28. 01. 2016


Part of SYNÆSTHESIA3 on March 12

Liquid Loft presents at the occasion of SYNÆSTHESIA3 an excerpt from the current production process. Cinematic set pieces and the own fictional past of the performers in the ""Imploding Portraits Inevitable"-series serve as reference-points for a performance in which the real and virtual, physical and projected
get mixed together inevitably.
By using two live cameras a real-virtual space is generated by light and projection feedback.
The shifts or overlappings of film and live performance give rises of feedback loops, which split and multiply the action on stage ceaselessly.
PERFORMANCE: Stephanie Cumming, Katharina Meves, Karin Pauer
LIGHT- & STAGE DESIGN: Thomas Jelinek
Liquid Loft was founded in 2005 by choreographer Chris Haring together with musician Andreas Berger, dancer Stephanie Cumming and dramaturge Thomas Jelinek. In their performances and installations, Liquid Loft interconnect contemporary dance directly with other forms of contemporary art, in order to create a cohesive all-embracing piece of art. Their idiosyncratic visual and formal language, their distinctive acoustic stage-sets and professional dance production have earned Liquid Loft international recognition and awards like the Golden Lion for "Best Performance" at the 2007 Biennale in Venice.


28. 01. 2016

PLANNINGTOROCK (Human Level / DFA) - Live AV

Part of SYNÆSTHESIA3 on March 12

Disruption and interference aren’t words you ordinarily associate with pop or dance music, but Planningtorock is on a mission to unseat all norms. On her new album All Love’s Legal, she leaves you in no doubt as to the seriousness of her vision of transnational gender equality. Surprisingly, given that Western dance music is born out of black, queer music, it rarely touches upon these themes, but All Love’s Legal is a refreshingly direct statement of political intent.
For Jam Rostron, the Bolton-born, Berlin-based artist behind the multimedia recording and performance project Planningtorock, All Love’s Legal is both an extension of her previous work and a refinement of its ideas and sonics. Planningtorock has always incorporated politics into her music, but this is by far her most explicitly political record yet. It follows W, which was released on DFA in 2011, and her 2006 debut album Have It All, as well as Tomorrow, In A Year, her acclaimed collaboration with Mt. Sims and The Knife. With a refined sonic palette, focused political intent, and a new name – having changed it from Janine to Jam – Planningtorock embarks on an exciting new phase.
After the W tour came to a close, Planningtorock had something of a creative crisis. She realised she wanted to create music that made her feel inspired and liberated. The outcome of this was Patriarchy Over and Out, the A-side of the first release on her Human Level label. In line with her goal of creating liberating music, Planningtorock’s lyrics on All Love’s Legal don’t instruct or patronise, but open up a space for the discussion of gender and identity. On Human Drama, she sings, “Gender’s just a lie.” It’s a feminist lyric, but hardly a typical communication of equality or declaration of solidarity. Instead it invites people to form their own opinions. The lyrics of songs like Human Drama, Let’s Talk About Gender Baby and Beyond Binary Binds similarly inspire thought rather than asserting one point of view. Crucially, All Love’s Legal speaks to people of all genders, and Planningtorock addresses not specific individuals or groups, but humanity as a whole.
To discuss the very real oppression of people, Planningtorock treats concepts as entities, tackling whole oppressive systems from top to bottom. She has no intention of attacking individuals in order to bring down patriarchy. Instead, she “goes for the jugular of the idea itself,” as she puts it, literally telling patriarchy to “get out of the way.” But for all the importance of her subject matter, Planningtorock’s sense of humour shines throughout this record. Who would have thought the deconstruction of calcified thought systems could be such fun? But fun it is, and dance music is the perfect vehicle for Planningtorock’s themes. Her perspective is an intersectional one, with the spirit of enquiry extended to feminism itself. By framing challenging topics within dance music, she ensures anyone can access her messages.
