Tanzquartier Wien

Julia Zastava’s latest work, which will premiere at Rakete, explores the process of mutation, the theme of a fragmented reality, and the complexity and polymorphism of the human condition. Sunset Z is an audiovisual performative installation that is based on methods of repetition and formations of interrupted shapeshifting.

The work is organized like a puzzle and speaks the language of motorbike engines, flapping wings, crispy baked hearts and shattered waterfalls. Object-replicas of different, uncanny events are scattered around, resembling artefacts from other dimensions. On stage, Julia Zastava merges with the set and becomes an active player. Accompanied by a sound that functions like a visitor, whose appearance is like the weather or an eclipse, Zastava activates the elements in a loop of haunted gestures.

“I gnaw on my cursed wings and crash down on an untouched land, where I take up the life of a hidden monster. Because you bent my eyes with your pliers, my gaze is inflected and emanating a blurred identity. The starting point here is an assembly of the body, the voice and everyday objects. These materials are often misused, disarticulated and curved, their clattering causes a truncated transmutation. It is an inaccurately monstrous solo that conjures up an aggregate of performative elements embodying rotting, crappy images, as an interruption in the middle of a process. This set of practices and speculations reveals the hypothetical potential of human physicality, which absurdly dodges normativity, as a distortion of legitimacy and as a joke about society’s unconscious biases. With the recurring theme of monsters, I intend to explore an ambiguity that subverts the prosaic, because these fantastic creatures represent the margins of society, my unconscious and my inner repression. FUNKENSTEIN propagates a confused perception and disseminates an affective ambivalence.” – Kim Kidows

Immerhin ist mein Himmel hin (Sonata #5), which may be translated into English as After all my sky is gone (Sonata #5), is a dance duet by Samuel Feldhandler and Lena Schattenberg. It celebrates their long artistic friendship (eight projects in seven years) and gently seeks to visualize a dancer’s tint on a choreographic vocabulary. The piece consists of four parts: a measured tempo, with liveliness; quick and light, not too serious; very slow and powerful and with momentum.

Immerhin ist mein Himmel hin (Sonata #5) is the result of Feldhandler’s research into how musical and compositional knowledge can inform a choreographic and dance practice, joyfully embracing the specificities, modes and manifestations of the dance art form.

Study on Fool’s Paradise is a platform for deeply embodied discomfort, confusion, awkwardness and errors in order to set us free. The performance can be seen as a practical study, where performers are subject to constant quick shifts of attention, where significance and meaning can just as easily be lost as won – a world ruled by instability. The performers are breaking with standard ways of dealing with problems, emotions are expressed through an “overdramatic” body, a comfortable exaggeration, “non-senses”, doing more than needed or less than required. What each body feels and lives through is an indirect reaction to our current times of hypernormality. Activities are approached in an inappropriate, sometimes awkward way, they bend towards an edge where they oscillate between being lifeless and colourful, bored and intrigued, gentle and rugged, hypo and hyper. The stage becomes a potential playground for slightly illogical feelings.

Julia Zastava’s latest work, which will premiere at Rakete, explores the process of mutation, the theme of a fragmented reality, and the complexity and polymorphism of the human condition. Sunset Z is an audiovisual performative installation that is based on methods of repetition and formations of interrupted shapeshifting.

The work is organized like a puzzle and speaks the language of motorbike engines, flapping wings, crispy baked hearts and shattered waterfalls. Object-replicas of different, uncanny events are scattered around, resembling artefacts from other dimensions. On stage, Julia Zastava merges with the set and becomes an active player. Accompanied by a sound that functions like a visitor, whose appearance is like the weather or an eclipse, Zastava activates the elements in a loop of haunted gestures.

