Tanzquartier Wien

They won’t see us anyway in the dark, raver boy.
Come and dance to grieving soundwaves
hitting naked walls of gay halls,
sweating joyful lust to overcome our clinging
shadows of shame.
Like untamed horses, melancholic and sauvage,
our synchronised swinging of flesh to the beat of pink drums.
Nasty smiles blurring trembling of aching muscles,
to hold countless hours of lamentations.
And we march, raver boy.
I’ll march with you, side by side, if you don’t tell.
And when in Hell, I’ll hold your hand,
sinners gaze, poppers rush, I’ll fly with you
but not too high and not too low, no melting wings of Ikarus.
And if in Hell, all angel’s Hell,
I’ll chant to you my moan-début.
All sinners’ banner rises above and,
on a horse, we’ll ride beyond, towards the sun.
And in our ears, brought from the wind, we’ll hear a song,
all winner’s song or Freddy’s song?
I want to break free, my raver boy.

Warped and forced back inwards, rage implodes as devastation, psychosis – a silent obsession. Hellcat investigates expressions of female rage and its place within contemporary society. Confessional and episodic interview formats such as Anne Sexton’s Live or Die and Pasolini’s Comizi d’amore are applied to explore the origins of destruction, hysteria, violence, and intimate resistance.

On Friday 5 May, the performance will be followed by an artistic intervention by Anna Rimmel and a concert by Lau Lukkarila.

The Schoßhund project is a homemade, whimsical emo-pop weather made with garage band, fuelled by heavy crushes. Hoof-clang in the blood, dopamine-rich cover songs a homage to the fainthearted. Meeting a stranger-child within, she spreads her knees, the skirt ends half thigh. This insight, if it was one, took him by surprise before I turned trans. Unbeknownst, sorry ew, how. What about that Jonagold, dude, apples of my eye. Severe corny true-acrylic-Fimo-core might delete tomorrow, a comma in time. Treetops reaching two hundred years away from their roots. You still in love with all the loves you still in love with discord. Tossing a knife, an eye, special teeth in your mouth, you should know. A rainy afternoon dry field what u gonna do about it, Taylor, unhinged.

Before the concert, Anna Rimmel will present an artistic intervention entitled Here is too…here is and…

A toast is a ritual during which a drink is taken as an expression of honour or goodwill. The term may be applied to the person or thing so honoured, the drink taken, or the verbal expression accompanying the drink. Thus, a person could be ‘the toast of the evening’, for whom someone ‘proposes a toast’ to congratulate and for whom a third person ‘toasts’ in agreement. The ritual forms the basis of the literary and performance genre, of which Mark Twain’s To the Babies is a well-known example.^[1]

They won’t see us anyway in the dark, raver boy.
Come and dance to grieving soundwaves
hitting naked walls of gay halls,
sweating joyful lust to overcome our clinging
shadows of shame.
Like untamed horses, melancholic and sauvage,
our synchronised swinging of flesh to the beat of pink drums.
Nasty smiles blurring trembling of aching muscles,
to hold countless hours of lamentations.
And we march, raver boy.
I’ll march with you, side by side, if you don’t tell.
And when in Hell, I’ll hold your hand,
sinners gaze, poppers rush, I’ll fly with you
but not too high and not too low, no melting wings of Ikarus.
And if in Hell, all angel’s Hell,
I’ll chant to you my moan-début.
All sinners’ banner rises above and,
on a horse, we’ll ride beyond, towards the sun.
And in our ears, brought from the wind, we’ll hear a song,
all winner’s song or Freddy’s song?
I want to break free, my raver boy.

Warped and forced back inwards, rage implodes as devastation, psychosis – a silent obsession. Hellcat investigates expressions of female rage and its place within contemporary society. Confessional and episodic interview formats such as Anne Sexton’s Live or Die and Pasolini’s Comizi d’amore are applied to explore the origins of destruction, hysteria, violence, and intimate resistance.

On Friday 5 May, the performance will be followed by an artistic intervention by Anna Rimmel and a concert by Lau Lukkarila.

Catol Teixeira’s building blocks are bodies, space, and time – elements that the dancer imparts with the dynamic energy born of improvisation and contact. The audience also plays an active role in this performance: the viewers’ presence, gaze, and movements are all a part of the puzzle. Catol Teixeira dances at the crossroads between poetry and queer thought, decoloniality and feminism, where theory and practice intersect. A place that allows for probing, intimate examination. A place where skin can appear with all its minute flaws, with its spots and folds and wrinkles, hairs, and veins.