And the music itself? It’s as thrilling, direct and forward thinking as the intent behind it, yet subtle and intricate, too. For every sensuous groove there’s a beat that threatens to slip out of the confines of the grid, a sliding tempo or a shift in a whole song’s tone. There are musical precedents, but All Love’s Legal marches firmly to the beat of its own drum.
Where on W, Planningtorock mapped her political intent onto a canvas of bubbling electronics and instrumentation, on All Love’s Legal her themes are embedded in the very fabric of the album, woven into every beat, synth line and string passage. The musical and lyrical aspects of All Love’s Legal are equally important, and Planningtorock works towards queering sonics. Her technique of pitching down and processing her magnetic voice into de-genderized tones enables her to confront received ideas of femininity head-on, and that she composed, recorded, played and produced All Love’s Legal in its entirety also lays waste to what she describes as a “sickness within society, the genderization of intellect and skill in almost any profession.” She is also directing the series of videos that will accompany the album.
Though Planningtorock’s voice is an extraordinary instrument, it’s part of a wider network of disruptive sound. Misogyny Drop Dead may be a house track, but its off-kilter timings mean it’s far from straightforward four-to-the-floor music, though its opening chaos settles into a deep groove you can get lost in. The synthesised horns of Public Love may be confrontational, but the riff they’re shaped into an earworming riff. When Planningtorock’s voice enters it feels visceral and potent even though it’s processed Beyond Binary Binds is a wonderfully disorienting, disco-influenced instrumental that opens with a slinky synth melody but tumbles into a woozy noodling of synth squiggles. The contrast with Purple Love couldn’t be greater. Although both are interludes, Purple Love consists almost entirely of Planningtorock’s a cappella singing - both lyrics and pre-linguistic vocal stabs. 
On songs that are less obviously geared to the dancefloor, Planningtorock takes an emotionally affecting approach to her core theme. The high drama of Answerland recalls Ennio Morricone, with abstracted vocals, chord stabs and minimal drums that stir suspense rather than providing any answers. The album closes with Patriarchy Over and Out, one of All Love’s Legal’s most musically intriguing moments, and the track that began Planningtorock’s journey. Her voice is so finely manipulated that she seems to inhabit multiple characters. Initially Patriarchy Over and Out seems like an ecstatic dance track with an irresistible groove, but halfway through the tempo slows, and though the beats and strings re-emerge, they do so under an entirely different guise. The half-euphoric yet almost lamenting tone of the song’s conclusion is a fitting end to an album that’s both deeply affecting and emotionally elusive. The lasting impression is of music that never sits still, as fluid as the gender it describes.
As with the Patriarchy Over and Out / Wheel Of Fortune single and Misogyny Drop Dead EP, All Love’s Legal will be released on Planningtorock’s label, Human Level Records. Translating her words into concrete actions, Planningtorock founded Human Level not only to release her own music but also to provide a wider platform for female talent, such Holly Herndon, who remixed Misogyny Drop Dead, and Berlin artist rROXYMORE. Human Level Records exists to redress an imbalance in the industry, aiming to address people’s unawareness – and implicit support - of entrenched patriarchal systems.
Planningtorock explains that at the time of her creative crisis, she realised that her purpose in making art was “to create music that is useful.” On All Love’s Legal, she’s fulfilled that ambition. It is both a beautiful and intriguing record, but it’s useful as well, giving people an access point into complex discourse about gender. All Love’s Legal is no evangelical treatise, but a unique and vivid work of self-expression that will delight and empower you.



