22.-30.June 2017

Belluard Festival



(French, German,


21.April - 10.May 2016

Rimini Protokoll:

Truck Tracks Ruhr

Oberhausen, DE


An audio play on the act of looking: The place, or rather non-place, is the starting point for the experience created by Britt Hatzius. The audience looks out on to a wasteland. Through the headphones they are wearing, they listen to children describing that very scene. What starts out as a kind of hold, as a straightforward close observation exercise, gradually evolves into a more dynamic process as the young commentators start to imagine: what would have once stood on this piece of land? And what might occupy it in the future?

Britt Hatzius created the soundtrack during a workshop with local children. A poetic reflection on absence, the possible, and the traces left by the past in the context of the urban transformations Fribourg is witnessing.

The piece was created for Fribourg and is a commission by Belluard Festival. It was available as an audio track for 6 audience members at a time, available at the ticket office throughout the festival - available in French, German and English, recorded with three different groups of children, who are unrehearsed. All three language tracks will therefore differ from each other.



Direction / concept - Britt Hatzius

Special effects - Amir Bornstein

Assistant - Delphine Niederberger

Participating children - Cosma, Lola, Lucile, Angelina (FR)Fanny, Leo, Anna, Anastasia, (DE) Maxim, Miila, Nico, Florence (ENG)

FRIBOURG / Switzerland (Festival Belluard Bollwerk International)




Audio performance

Was sehen Erwachsene und was sehen Kinder? Während des 5-minütigen Blickes auf eine Brache hören wir Stimmen von 8-10jährigen aus Oberhausen, die eine Landschaft beschreiben, deren Ziel noch genau so wenig feststeht wie die Zukunft ebendieser Kinder.

What do adults see and what to children see? During this

5 minute view onto an abandoned field we hear voices of 8-10 year olds from Oberhausen describing a landscape whose future is just as uncertain as that of the children.

Unrehearsed speakers / Sprecher, ungeprobt - Ben, Felix and Rosalie

Commissioned by Rimini Protokoll (Stefan Kaegi) as part of TRUCK TRACKS RUHR 2016. Presented in cooperation with KURZFILMTAGE OBERHAUSEN, LUDWIGGALLERY SCHLOSS OBERHAUSEN and produced by URBANE KUENSTE RUHR: A truck becomes a mobile auditorium that drives through the city of Oberhausen, framing the city outside. 7 artists have been invited to create 7 audio tracks for 7 different locations in Oberhausen. Over the course of one year (2016-2017), 49 views will be ‘staged’ within Germany’s Ruhr Valley.

More info:

OBERHAUSEN / Germany (Rimini Protokoll Truck Tracks)


Documentation of Audio Track on Vimeo:

Photos: Marion Savoy

The audience stands along the edge of an empty site, a wilderness an the outskirts, or in the middle of the city.

They are listening to an audio track of children describing their view onto this site, in detail, as if they were standing next to them. The spectators’ eyes follow intently the childrens’ descriptions of what they see: yellow-ish-brown grass, a tall tree to the left, some stones or broken bricks to the right, deserted, with no one around.

Nothing happens, and the children start speculating what might or could happen here, live here, grow here, be built here - each of them with their own personal projection.

Nothing ‘happens’, still, until there’s a sudden jump back to the present: the ground starts moving, bulging, or shaking, the trees start swaying, the pebbles rattling, or the grass vibrating. The children continue to describe, but with a sense of disbelief. The familiar becomes unfamiliar, and the audience is becomes unsure of what is real and what imagined.

The piece is created site-specifically for each city it is presented in. The site is chosen in conversation with the hosting institution.

The intention here is to choose a site that is currently empty and that could potentially be built upon or undergo some kind of change in the future, or has done so in the recent past. Depending on the local context, the piece might tap into existing discussions, debates or plans regarding the chosen sites.

Following a one-day preparatory workshop, a  group of children (aged between 9 and 12) are invited, one by one, to each describe a 10-15min long video. The image recording is simply a video documentation of the chosen site, except that the video has been manipulated to include a soundtrack and added special effects which introduce subtle but uncanny interventions into the image.

These audio descriptions by the children are recorded and then edited down to an approx. 10min ‘audio performance’.