Lara Dâmaso is interested in the potential of the female* voice when used in an irrational, dissonant and uncontrolled way. The physical quality of the vocal apparatus becomes evident and palpable in her performances. Against the background of Anne Carson’s theories in The Gender of Sound, her practice is also intended as an intervention against patriarchal structures in which the female* voice continues to be conditioned to politeness and harmony, and its expressive revolutionary potential is suppressed. Amplified by four loudspeakers, her performance her harsh, high and deep voice: a polyphony transcends the normalised use of voice and fills the physical and emotional resonance space with vibrations caused by the interplay of voice and body movements. Lara Dâmaso records her voice live and edits it in a sound spectrum ranging from intimate tenderness to almost unbearable brutality. The superimposition creates a dissonant, free composition that permeates Otto Wagner’s Art Nouveau architecture of Alte Postsparkasse. Not only the singing and the dancing body become one, seeing and hearing also merge with each other in the abstract landscape of sound, in which vulnerability, hope and agency are renegotiated.

Lalangue (extd.) is a sonic, vocal and linguistic performance. It works with the idea of speech as something altogether synthetic, elusive, glittery and potentially toxic. The voice and the vocal production of sounds and meaning are the main components of the music score behind Lalangue (extd.), which builds mainly on Nana Dahlin’s avid vocals. In their search for melody, as if the melody were a body to inhabit, the polyphonic voices wander off. They stutter, they err. Again and again, they end up gossiping instead:

The rumour has it that…

…the house is on fire!

…they killed the bluebird!

etc.

Catol Teixeira’s building blocks are bodies, space, and time – elements that the dancer imparts with the dynamic energy born of improvisation and contact. The audience also plays an active role in this performance: the viewers’ presence, gaze, and movements are all a part of the puzzle. Catol Teixeira dances at the crossroads between poetry and queer thought, decoloniality and feminism, where theory and practice intersect. A place that allows for probing, intimate examination. A place where skin can appear with all its minute flaws, with its spots and folds and wrinkles, hairs, and veins.

Lara Dâmaso is interested in the potential of the female* voice when used in an irrational, dissonant and uncontrolled way. The physical quality of the vocal apparatus becomes evident and palpable in her performances. Against the background of Anne Carson’s theories in The Gender of Sound, her practice is also intended as an intervention against patriarchal structures in which the female* voice continues to be conditioned to politeness and harmony, and its expressive revolutionary potential is suppressed. Amplified by four loudspeakers, her performance her harsh, high and deep voice: a polyphony transcends the normalised use of voice and fills the physical and emotional resonance space with vibrations caused by the interplay of voice and body movements. Lara Dâmaso records her voice live and edits it in a sound spectrum ranging from intimate tenderness to almost unbearable brutality. The superimposition creates a dissonant, free composition that permeates Otto Wagner’s Art Nouveau architecture of Alte Postsparkasse. Not only the singing and the dancing body become one, seeing and hearing also merge with each other in the abstract landscape of sound, in which vulnerability, hope and agency are renegotiated.

Artists Magdalena Forster and Milena Georgieva freely draw inspiration from the liver. The Greek word ‘hèpar’ (liver) was once associated with ‘pleasure’, as it was thought to be the source of the soul and human emotions and thus served as an inspiration for poetry and art.

The performance gives warm, moist spaces for affirmation, for processes of letting go and intimacy (in solitude). The audience is invited to watch dances that alternate between personal and abstract, to rest while being carried by sounds that move from the smooth glossy surfaces into the folds of existence.

Rituals of Transformation (Starfire) is a continuation of Suutoo’s ongoing exploration of noise as a boundless site for alterity, as the genesis for emancipatory errancies, fugitivity and eroticism. Through sonic, physical, and spatial interventions the artist engages participants in a synesthetic play, abstracting pre-conceived boundaries between body, space, spirit and sound.

In cooperation with Hyperreality

Artists Magdalena Forster and Milena Georgieva freely draw inspiration from the liver. The Greek word ‘hèpar’ (liver) was once associated with ‘pleasure’, as it was thought to be the source of the soul and human emotions and thus served as an inspiration for poetry and art.

