Newsblog

08. 06. 2017
Dear colleagues,

The Tanzquartier Wien invites artists from the areas of choreography, dance and performance to a first information meeting.
Bettina Kogler, artistic director of Tanzquartier Wien from 2018, will outline the first conceptual ideas and present the new team for the artistic and training program. In addition, we will discuss the situation of Tanzquartier Wien in the second half of 2017. Afterwards, the Tanzquartier Wien team will be available for open questions.

We are looking forward to seeing you!

Time: Wednesday, 14 June from 17 to 19 clock
Location: Studio 1, Tanzquartier Wien
with kindly regards


Bettina Kogler                                         Ulrike Heider-Lintschinger
(Artistic Director starting 2018)            (Managing Director)
28. 04. 2017

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01. 03. 2017

Combined Ticket available at the daily box office for 22 Euro (instead of 32 Euro)

METTE INGVARTSEN
Speculations
 
WED 1. MARCH + THUR 2 MARCH
19.30  in TQW / Halle G
Austrian Premiere

 

+

MEG STUART
 
THUR 20 APRIL + FRI 21 APRIL
19.30 in TQW / Halle G
Austrian Premiere
 
 
 

With support from Flemish Government.

27. 09. 2016
THE LOOSE COLLECTIVE is looking for 6-8 dancers with or without dance education (f/m) to appear as "extras" in the production On Earth at TQW / Halle G.
 
Workshop/Audition (1 hour): 27 SEPT, 13 h in TQW / Studio
 
Rehearsal (3 hours): 4 OCT , ABP Studio
 
Vienna General Rehearsal in TQW / Halle G (2 hours): 13 OCT
 
Performances in TQW / Halle G: 14 +15 OCT 19.30 h
 
Halle G Compensation: 200 EURO
 
20. 09. 2016

Presentation of the program by Walter Heun (Artistic Direction), Gabrielle Cram (Dramaturgy) and Krassimira Kruschkova (Theory) in TQW / Studios.

21. 06. 2016
There is a call for applications for a 6-month fellowship at the Tanzquartier Wien, starting in September 2016.
The fellowship offers the opportunity to gain insight into the processes of realisation in the areas of production/theory-and media-centre/marketing based on the principle of job-rotation in one of
the most prestigious institutions for contemporary dance and performance. As well as
experiencing contemporary international and national developments in the field and to actively
take part in the realisation of the program.

We expect an attendance of 40 hours in order to enable a trans-cultural exchange with the Tanzquartier Wien.
Additionally we would wish for a productive and critical way of dealing with the institution from a migrant perspective, considering that the goal is also that the institution “learns” from their fellows.
The fellowship is endowed with 1400 EURO on a monthly basis, over the time-span of 6 months. It will be paid by kültüř gemma!.

In the end the fellows are expected to sum up their experiences in a 5-page project report that will complete the fellowship.

Qualifications
Interest in contemporary dance and performance Knowledge of written as well as spoken English
Knowledge of MS-Office
General computer skills
Enjoyment of organisation, accuracy, as well as independence

Current working permit
Residence in Vienna
Application documents

For your application we require:
A1-page motivational letter, that clearly states why you have decided to apply specifically for this institution. Additionally, a max. 2-page biography, however it is important to note here that it must not adhere to a classic CV format, and can be personally designed.
 
Deadline is July 8th 2016
Begin of fellowship is September 1 2016
The fellows are selected by kültüř gemma! together with the Tanzquartier Wien

Please apply to fellowship [at] kueltuergemma [dot] at

13. 04. 2016
Audition: Saint Genet – “Is this the promised End” @ Wiener Festwochen 2017
In coproduktion with Tanzquartier Wien
 
Tuesday May 10, 2016 / 14:00-17:00 (start registration and warm-up 13.30)
Tanzquartier Wien/Studios
 
Saint Genet is a company directed by Derrick Ryan Claude Mitchell that creates large scale, environmental installations, image-based opera, body-based performance and dance. Saint Genet has presented work in varied and lauded venues such as the Guggenheim Museum (New York), the Frye Art Museum, On the Boards, the donaufestival, the Luminato Festival, and any number of abandoned buildings, alleyways, and secret loft locations. Currently Saint Genet has been commissioned to create a series of installations and performances premiering at the donaufestival in April 2016 and Wiener Festwochen 2017 by the donaufestival and Wiener Festwochen, with supporting partners Kunsthalle Krems, and Tanzquartier Wien.
 
