Editorial Jan/Feb 2019
Dear audience,
Dear artists,
Attention! The following text may contain spoilers! A new year of the cultural calendar is about to start, but it will also be the beginning of a new season at Tanzquartier Wien. What can we expect from the year ahead? We will especially promote and present large ensemble productions, because we tend to think that in previous years the vast majority of artistic works from the independent scene was characterised by small-scale productions and infrequent collaborations. For this reason, the 2019 season will see two such ensemble productions – first off, we will host the world premiere of Ian Kaler’s ON THE CUSP, featuring Cullbergbaletten and a soundtrack by Planningtorock, and then, there will be the first official rerun of Doris Uhlich’s Every Body Electric since the production’s premiere exactly one year ago. However, we will present even more group pieces throughout the year, such as productions by Veza Fernández, Florentina Holzinger and Jefta van Dinther. And in autumn 2019, we will present our very own impressive in-house production at TQW Halle E.
But before we get ahead of ourselves – the beginning of the new year and early January will see us explore themes of Material Worlds. The corresponding subtitle Paint & Plaster, Dots & Tapes, Ropes & Chains already hints at the abundance of materials which will be used by the productions involved in this thematic focus. Finally, in February, the present programme’s outline will be concluded with a focus on local artists: Liquid Loft will present a new production from their series Foreign Tongues, a lab with Daniel Aschwanden will conclude his work on the cynocephalus myth, and Oleg Soulimenko and the trio consisting of Anna Prokopová, Costas Kekis and Andrea Gunnlaugsdóttir will showcase two pieces in one evening, with the trio presenting the matured version of the production shown at 2018’s Rakete festival for young artists. Come on by!
Bettina Kogler (Artistic Director & Programme) & Christa Spatt (Programme)