Tanzquartier Wien

Part ghostly repository of unconsumed sensuality, an installative kinetic fadeout, part somatic (strip)tease, This resting, patience addresses attraction, voluntary objectification, proximity and the aesthetics of bareness. Employing an experimental format, it upsets the passivity of installation and the time-delineation and dramaturgical resolution of performance and steps away from the tradition of viewing dance as an alienated spectacle to instead emphasise its immanent sociability. In its devotion to the body, This resting, patience proposes sensuousness and dancing as timeless and democratically available technologies of undoing the world and projecting the continuous present into a future that lasts, forever suspended and unfolding, quintessentially tender, infatuated, attentive.

Plot Toy presents Jazmina Figueroa, litte star and syp/biz.

Plot Toy (*2022), run by Chris Attila Izsák and Juan Francisco Vera, acts out of an interest in showcasing sound-related work within artistic contexts and establishing interdisciplinary fields. One focal point is to publish music that Plot Toy doesn’t consider as ‘genre music’.

Jazmina Figueroa is a Berlin-based writer. She focuses on what correlates with entropy in her recorded and arranged performances, published prose works, and other artistic essayistic productions.

Vienna-based little star’s output ranges from ambient to mall pop to rock-beat loops back to medieval flute music. A red line through his work is the extensive use of sampling in audio and visual material.

syp/biz is a Paris-based collective working in the fields of fine arts, music, and fashion. One of the key motivations is ‘staging’ as an act of creating space while simultaneously defining frameworks for others. syp follows the idea of generating visibility via infiltration of platforms and word of mouth, thus actively creating space for rumour.

Part ghostly repository of unconsumed sensuality, an installative kinetic fadeout, part somatic (strip)tease, This resting, patience addresses attraction, voluntary objectification, proximity and the aesthetics of bareness. Employing an experimental format, it upsets the passivity of installation and the time-delineation and dramaturgical resolution of performance and steps away from the tradition of viewing dance as an alienated spectacle to instead emphasise its immanent sociability. In its devotion to the body, This resting, patience proposes sensuousness and dancing as timeless and democratically available technologies of undoing the world and projecting the continuous present into a future that lasts, forever suspended and unfolding, quintessentially tender, infatuated, attentive.

NEUM is the still unborn prodigy by the duo MИNA und OMI, for the first time in this constellation, with a physical despair to deliver their songs in a faceless servitude. Inspired by sounds of noise, metal and old Slavic folk tunes, they build chains of hard acts for breaths, distortion and episodic screams.

Intimate lovelorn lyrics and preoccupations for the ‘The End’ build up an emo-séance, a spell and a requiem for the astral and physical self through its cycles of life and death. SADIS-ROSE crafts atmospheres of precariousness, spiritual surrender, communion and delicate sensibilities towards messianic vulnerability as a site for collective redemption.

This workshop, titled Dear know-it-all, how did sentences come to exist? and conceived by Inga Charlotte Thiele and Laura Hinrichsmeyer, is dedicated to the poet Bernadette Mayer. Based on her often dialogical writing, texts by Bernadette Mayer (among others) will be read together, writing instructions will be given and written works will be discussed. The workshop will focus in particular on Mayer’s Writing Experiments (L=A=N=G=U=A=G=E #3, 1978), as well as the question-and-answer exchange between Bernadette and the poet Bill Berkson, titled What’s Your Idea of A Good Time? which was published in 2006 and started around 1977.

NEUM is the still unborn prodigy by the duo MИNA und OMI, for the first time in this constellation, with a physical despair to deliver their songs in a faceless servitude. Inspired by sounds of noise, metal and old Slavic folk tunes, they build chains of hard acts for breaths, distortion and episodic screams.

Intimate lovelorn lyrics and preoccupations for the ‘The End’ build up an emo-séance, a spell and a requiem for the astral and physical self through its cycles of life and death. SADIS-ROSE crafts atmospheres of precariousness, spiritual surrender, communion and delicate sensibilities towards messianic vulnerability as a site for collective redemption.

Out of her fascinations and frustrations, Luisa Fernanda Alfonso embodies and turns around the archetypes of The Character Dancer and The Mariachi – characterised for being hyper-dramatic, hyper-virtuous and hyper-gendered. Masterpiece explores both their excesses in the tumult of nostalgic and Latin American associations, hijacking the dance from its legitimacy, legacy and traditions. How can we create conditions for these archetypes to exist with us today? How to find pleasure in spaces where we no longer know how to position ourselves? What resonates through our simultaneous fascination and irritation?

In collaboration with composer Peter Rubel and an abundance of loudspeakers, Masterpiece deals with the poetics of building, unbuilding, repeating, modulating, interrupting and abandoning dances and songs, which attempt to exist within consonance and dissonance. By repurposing loudspeakers as sound sculptures, affect carriers, acoustic partners and lovers, Luisa Fernanda Alfonso sentimentally indulges with them in singing covers of El Cascabel by Lorenzo Barcelata, Me Estoy Acostumbrando a Ti by Pepe Aguilar, Te Llevaré by Lisandro Meza, Inocente Probe Amigo and Amor Eterno by Juan Gabriel.