28. 01. 2016
excerpt from THIS IS CONCRETE
Part of SYNÆSTHESIA3 on March 12

(c) Renato Mangolin


THIS IS CONCRETE is a slow ride. Two men's bodies intermingle with each other incessantly, blurring their boundaries. Infused in a sonic environment of dizzying beats and revolving shadows, the performers' trip is lengthy, sedated, coital. Movements mutate into words as the two men's voices start to speak their mouths and bodies. In the corporeal and social fusion generated between them, their drive slides into pleasure, talking into eating, fucking into dancing and symbiosis into parasitism.

BY: Jefta van Dinther and Thiago Granato
CHOREOGRAPHY AND DANCE: Jefta van Dinther and Thiago Granato
LIGHT: Jan Fedinger
SOUND: David Kiers
ARTISTIC ADVICE: Sandro Amaral, Frederic Gies and Robert Steijn

A PRODUCTION by Jefta van Dinther – Sure Basic and Thiago Granato
PRODUCER: Interim kultur / Sweden and Sure Basic/The Netherlands
COPRODUCTION: PACT Zollverein, Grand Theatre Groningen, Panorama Festival Rio de Janeiro,
Fabrik Potsdam/Étape Danse and CNDC Angers
SUPPORTED by Swedish Arts Council, Swedish Arts Grants Committee, City of Stockholm and Fonds Podiumkunsten The Netherlands
Thiago Granato is a Brazilian choreographer and performer that lives and works between Brazil and Germany. His own work as choreographer has been presented in different countries as Brazil, Israel, Spain, Austria, Germany, Sweden, Norway, Italy, France, Romania, Libanon and Korea. Among them are Plano B (2008), We Are Not Superficial, We Love Penetration (2008), Tombo (2009), Basement (2011), THIS IS CONCRETE (2012) and Treasured In The Dark (2015).
He took part on the education project Ex.e.r.ce 8, coordinated by Xavier Le Roy at the Centre Chorégraphique National de Montpellier (France). During the years of 2013 and 2014 he was fellow at Akademie Schloss Solitude in Stuttgart (Germany) where he developed his current project called CHOREOVERSATIONS which is a production of a series of solos based in conversations between different choreographers those will take Thiago’s body as medium of their communication. In 2015 he was an artist in residency at Les Recollets in Paris (France).
Jefta Van Dinther is a choreographer and dancer working between Stockholm and Berlin. He grew up in Sweden, after which he moved to the Netherlands and graduated from the Amsterdam School of the Arts (MTD) in 2003. His work is characterized by a rigorous physical approach and always implies a staged research of movement itself. The moving body is centerfold in his work but belongs to and interacts with a body of light, sound and materials that constitute an environment of perception and sensation. The dancers work and dance their way through various environments: their processes exhibited live on stage become performances. Jefta's work deals with illusion, the visible and the invisible, synesthesia, darkness and light, labor, the uncanny, affect, voice and image. They often play with formats of presentation, and range from traditional dispositifs to installation like settings as well as from smaller intimate performances to large-scale productions.
Currently on tour are As It Empties Out (2014), Plateau Effect (2013 – für das Cullberg Ballet), THIS IS CONCRETE (2012) and GRIND (2011). His other works include The Blanket Dance (2011), Kneeding (2010), The Way Things Go (2009) and IT'S IN THE AIR (2008). Between 2012-2014 he was appointed artistic co-director of the MA program in Choreography at the University of Dance and Circus in Stockholm together with Frederic Gies. He is currently preparing for a new collaboration with Cullberg Ballet entitled Protagonist, premiering in June 2016.