“I gnaw on my cursed wings and crash down on an untouched land, where I take up the life of a hidden monster. Because you bent my eyes with your pliers, my gaze is inflected and emanating a blurred identity. The starting point here is an assembly of the body, the voice and everyday objects. These materials are often misused, disarticulated and curved, their clattering causes a truncated transmutation. It is an inaccurately monstrous solo that conjures up an aggregate of performative elements embodying rotting, crappy images, as an interruption in the middle of a process. This set of practices and speculations reveals the hypothetical potential of human physicality, which absurdly dodges normativity, as a distortion of legitimacy and as a joke about society’s unconscious biases. With the recurring theme of monsters, I intend to explore an ambiguity that subverts the prosaic, because these fantastic creatures represent the margins of society, my unconscious and my inner repression. FUNKENSTEIN propagates a confused perception and disseminates an affective ambivalence.” – Kim Kidows

Immerhin ist mein Himmel hin (Sonata #5), which may be translated into English as After all my sky is gone (Sonata #5), is a dance duet by Samuel Feldhandler and Lena Schattenberg. It celebrates their long artistic friendship (eight projects in seven years) and gently seeks to visualize a dancer’s tint on a choreographic vocabulary. The piece consists of four parts: a measured tempo, with liveliness; quick and light, not too serious; very slow and powerful and with momentum.

Immerhin ist mein Himmel hin (Sonata #5) is the result of Feldhandler’s research into how musical and compositional knowledge can inform a choreographic and dance practice, joyfully embracing the specificities, modes and manifestations of the dance art form.

Study on Fool’s Paradise is a platform for deeply embodied discomfort, confusion, awkwardness and errors in order to set us free. The performance can be seen as a practical study, where performers are subject to constant quick shifts of attention, where significance and meaning can just as easily be lost as won – a world ruled by instability. The performers are breaking with standard ways of dealing with problems, emotions are expressed through an “overdramatic” body, a comfortable exaggeration, “non-senses”, doing more than needed or less than required. What each body feels and lives through is an indirect reaction to our current times of hypernormality. Activities are approached in an inappropriate, sometimes awkward way, they bend towards an edge where they oscillate between being lifeless and colourful, bored and intrigued, gentle and rugged, hypo and hyper. The stage becomes a potential playground for slightly illogical feelings.

Julia Zastava’s latest work, which will premiere at Rakete, explores the process of mutation, the theme of a fragmented reality, and the complexity and polymorphism of the human condition. Sunset Z is an audiovisual performative installation that is based on methods of repetition and formations of interrupted shapeshifting.

The work is organized like a puzzle and speaks the language of motorbike engines, flapping wings, crispy baked hearts and shattered waterfalls. Object-replicas of different, uncanny events are scattered around, resembling artefacts from other dimensions. On stage, Julia Zastava merges with the set and becomes an active player. Accompanied by a sound that functions like a visitor, whose appearance is like the weather or an eclipse, Zastava activates the elements in a loop of haunted gestures.

“I gnaw on my cursed wings and crash down on an untouched land, where I take up the life of a hidden monster. Because you bent my eyes with your pliers, my gaze is inflected and emanating a blurred identity. The starting point here is an assembly of the body, the voice and everyday objects. These materials are often misused, disarticulated and curved, their clattering causes a truncated transmutation. It is an inaccurately monstrous solo that conjures up an aggregate of performative elements embodying rotting, crappy images, as an interruption in the middle of a process. This set of practices and speculations reveals the hypothetical potential of human physicality, which absurdly dodges normativity, as a distortion of legitimacy and as a joke about society’s unconscious biases. With the recurring theme of monsters, I intend to explore an ambiguity that subverts the prosaic, because these fantastic creatures represent the margins of society, my unconscious and my inner repression. FUNKENSTEIN propagates a confused perception and disseminates an affective ambivalence.” – Kim Kidows

Immerhin ist mein Himmel hin (Sonata #5), which may be translated into English as After all my sky is gone (Sonata #5), is a dance duet by Samuel Feldhandler and Lena Schattenberg. It celebrates their long artistic friendship (eight projects in seven years) and gently seeks to visualize a dancer’s tint on a choreographic vocabulary. The piece consists of four parts: a measured tempo, with liveliness; quick and light, not too serious; very slow and powerful and with momentum.

