Tanzquartier Wien

In Precarious Moves, Michael Turinsky continues his research into choreographic gestures in the context of politically motivated aesthetical concepts. One key element in this solo will be the question of individual and collective needs and requirements regarding mobility and mobilisation. With his experience of physical disability, Turinsky will once again draw on the concept of ‘Crip Time’, thereby revolting against the submission of bodies to the rule of systemic regimes of hegemonic mobility and mobilisation cultures. Alternating between concepts of the organic and organisation, Precarious Moves will serve as the basis for exploring this strange bond that connects the body with the sensual world in which it is placed.

In January 2021, the world premiere was presented online at tqw.at. The performance was awarded the Nestroy Theatre Prize for Best Off-Production in the same year.

A reprise within the framework of Choreographic Platform Austria

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Mzamo Nondlwana dances towards the future. This solo performance, in collaboration with sound artist Lens Kühleitner and visual artist Maanila de Moraes, imagines an alternative future rooted in radical queer-feminist movements – a future that denounces white supremacy values that are embedded in domination and destruction.

Dance for the Future taps into the collective consciousness, sharing experiences during a pandemic while reinforcing the power of community as a form of healing. It is research on a dance for the future and ‘a space where supernatural, fantastical, historical, and futuristic elements merge together’ (Mark Dery, American author, lecturer and cultural critic). Dance for the Future is shaped by themes of collectivity, grief, and transformation using notions crafted by marginalised communities, especially Black, queer-feminist, migrant communities, the global south and alternative movements which have disclosed and fought against heteronormative structures. This dance is dedicated to a better future.

Within the framework of Choreographic Platform Austria

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In Precarious Moves, Michael Turinsky continues his research into choreographic gestures in the context of politically motivated aesthetical concepts. One key element in this solo will be the question of individual and collective needs and requirements regarding mobility and mobilisation. With his experience of physical disability, Turinsky will once again draw on the concept of ‘Crip Time’, thereby revolting against the submission of bodies to the rule of systemic regimes of hegemonic mobility and mobilisation cultures. Alternating between concepts of the organic and organisation, Precarious Moves will serve as the basis for exploring this strange bond that connects the body with the sensual world in which it is placed.

In January 2021, the world premiere was presented online at tqw.at. The performance was awarded the Nestroy Theatre Prize for Best Off-Production in the same year.

A reprise within the framework of Choreographic Platform Austria

By loading the video, you agree to Vimeo’s privacy policy.
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Mzamo Nondlwana dances towards the future. This solo performance, in collaboration with sound artist Lens Kühleitner and visual artist Maanila de Moraes, imagines an alternative future rooted in radical queer-feminist movements – a future that denounces white supremacy values that are embedded in domination and destruction.

Dance for the Future taps into the collective consciousness, sharing experiences during a pandemic while reinforcing the power of community as a form of healing. It is research on a dance for the future and ‘a space where supernatural, fantastical, historical, and futuristic elements merge together’ (Mark Dery, American author, lecturer and cultural critic). Dance for the Future is shaped by themes of collectivity, grief, and transformation using notions crafted by marginalised communities, especially Black, queer-feminist, migrant communities, the global south and alternative movements which have disclosed and fought against heteronormative structures. This dance is dedicated to a better future.

Within the framework of Choreographic Platform Austria

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The title reflects the practice of categorising art forms that are sexually charged and read as ‘foreign’, which still goes on today. In order to make this phenomenon and its contemporary resonances visible, Amanda Piña and her ensemble travel back into the past in her new dance performance, where they revive the eroticised and, in some cases, queer stage artists La Sarabia, Nyota Inyoka, François ‘Féral’ Benga and Leila Bederkhan, who toured Europe with great success in the 1920s, in an exceptional form of séance. Here, Amanda Piña and her ensemble not only reveal the exoticising white gaze whose prevailing preconceptions about what was ‘Oriental enough’ or ‘African enough’ restricted artists’ room for manoeuvre. At the same time, Amanda Piña and her ensemble demonstrate the force with which the artists named were able to use this limited space to create choreographies of outstanding artistic quality that can still be viewed now in the form of drawings and visual documentation. Exótica is dedicated to these dances and sees itself as an homage to all those forgotten performers of colour who did not find a place in the canon of dance history and are only now slowly being rediscovered. For, even though the archives contain numerous newspaper articles attesting to their great popularity, after the Second World War, these dancers increasingly disappeared from European stages and popular memory.

An Austrian premiere within the framework of Choreographic Platform Austria. A reprise is scheduled for April 2024.

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Bodies in the process of becoming, in ever different reconfigurations, are driven by an urgency that instantly interlaces the inner and outer landscapes and, at the same time, stretches the moment the wave breaks by slowing it down as much as possible. The choreography thus paradoxically oscillates in opposite directions – between utmost slowness and utmost urgency, as well as between close groups and scattered singularities. It unfolds while taking its respective ‘environment’ into account, i.e., the Jugendstiltheater on Baumgartner Höhe at the Wiener Festwochen and Galerie 5020 at Sommerszene Salzburg in 2021, mumok at ImPulsTanz in 2022 and Seestadt Studios at the CPA in 2023: it’s as if the performance venues and the body landscapes of the performers are generating each other, breathing new life into the location-specific black box with a white cube.

Within the framework of Choreographic Platform Austria

Named after the light designer Bruno Pocheron, a collaborative partner of Alix Eynaudi since 2005, the piece features a cluster-like light sculpture which sprouts and transforms itself into a musical instrument through the sound design of Paul Kotal. BRUNO is a dance piece in which Hugo, Mark and Alix seem to nestle between images, evocations and invocations, never quite completing them while oscillating between figuration and abstraction. In this laboratory atrium, the dancers try the movements on as if they were clothes, challenging their contours, boundaries, and textures in a dialogical mode in which the image/notion conjured vibrates until it fits, comforts, and finally swirls away. BRUNO tests forms of encounter on stage in which light, sound and dance co-exist, casting shadows of possibilities.

A reprise within the framework of Choreographic Platform Austria