28. 01. 2016
Test Pattern
Part of SYNÆSTHESIA3 on March 12

The audiovisual work Test Pattern from Ryoji Ikeda, presents intense flickering black and white imagery, which floats and convulses in darkness to a stark and powerful, highly synchronised soundtrack.
Through a real–time computer programme, test pattern converts Ikeda's audio signal patterns into tightly synchronised barcode patterns on screen. The velocity of the moving images is ultra–fast, some hundreds of frames per second, so that the work provides a performance test for the audio and visual devices, as well as a response test for the audience's perceptions.
Test Pattern is the third audiovisual concert in Ikeda's datamatics series, an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world. Taking various forms – installations, live performance and recordings – test pattern acts as a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. The project aims to examine the relationship between critical points of device performance and the threshold of human perception, pushing both to their absolute limits.
Japan’s leading electronic composer and visual artist Ryoji Ikeda, born in 1966 in Gifu, Japan, focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
Alongside of pure musical activity, Ikeda has been working on long-term projects through live performances, installations, books and CD’s such as datamatics (2006), test pattern (2008), spectra (2001), cyclo a collaborative project with Carsten Nicolai, ‘superposition’ (2012) and 'supersymmetry' (2014).
He performs and exhibits worldwide such as Museum of Contemporary Art Tokyo, Singapore Art Museum, Ars Electronica Center Linz, Elektra Festival Montreal, Grec and Sonar Festivals Barcelona, Aichi Triennale Nagoya, Palazzo Grassi Venice, Park Avenue Armory New York, The Whitechapel Gallery London, The Barbican Center and Somerset House London, Museo de Arte Bogota, Hamburger Bahnhof Berlin, DHC/Art Montreal, Festival d’Automne Paris, Sharjah Biennale, Carriageworks Sydney, Auckland Triennale, MONA Museum Hobart – Tasmania, Ruhrtriennale, Telefonica Foundation Madrid, Kyoto Experiment Festival, among others.
In 2014-15 he is touring his new performance superposition in the US (Metropolitan Museum New York, Walker art Center Minneapolis, UMS Ann Arbor and Center for the Arts of Performance Los Angeles), Australia (Carriageworks and OzAsia Festival) and Argentina (Música Contemporánea Festival). The related exhibition supersymmetry (2014-) was presented at Yamaguchi Centre for Arts and Media, Japan and Le lieu unique in Nantes, France (2014), The Vinyl Factory, London and Kumu Art Museum Tallin, Estonia (2015). Solo exhibitions include micro | macro at ZKM centre for Art and Media, Karlsruhe and datamatics at Espai d´art contemporani de Castelló, Spain. His works are part of major group show exhibitions in 2015 such as the Opening of ACT Centre Gwangju in Korea and Big Bang Data at Somerset House London.
He is the award winner of the Prix Ars Electronica Collide@CERN 2014.
His albums +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008) and supercodex (2013) pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics. 
He lives and works in Paris, France and Kyoto, Japan
28. 01. 2016
NOÉ SOULIER - Live Performance
Untitled Project with Esther Balfe, Alix Eynaudi, Mani Obeya and Virginie Roy
Part of SYNÆSTHESIA3 on March 12
(c) Noé Soulier