We are currently seeking cast dancers (with an interest and background in contemporary body and text based performance practice), for a month long creation period with 5 performances to immediately follow of our largest piece to date "Is This The Promised End" premiering at Wiener Festwochen 2017. We are proactively looking to cast outside the normative idealized "dancer body" and want to stress that all ages, shapes, sizes, genders, ethnicities, and training backgrounds will be celebrated and encouraged in this audition.
 
Our current choreographic process is a collaborative one that draws upon the dancer’s ability to execute movement with rigor and curiosity. Saint Genet strives to blur the lines between trained and untrained dancers and performers by creating a series of performance modalities, which may include text, exhaustive performance action, and substances used to elevate the artist into a “hysteric of heightened state”. Our dance language draws on repetitive and durative movements to excavate the body’s potential through endurance and strength; as well as, the ability to articulate with softness, elegance, and attention to detail the power of failure.
 
In the audition we will traverse a kinetic dialogue between guided improvisation and highly structured material from the work. Artists with a professional background in improvisation and partnering, who are open to generating material, navigating a full spectrum of dancing that includes the virtuosic, the subtle, and the hidden; inhabiting psychical and psychological choreography. Dancers must also have interest in co-creating with non-dance trained company members.
Language: English
 
Links to Saint Genet work:
 
Link to Matt Drews (Choreography):
Dates
Dancers are expected to attend 4 weeks of rehearsals that will take place at Tanzquartier Wien/Studios and Halle G (final stage rehearsals) from April 18 until May 12, 2017 (except Sundays)
5 performances between May 13 and May 19, 2017 (precise dates to be confirmed) in Halle G
 
Info and Application:
Lenneke Willemsen, Casting/Produktion Wiener Festwochen
Please send a CV to: l [dot] willemsen [at] festwochen [dot] at
 
 
Biographies
 
Derrick Ryan Claude Mitchell creates large-scale pieces that range from symphonies and experimental plays in abandoned buildings, to 6 hour performances in museum reflecting pools, boxing matches in filthy alleyways, rooftop performances atop doomed domiciles, ether induced “madness opera”, grandiose architectural wakes, and sublime blood fueled social reckonings. His pieces are neither purely plays or performance art commodity; neither complete spectacle or didactic diatribe. They are works that are vanishing.  Mitchell was co-founder and director of revolutionary theatre company Implied Violence , where he wrote, produced and directed 29 major pieces, and was  awarded Robert Wilson’s prestigious Watermill Residency, as well as The Stranger Genius Award. His works have been seen nationally and internationally, including a museum exhibition Implied Violence: Yes and More and Yes and Why (The Frye Art Museum, 2010), with avant-pop trio The Dead Science (2007), at the esteemed and daring donaufestival, “The Dorothy K: The Plague of Marcus” a collaboration with Zac Pennington of Parenthetical Girls (2010), and curated by Robert Wilson for The Guggenheim NYC’s Works and Process Festival (2011). He founded Saint Genet and presented "Transports of Delirium" in August, 2011 and in February of 2012  co-curated The Frye Art Museum’s Moment Magnitude exhibition while curating Moment Magnitude he  was co-commissioned by The Luminato Festival (Toronto, Canada) and donaufestival (Krems, Austria) to create the large-scale experimental opera "Paradisiacal Rites". "Paradisiacal Rites" premiered in at donaufestival in April of 2013 and in The United States at On the Boards in May of 2013 where he also created a series of satellite performance projects including the re-creation of Christopher Burden’s "Shoot".
 
Matt Drews is a movement artist who oscillates between the realms of dance, yoga + performance. His creative roles aqueous as choreographer, performer + teacher. He facilitates states of experience for bodies to investigate movement with a heightened lens toward healing, presence + ritual. He studied at Naropa University + holds a BFA in Dance from Cornish College of the Arts. His work has been produced at donaufestival, Decibel Electronic Music Festival, On the Boards + Velocity Dance Center. He has collaborated with Ate9 dANCE cOMPANY(L.A.), tEEth Performance (PDX), Saint Genet (SEA), Kate Wallich + the YC (SEA), among others.
 
 
23. 03. 2016
 
interviewed by Christian Keller (tanznetz.de) within the context of SYNÆSTHESIA3
 
 
Tonight you performed at SYNÆSTHESIA3 and the first thing one is always being struck by at your performances is a certain lightness and humour of it even though the subject-matter of your songs has to do with issues of patriarchy and gender.
 