The performance gives warm, moist spaces for affirmation, for processes of letting go and intimacy (in solitude). The audience is invited to watch dances that alternate between personal and abstract, to rest while being carried by sounds that move from the smooth glossy surfaces into the folds of existence.

Rituals of Transformation (Starfire) is a continuation of Suutoo’s ongoing exploration of noise as a boundless site for alterity, as the genesis for emancipatory errancies, fugitivity and eroticism. Through sonic, physical, and spatial interventions the artist engages participants in a synesthetic play, abstracting pre-conceived boundaries between body, space, spirit and sound.

In cooperation with Hyperreality

The evening twilight sets the transition from day to night in motion, bathing a scenery in glistening, warm light. Heralding the darkness, it brings with it an urgency but also the desire to linger. again expressing things maybe refers to altered representations of images or scenes as a result of different lighting conditions. While at sunset the landscape is bathed in a romantic reddish glow, the full beam of a car illuminates scenes all too clearly. It emits a signal to serve as an indicator, and it dazzles.

A communal gaze falls on the horizon. A thirst for something passionately moving, something dark and unregulated awakens. Silhouettes fade, and a tormented soul seeks to find a space for itself. The picturesque, the artificial, the content or the form, the serious or the frivolous can be found in the spotlight. Opulent gestures disappear in the night. The performance is divided into two parts, starting on the terrace of MQ Libelle. Then it’s off to the TQW Studios.

Teaser:

By loading the video, you agree to Vimeo’s privacy policy.
Learn more

Load video

Always unblock Vimeo

Mermaid(s) of the Hypersea is a somatic and performative research on being a body of water set in a choreographic context. It is a dance with the water we all carry inside, the water we are and the water that passes through us and blurs the boundaries between you, me, and us, as well as the human and the non-human. The ‘Hypersea’ is what Dianna & Mark McMenamin call the water we, all living organisms, carry within. In Mermaid(s) of the Hypersea, the performers are getting in touch with this common inner sea by working in a borderland, where bodies of water transform, and the imaginative, the sensual, the performative, and the fictional create an overall understanding of ever-changing liquid bodies. Mermaids as mythical divas that manifest in-betweenness, queerness and more-than-humanness become figures to embody. Through singing, dancing, tea-making and pouring bodies of water, the performance becomes a ritual of becoming mermaids of the hypersea. The performance is a duet version of the solo performance Mermaid of the Hypersea from 2019 by Snorre Evin.

Following the performance on 27 May: karaoke party hosted by Luca Büchler.

The evening twilight sets the transition from day to night in motion, bathing a scenery in glistening, warm light. Heralding the darkness, it brings with it an urgency but also the desire to linger. again expressing things maybe refers to altered representations of images or scenes as a result of different lighting conditions. While at sunset the landscape is bathed in a romantic reddish glow, the full beam of a car illuminates scenes all too clearly. It emits a signal to serve as an indicator, and it dazzles.

A communal gaze falls on the horizon. A thirst for something passionately moving, something dark and unregulated awakens. Silhouettes fade, and a tormented soul seeks to find a space for itself. The picturesque, the artificial, the content or the form, the serious or the frivolous can be found in the spotlight. Opulent gestures disappear in the night. The performance is divided into two parts, starting on the terrace of MQ Libelle. Then it’s off to the TQW Studios.

Teaser:

By loading the video, you agree to Vimeo’s privacy policy.
Learn more

Load video

Always unblock Vimeo

Mermaid(s) of the Hypersea is a somatic and performative research on being a body of water set in a choreographic context. It is a dance with the water we all carry inside, the water we are and the water that passes through us and blurs the boundaries between you, me, and us, as well as the human and the non-human. The ‘Hypersea’ is what Dianna & Mark McMenamin call the water we, all living organisms, carry within. In Mermaid(s) of the Hypersea, the performers are getting in touch with this common inner sea by working in a borderland, where bodies of water transform, and the imaginative, the sensual, the performative, and the fictional create an overall understanding of ever-changing liquid bodies. Mermaids as mythical divas that manifest in-betweenness, queerness and more-than-humanness become figures to embody. Through singing, dancing, tea-making and pouring bodies of water, the performance becomes a ritual of becoming mermaids of the hypersea. The performance is a duet version of the solo performance Mermaid of the Hypersea from 2019 by Snorre Evin.

Following the performance on 27 May: karaoke party hosted by Luca Büchler.