Most of our daily movements are motivated by practical goals: to hit, to avoid, to reach a location, to grab or size an object. But one rarely thinks of forming a line with one’s leg or of dropping the weight of one’s arm, whereas most of our daily movements are motivated by these geometrical or mechanical principles – by practical goals. As the dancers take away the hints that allow the immediate recognition of such goals, they open up a space where the un-finished, the un-accomplished, the never-performed, the imaginary gains momentum.

Noé Soulier’s new project, which he creates specifically for SYNAESTHESIA3, uses the common vocabulary of dance and sports to enhance physical empathy and kinaesthetic resonance. He collaborates with Vienna-based artists: Alix Eynaudi, performance artist,  choreographer, former Rosas dancer; Virginie Roy, professor of contemporary dance at MUK University, Vienna; Esther Balfe, also professor of contemporary dance at MUK University and member of the Forsythe Company; and Mani Obeya choreographer, dancer with Keegan-Dolan and singer of the Band Sofa Surfers.

PERFORMERS: Esther Balfe, Alix Eynaudi, Mani Obeya, Virginie Roy
LIVE-CAMERA: Anselm Tröster
PRODUCTION: Tanzquartier Wien
Noé Soulier, born in Paris 1987, studied at the Paris Conservatoire, the National Ballet School of Canada, and at PARTS – Brussels. He received a master’s in philosophy at La Sorbonne University (Paris IV). Noé Soulier explores the ways we perceive and interpret gestures through diverse projects: choreographies, installations, theoretical essays and performances. In Movement on Movement (2013) and Signe blanc (2012), he introduces a gap between the discourse and the gestures that come with it in order to question how they collaborate in the elaboration of meaning.
In Little Perceptions (first prize of the DanseÉlargie competition, organised by Le Théâtre de la Ville in Paris and Le Musée de la Danse) and Corps de ballet (2014), the tension is located between the intention and the movement of the dancer, thus making apparent the way the performer engages himself in the action. These gaps and internal tensions aim to explore the complex relationships between intention, action and the articulation of meaning by the body and speech. From September 2014, Noé Soulier is an associated artist at CND, un centre d’art pour la danse.
Esther Balfe was born and educated in England. Upon finishing her studies at Rambert School of Ballet and Contemporary Dance she worked as a Demi-Soloist and later Soloist Principal dancer in the following companies: Saarbrücken, Heidelberg, Unterwegs Theatre, Landestheater Mannheim. In 1994 she became a refounding member Liz King's Tanz Theater Wien and continued to work with King and other TTW collaborators, Catherine Guerin, Nigel Charnock, Benoît Lachambre, George Reischl to name a few. In 2005 Esther first appeared as a guest with Ballet Frankfurt and consequently worked with Allison Brown,  Michael Keegan Dolan’s Fabulous Beast Dance Theater and as a guest lecturer at the University of New Mexico.  Esther Balfe is a former member of William Forsythe's The Forsythe Company. She performed and created roles in a number of works including Sider, I dont believe in outer space and Yes, we can’t. Esther Balfe is currently a professor of dance for the Dance program at the MUK University Wien, Vienna.
Recent guest teaching posts for Rambert School, Ballet Preljocaj, Bolzano Tanz Italy, Impulstanz Vienna. Current artistic projects include Motion Bank – Frankfurt, collaboration with sculptor and simulation artist John Gerrard.
movement analyst and artist for the Institute for Art & Architecture (Academy of Fine Arts, Vienna). Project title INTRA - SPACE,  2015-16.
Ganymed Dreaming – Directed by Jacqueline Kornmüller, performing at the Kunsthistorisches Museum, Vienna.
Alix Eynaudi lives and works in Vienna. She was trained as a ballet dancer in the Opéra de Paris. She  worked in various ballet companies before entering PARTS when the school first opened. In 1996, Alix joined Anne-Teresa De Keersmaeker’s company Rosas where she worked for 7 years. Since 2005 Alix has been creating her own pieces: Crystall, in collaboration with Alice Chauchat (2005), Supernaturel (2007), Long Long Short Long Short (2009), in collaboration with Agata Maszkiewicz. In 2011, she leads, together with Kris Verdonck, a research on the benefits of sleep and rest, which will turn into Exit (2011), a solo in which she puts the audience to sleep. In 2012, she makes Monique, a dance duet with Mark Lorimer, which finds its inspiration in bondage. In 2015 she premieres a group piece, Edelweiss, a danced rebus that oscilliates between abstract and figurative art. She is currently developing 2 projects for 2017. Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both as a collaborator and a performer. She took part in pieces by a.e.: Superamas, Kris Verdonck, Anne Juren, Boris Charmatz and Jennifer Lacey. Alix’s artistic practice also involves teaching workshops a.o.in P.A.R.T.S., Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Centre, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance and SEAD, Salzburg.
Mani Obeya is a Nigerian born, British raised dancer, singer / songwriter and choreographer. He trained at Arts Educational School, Ballet Rambert and Dance Theatre of Harlem before becoming a soloist at Stadt Theater Heidelberg, National Theater Mannheim and Unterwegs Theater Heidelberg. This was followed by 4 years working with Tanz Theater Wien under the direction of Liz King - guest choreographers included Catherine Guerin, Nigel Charnock and Simon Frearson before he become a soloist at the Volksoper Wien where he danced and co-choreographed until 2003. He then became a member of Michael Keenan Dolan`s Fabulous Beast Company performing worldwide. Since 2004 he has been the singer and songwriter with the Viennese electronic/ rock band Sofa Surfers. He has choreographed at the Deutsche Oper Berlin, Stadt Theater Hannover and Schauspielhaus Dresden, Theater Bremen and Deutsches Theater. He works internationally on youth programmes particularly on a project in a slum area of Nairobi.
Virginie Roy, born in France, she studied at the Conservatoire national supérieur de musique et de danse de Lyon, holds an MA of clinical psychology and a MA in art therapy at the University Paris 8. She was a dancer/performer and assistant with The Daghda Dance Company, Yvann Alexandre, and Laurence Levasseur. In Austria she is working with choreographers Christine Gaigg, Saskia Hölbling, Doris Uhlich, director Andrea Breth, and others. The qualified lecturer of contemporary dance has been teaching at Joseph Nadj´s C.C.N. d´ Orléans, the Ballet School of Vienna State Opera, a.o.. Currently she is professor for contemporary dance at the Music and Arts University of the City of Vienna and lectures at the Sigmund Freud University Vienna.


