands, Germany and India. Bachelor in Dance by the Superior School of Dance of Lisbon (2006), Research and Choreographic Creation Course at the Forum Dança Lisbon (2006), Master in Philosophy - Aesthetics (attendance, 2009-10) at the FCSH, New University of Lisbon, Master in Choreography/Theatre Practices at ArtEZ - University of Arts in Arnhem, the Netherlands (2016). Vera is also a certified Yoga teacher (Hatha, Vinyasa) 720h / 500h Yoga Alliance, Shala Yoga in Berlin (2018). She has been developing her work as a creator, researcher and teacher in these areas. She emphasizes the work with João Fiadeiro and RE.AL in Lisbon during 2006-10 in the research on his compositional method, the Real Time Composition, with RE.AL, where she did her first creations, and the long-term and diverse collaboration with Fransien van der Putt since 2010 in different projects, formats, positions and contexts. Her body of works includes the pieces: The Passion of Our Lord Jesus Christ According to the Evangelist Matthew (2008), There's always a chord I miss (2008), There is no love like the first (2009) It's that a world all alive has the strength of a Hell (2010), Second love I (2012), We seek everywhere what is beyond things, but what we ever find are only things (2013), Third Lover (2015), Second Love II (2014), Fake Love (r) (2015), Modern Love (2015), We are alone with everything we love (2015), Incredible Love (2016), Love is not Art (2017), A dead woman's a strange thing (2019). Her research project at the MA at ArtEZ in the Netherlands was entitled Multiplicity in Practice: Emergent Compositions - a study of how 'many things' relate ecologically in art and life and how this plurality of relationships can be practiced ethically, politically and artistically. At the invitation of LIMA Amsterdam, in collaboration with Fransien van der Putt, Vera has been researching the work of the visual and performance artist, pioneer of video art, Nan Hoover (New York, 1931 - Berlin, 2008) and reinterpretation as a possible modus operandi for the documentation, preservation and mediation of video, media and digital art.

Photo: Vera Sofia Mota & Fransien van der Putt visiting Nan Hoover's archive at LIMA, Amsterdam, June 2019.



© Vera Sofia Mota 2018