The performer feels her way along inner unevenness and geological unrest into landscapes. They encounter sediments and begin to reshape and decompose the physical relief. This relief is (also) the body. A body read as female, which in its materiality seeks to embody nothing other than the body, embarking on a process of excavation and detachment. The performer actively winds herself into this epic fall and, carefully pushing, brings their figure to the ground. A body archaeology that excavates and exposes sedimented fragments and facets and carries them into space, allowing them to take up space. The body becomes a sensor, a seismograph, a strategy, an emancipation, a language, a force and a joyous reshaping of one’s own form(s).

Out of her fascinations and frustrations, Luisa Fernanda Alfonso embodies and turns around the archetypes of The Character Dancer and The Mariachi – characterised for being hyper-dramatic, hyper-virtuous and hyper-gendered. Masterpiece explores both their excesses in the tumult of nostalgic and Latin American associations, hijacking the dance from its legitimacy, legacy and traditions. How can we create conditions for these archetypes to exist with us today? How to find pleasure in spaces where we no longer know how to position ourselves? What resonates through our simultaneous fascination and irritation?

In collaboration with composer Peter Rubel and an abundance of loudspeakers, Masterpiece deals with the poetics of building, unbuilding, repeating, modulating, interrupting and abandoning dances and songs, which attempt to exist within consonance and dissonance. By repurposing loudspeakers as sound sculptures, affect carriers, acoustic partners and lovers, Luisa Fernanda Alfonso sentimentally indulges with them in singing covers of El Cascabel by Lorenzo Barcelata, Me Estoy Acostumbrando a Ti by Pepe Aguilar, Te Llevaré by Lisandro Meza, Inocente Probe Amigo and Amor Eterno by Juan Gabriel.

The performer feels her way along inner unevenness and geological unrest into landscapes. They encounter sediments and begin to reshape and decompose the physical relief. This relief is (also) the body. A body read as female, which in its materiality seeks to embody nothing other than the body, embarking on a process of excavation and detachment. The performer actively winds herself into this epic fall and, carefully pushing, brings their figure to the ground. A body archaeology that excavates and exposes sedimented fragments and facets and carries them into space, allowing them to take up space. The body becomes a sensor, a seismograph, a strategy, an emancipation, a language, a force and a joyous reshaping of one’s own form(s).

Just before the sun goes down, when the shadows lengthen and the contours blur, an ecstatic time unfolds. Inspired by the light phenomenon of the golden hour, Luca Büchler uses this transgressive moment to investigate the unspecified (performance) space with biographical movement material in after the end, before the beginning. The actions refuse to comply with linear temporal perception and detach themselves from the here and now. Gestures disappear in the dark, movements come to a halt in the light. The ‘becoming’ glows on the horizon and invites the spectators to wander around.

Shifting between labour and speculative proposals, several attempts at braiding my way home insists on fiction as a tool for quaking potential and finding opportunities for recovery and belonging. The performance swims with the Clymene dolphins, who defy understandings of heritage. It listens to the walruses who trust their hair for navigation. several attempts at braiding my way home is a collection of strategies for creating a home in an Afro-Nordic landscape. Braiding hair, fusing bones, growing fins. It is a heatwave and a longing for home.

Artist Talk on Sat 25 May at 16.00 in TQW Studios. Artist and curator Isabelle Edi in conversation with Adam & Amina Seid Tahir. In English.

Isabelle Edi hosts a conversation with Adam and Amina Seid Tahir about their artistic work and the reference points of their performance several attempts at braiding my way home. The talk will transform into a listening session based on oceanic motifs.

a moment of closed eyes.
that we can surrender, 
that we can let off, 
that we can find a moment of devotion in listening.

entering the horizontal, 
meeting the ear 
expanding into a meditative time and feeling

breathe deeply.
make it your own.

Just before the sun goes down, when the shadows lengthen and the contours blur, an ecstatic time unfolds. Inspired by the light phenomenon of the golden hour, Luca Büchler uses this transgressive moment to investigate the unspecified (performance) space with biographical movement material in after the end, before the beginning. The actions refuse to comply with linear temporal perception and detach themselves from the here and now. Gestures disappear in the dark, movements come to a halt in the light. The ‘becoming’ glows on the horizon and invites the spectators to wander around.

Shifting between labour and speculative proposals, several attempts at braiding my way home insists on fiction as a tool for quaking potential and finding opportunities for recovery and belonging. The performance swims with the Clymene dolphins, who defy understandings of heritage. It listens to the walruses who trust their hair for navigation. several attempts at braiding my way home is a collection of strategies for creating a home in an Afro-Nordic landscape. Braiding hair, fusing bones, growing fins. It is a heatwave and a longing for home.

Artist Talk on Sat 25 May at 16.00 in TQW Studios. Artist and curator Isabelle Edi in conversation with Adam & Amina Seid Tahir. In English.