Immerhin ist mein Himmel hin (Sonata #5) is the result of Feldhandler’s research into how musical and compositional knowledge can inform a choreographic and dance practice, joyfully embracing the specificities, modes and manifestations of the dance art form.

Study on Fool’s Paradise is a platform for deeply embodied discomfort, confusion, awkwardness and errors in order to set us free. The performance can be seen as a practical study, where performers are subject to constant quick shifts of attention, where significance and meaning can just as easily be lost as won – a world ruled by instability. The performers are breaking with standard ways of dealing with problems, emotions are expressed through an “overdramatic” body, a comfortable exaggeration, “non-senses”, doing more than needed or less than required. What each body feels and lives through is an indirect reaction to our current times of hypernormality. Activities are approached in an inappropriate, sometimes awkward way, they bend towards an edge where they oscillate between being lifeless and colourful, bored and intrigued, gentle and rugged, hypo and hyper. The stage becomes a potential playground for slightly illogical feelings.

Julia Zastava’s latest work, which will premiere at Rakete, explores the process of mutation, the theme of a fragmented reality, and the complexity and polymorphism of the human condition. Sunset Z is an audiovisual performative installation that is based on methods of repetition and formations of interrupted shapeshifting.

The work is organized like a puzzle and speaks the language of motorbike engines, flapping wings, crispy baked hearts and shattered waterfalls. Object-replicas of different, uncanny events are scattered around, resembling artefacts from other dimensions. On stage, Julia Zastava merges with the set and becomes an active player. Accompanied by a sound that functions like a visitor, whose appearance is like the weather or an eclipse, Zastava activates the elements in a loop of haunted gestures.

“I gnaw on my cursed wings and crash down on an untouched land, where I take up the life of a hidden monster. Because you bent my eyes with your pliers, my gaze is inflected and emanating a blurred identity. The starting point here is an assembly of the body, the voice and everyday objects. These materials are often misused, disarticulated and curved, their clattering causes a truncated transmutation. It is an inaccurately monstrous solo that conjures up an aggregate of performative elements embodying rotting, crappy images, as an interruption in the middle of a process. This set of practices and speculations reveals the hypothetical potential of human physicality, which absurdly dodges normativity, as a distortion of legitimacy and as a joke about society’s unconscious biases. With the recurring theme of monsters, I intend to explore an ambiguity that subverts the prosaic, because these fantastic creatures represent the margins of society, my unconscious and my inner repression. FUNKENSTEIN propagates a confused perception and disseminates an affective ambivalence.” – Kim Kidows

Immerhin ist mein Himmel hin (Sonata #5), which may be translated into English as After all my sky is gone (Sonata #5), is a dance duet by Samuel Feldhandler and Lena Schattenberg. It celebrates their long artistic friendship (eight projects in seven years) and gently seeks to visualize a dancer’s tint on a choreographic vocabulary. The piece consists of four parts: a measured tempo, with liveliness; quick and light, not too serious; very slow and powerful and with momentum.

Immerhin ist mein Himmel hin (Sonata #5) is the result of Feldhandler’s research into how musical and compositional knowledge can inform a choreographic and dance practice, joyfully embracing the specificities, modes and manifestations of the dance art form.

Study on Fool’s Paradise is a platform for deeply embodied discomfort, confusion, awkwardness and errors in order to set us free. The performance can be seen as a practical study, where performers are subject to constant quick shifts of attention, where significance and meaning can just as easily be lost as won – a world ruled by instability. The performers are breaking with standard ways of dealing with problems, emotions are expressed through an “overdramatic” body, a comfortable exaggeration, “non-senses”, doing more than needed or less than required. What each body feels and lives through is an indirect reaction to our current times of hypernormality. Activities are approached in an inappropriate, sometimes awkward way, they bend towards an edge where they oscillate between being lifeless and colourful, bored and intrigued, gentle and rugged, hypo and hyper. The stage becomes a potential playground for slightly illogical feelings.