JR: When I started to record the last album, All Love’s legal, I knew that there were heavy issues that I wanted to discover and investigate for myself. And I think that if you make work that is confrontational and closed, where you make statements and no one can have any access to it, it is not going to go anywhere. You can be opinionated and critically thinking but you also have to remain open so that you might even change your mind about your previous ideas later on. So I really wanted to have that feeling in the record and with the lyrics. So I am saying particular things but when there is this space for anybody else's feelings so that they can own it for themselves.
 
The possibilities of opening up are certainly to be encouraged within the structures of our society but are such poles of orientation as male or female role models and given norms and regulations are not also helpful or even the basis for social encounter?
 
JR: It is so complex. Every individual has an economic circumstance, class, culture, the whole baggage and so everybody is very different. And of course for some people it is even hard to have the time to think about gender because they simply cannot afford it. They have got like three jobs. But for people who are privileged to have time to think about these things and discuss it…It is interesting what you say about norms though because about ten years ago when I first started making music there was this one track on my first record where I tried to talk a little bit about feminism. This was one of my early attempts. And then in interviews I tried to bring up feminism and they were like 'uh, no, no, not the f word'. For years it was like this and now it is totally fine. So this for example, if that becomes a normality then let's embrace it. But it is also about the language around it because the language constitutes the thinking process and the language offers the accessibility. That is basically what happened to me. Through fortunate friendships and also just reading a lot and then I suddenly found the vocabulary to put the words to the shit that was happening, to your own experiences.
The last record was really for myself. I have been thinking about this stuff and been encountering it on a daily basis. And I feel like music is just such a fantastic, very fast language and I can use and I can explore those issues with it.
 
Those issues you tackle with your music seem to have changed or at least their terms have changed over the course of the years. For example, in the early days of feminism it had been thought of as a very confrontational and nearly aggressive female interference with society. So the role and the liberation of women seemed to be the only and principal element. And nowadays we even include the role of an accepted and respected male component as an essential and equal integral of the term feminism. Feminism has adjusted itself from emancipation to mutual equality.
 
JR: It is very important that people identified as male can definitely have the agency to say I am a feminist. And concerning the public opinion on feminism over the years: when you say the early feminism was about women's anger and aggression you could also say it was about will. But then, I know, you also have white feminism and women of colour being excluded from feminism. And that still happens. So thank goodness for Beyoncé basically owning feminism, being on a massive stage with feminism slapped on the back and saying feminism is for women of all colour. So she is such a great role model in that way.
It is funny with gender though because if you say masculinity and femininity and then you go on to think about transgenderism… - which I personally feel is one of the most important movements in our society in terms of challenging notions of gender because it is such a construct. And still, this split sets of gender is a reality. When you look at all the articles of parents, of people having kids and suddenly they go shopping and it is all just carts full of blue or carts full of pink. That is just nuts, this sort of fascist like conditioning…
 
Regarding your collaboration with Ian Kaler: to what extent do your joint projects use that same approach to the previously mentioned topics or is it just a completely different line of work? In other words, what is the quintessence of your work together?
 
JR: I am very lucky in that I have been approached quite often by choreographers to work with them. It has never worked out though or I never felt like it was my thing but after touring All love's legal I wanted to take a break and then Ian approached me. And I liked him instantly and I liked his work and I thought this is interesting. So it came at the right time for me. I had done three solo records and this opera [Tomorrow, In a Year] and it felt like a lot. And so at this time I felt ready to just make music and to facilitate something else, somebody else's subject matter in a way. And it has been amazing so far even though it has been just a year of working together. And we have build these pieces from nothing. Literally like in a room together and let's just see what can happen. And I really learned a lot. It sounds a bit nerdy but I enjoyed just focusing on my musical skills. For example, I had to live jam. For emotionality of the jaw, the first piece of the series I invited my friend Houeida Hedfi who is a percussionist and musician from Tunis. And that was new to me because just jamming together live was new to me. I had never really done this before. I always recorded so much on my own, in the solitude. So it was really fun to engage in something that was not about me and my music but about someone else's subject matter.
 
Unlike many other musicians you never label yourself with a sort of corporate identity or any other expectable consumption-oriented attribute that would tag your personality, genre etc.
 