28. 01. 2016

JOJA + フーパ (V ARE) - DJ

Part of SYNÆSTHESIA3 on March 12

(c) Sascha Scheer 


Joja is a real Viennese. Grown up in a city that provides such a huge spectrum of music and culture, it was a logical step to start djing herself. Joja founded V ARE in 2013 and has been exploring structures that different things have in common. Musically that leads to an unpredictable journey through the fields of various rhythms. She is an architect at work, shaping the time with waveforms that maybe have never met before. A diversified selection is what Joja loves.

(c) by フーパ / Hoopa

フーパ / Hoopa is first of all a mythical dual-type Psychic/Ghost Pokémon. But Hoopa as a DJ persona grew up in the 90ies in a 20k inhabitants town in Lower Austria, where he first discovered DnB,Trip-Hop and Grime at the age of 15. He later started djing and playing around with tunes as a part of a small collective of music enthusiasts, where he slowly evolved into his current form. Hoopa is into Future-Garage, Trap and pretty much everything except big mainstream genres.




28. 01. 2016

CID RIM (LuckyMe, Affine Records) - DJ

Part of SYNÆSTHESIA3 on March 12


(c) Clemens Fantur

The world of Cid Rim circles around the boundless magic and mythical formulas of funk. When speaking of his influences and musical socialisation, the 29 year old Viennese producer and drummer of JSBL inevitably ends in the 70ies of the past century. Think of the JBs, big band sounds à la Stan Kenton or the drum breaks, which widely opened his personal doors to funk. Through constant exchange with his band colleagues Dorian Concept and The Clonious he sharpened his producer skills and also pushed forward into progressive HipHop and contemporary electronica. While startin’ as an enthusiastic sample digger his current works unfold a tempo-independence, a playful and interlaced sound, shifted with deep chords. A hybrid of programmed beats and analogue drum patterns meets razorsharp grooves and monumental power-steps. Cid Rim celebrated his debut in 2010 with his Full Nelson EP on Affine Records which was followed by a signing on famous LuckyMe label where he released his much-noticed and self-titled micro album „CID RIM“ in 2012. In the following year he continued with the 4 track EP „Mute City“. 2013 is also the year in which he emerged as a distinctive remixer and collaborator. The last 18 months have seen him produce for Okmalumkoolkat, Theophilus London and Spoek Mathambo. His trademark remixes for CHVRCHES, Mikky Ekko or Sky Ferreira clocked up serious airplay all across the world and been heavily featured by various BBC radio hosts.

28. 01. 2016


Part of SYNÆSTHESIA3 on March 12



Ferdinand Glück is a half German, half Austrian visual artist based in Vienna. His affinity for club environments has influenced him from his early adolescent age on. After having hosted multiple club parties in Germany and Austria throughout the years, he developed his own style, which since has visually enhanced all sorts of cultural events. His style as a visual artist is linked to a certain need for geometric challenges. He is one of the most booked VJs in Vienna, and due to his willingness to learn from every single gig, he is becoming more and more versatile in both his creative and technical abilities. His main focus in the last few months lied on programming graphics tools and create audio-responsive content by combining Quartz Composer with modern VJ software. Presently, he is into his first year of postgraduate study in media-technology, with a focus on experimental media.
28. 01. 2016

NITA. (sound:frame) - Live Visuals

Part of SYNÆSTHESIA3 on March 12


(c) Ina Aydogan


Anita Brunnauer aka nita. is a Vienna based graphic designer, studied multimedia arts at the University of Applied Sciences in Salzburg, interned at lovely Nitrocorpz™ a small design studio in Goiânia / Brazil and later worked as art director for Servus TV. Beginning of 2014 nita. founded her own multidisciplinary studio for visual arts. nita. is also part of the sound:frame AV Label. Proud and silent graphic ghost of Duzz Down San Records. The visual style can be understood as constant interplay between daydream and night watch, surface and depth of flotation. A visual funambulation among kitch & melancholia – trying to hijack the visitor into a surreal forest, where animals mutate and forgotten ancestors reveal on leaves.



28. 01. 2016

HIROAKI UMEDA - Live Performance

Part of SYNÆSTHESIA3 on March 12


In Hiroaki Umeda’s works, all components on stage – bodies, lights and sound – are treated as equivalent means of expression based on his post-anthropocentric perspective. In Holistic Strata, all the elements are dissolved into the same information units (pixel) and, by doing so, Umeda searches for an ‘axiom of kinetic movements’ that exists as a common denominator of all movements. ‘The individual stratum decides the holistic strata, and the holistic strata decide the individual stratum: there are two equal determinants in the world”. Based on this philosophy, Umeda creates a holistic living organism in which all movements transcendentally coalesce into a harmony. Immersed in this harmonious world, where all movements are expressed through pixels, the audiences’ senses are challenged to the limit: to experience sensations preceding the materialization of emotions.

IMAGE PROGRAMMING: S20, Satoru Higa, Yoshito Onishi
SYSTEM DESIGN: Satoru Higa, Yoshito Onishi
SOUND DESIGN: Satoshi Hama
COSTUME DESIGN: Ryoko Katayama
SENSING ENGINEER: Yoshito Onishi, Richi Owaki

COMMISSIONED BY: YCAM (Yamaguchi Center for Arts and Media)

(c) Hiroaki Umeda

Hiroaki Umeda is a choreographer and a multidisciplinary artist recognized as one of the leading figures of the Japanese avant-garde art scene. Since the launch of his company S20, his subtle yet violent dance pieces have toured around the world to audience and critical acclaim. His work is acknowledged for the highly holistic artistic methodology with strong digital back ground, which considers not only physical elements as dance, but also optical, sensorial and, above all, spatiotemporal components as part of the choreography. Based on his profound interest in choreographing time and space, Umeda has spread his talent not only as a choreographer and dancer, but also as a composer, lighting designer, scenographer and visual artist. Drawing further from his now signature style of mixing digital imagery, minimal soundscape and extremely potent corporeality, Umeda’s solo works such as Adapting for Distortion (2008), Haptic (2008), Holistic Strata (2011) and split flow (2013) have transfixed the audience in major festivals and theatres worldwide.