JR: I think some of the musicians like to do that to themselves because they have their musician heroes. And they also like to style themselves into that too. If you probably ask them they will tell you a list of names and then you can see some similarities or anyway that is where they see themselves going. But those are musicians that very consciously go into music with an idea of – not that they do not have any integrity but they are very clear of that they are a commodity. They are in business.
For me it was very different. I got kicked out of school when I was fourteen. So I do not have any education. Literally no GCSEs or any other exam certificates. Basically I have hustled my way all along. There is me and my sister. She is autistic. I come from a working class family. So I was not brought up with a sense of entitlement. So I have always been like let us just hope things work out. And so I feel really bloody lucky when things work out for me. When I was in Berlin I was working in a museum, I was doing the lighting, that was my job. And I was making music quietly on my own. But then I was fortunate to meet other musicians and so I started thinking: okay, this could actually be a career of some sort. But so I had to be super autodidact and this I idea of becoming a star or any of that sort never occurred to me. And up to this date I do not think this is something that interests me. I love performing and I love audiences and sharing with them but it could happen that I actually stop making music at one point.
 
To this day the regular middle-class people still tend to define one another through the inquiry of what is one's profession. Did this ever happen to you with your family?
 
JR: It took me a while to know I was from a class until I was in a situation where people told me I had a dialect. It is not there anymore because I have been here too long but my life was not planned out. My dad was super working class. It was more like we survived. You know, that is what you do. You simply do not have this sense of entitlement. I cannot put it any other way. I am amazed when you meet people from middle class or the upper middle class and they tell you 'Yes, I am going to do this and then this and then I do that and that…' It is just super naïve. It astounds me even now that I am older. But I took me years to put the words to it, to find the books and the people who actually write about this stuff. I am currently reading a lot of bell hooks, a really amazing autodidact and thinker. She is a woman of colour so she writes a lot about racism and social constructs. There is a lot of things that she writes about that really resonate in me in terms of class. If you are working-class, you are always coming from the most subjective perspective. You are more emotional and not as detached. But I am just building up this massive tension here [laughs]…Anyways, bell hooks is a very interesting writer and I am reading a lot about her at the moment.
 
Going back to your music: one cannot help but think of your music as a certain play with intuition. Would you yourself refer to your way of making music as partly naïve?
 
JR: It sometimes happens that I do not question my motives so much but there was something very deliberate and strategic about All love's legal. The lyrics and title for example. They are really, really minimal. And they were kind of a play with slogans, like Misogyny Drop Dead which I still think is hilarious as a title. They are all kind of funny but intense. And they are not only simple but also basically all I want to say. I just want Misogyny to drop dead and Patriarchy to get out of the way.
Still, writing the album was a very personal breakthrough because I had finished W and there I had really tried to do something political and it failed. No one got it because I had been fanning about with being poetic or whatever. So I was like: Okay, this is not working. And I really had a moment where I thought what do I want to use music for. Because I can make albums and they all sound nice but so fucking what, there is lots of nice music out there. Then I set myself an exercise which was to write something about patriarchy - because at that time I was reading a lot about patriarchy as a construct – and how can I do that in a way where it is open and not pushing people away. And I asked myself what do I want with patriarchy. And I said I want it to get out of the way. It is in the way of our futures. So that is what I wrote. And though its sound very, very simple, it was an important and crucial exercise for me. So I had worked out a way to say something that was very, very direct but somehow not in your face at the same time.
 
Lastly, what is your opinion on all the contemporary institutions of art and high culture? And how do you respond to the idea of the museum or theatre as an isolated space solely dedicated to artistic realisation?
 
JR: Museums are such strange places. I was recently in the portrait gallery. I took Ian there when we were in London. I said: Let's go there, let's check it out. I almost vomited. They are so in denial of their colonist past and the history of the empire. I was embarrassed. I thought it was disgusting. But I find it so tough right now with all that art industry. And I think why are they heating all this art when there is asylum seekers that have nowhere to stay. And they are just heating all this shit. Who gives a damn about this art. Who is this art for? I really wonder about that; the hierarchy, the elitism and the business in art. But also the history of art: that folk and craft was always looked down upon and still is. Who is deciding what the quality of it is? I have a lot of artist friends and no one really says anything, it is really mostly about who is buying and if they have got a galerist or two and maybe one in New York. Or artists just whinging that they got no stipendium or whatever. So I ask myself what is all of this about and who is it for? I think about that in music too. I wonder who is this music for? And then who has the time to be culturally productive? I mean, I just about live off what I do which I feel is a personal achievement. I have somehow managed to do something that no one else can do because in a way I am doing it. But sometimes I think I should be teaching or working in a hospital or do something that has a bit more purpose…big topics [laughs]. You have started it with your questions!
 
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