Tanzquartier Wien

dragonfly is hacking routines, warping protocols, and whispering quiet temptations of misbehaviour towards you. The everyday becomes the stage for a rehearsal of flexible yet uncompromising tactics that might serve to confront dominant structures of discipline. Through a live negotiation of the relationship between body, objects, sound, and audience, Jakob Wittkowsky explores possible strategic attitudes that oscillate between defiance, hesitation, lament, and mischief. In an attempt to recode movement and meaning, questions about desire, recklessness, and responsibility arise. A chaotic yet precise dance along the edges of the rational.

In a world where land, language and folklore have become commodities, the only place you’re invited back is outside, where greenery is no longer the primary reference. Instead, uneven floorboards, illusion mirrors, and trickster steps form profitable landscapes.

Nüganen, KISLING and Sova, as a reaction, open up their ice-manufacturing business. In the backdrop of nightmares and constant dripping, they navigate between multiple perspectives on locality, accompanied by CDJs and a banjo. At Earth’s magnitude, they are specks of dust, and next to geological time, as if on speed. They trace locality from places where the influence of one dominant culture has made imported goods part of folklore, while the word ‘local’ still adds value when making choices as a tourist.

Ash, horizon, riding a house is a series of chain reactions that invites the audience to envision a belonging – one that cannot be seen from here. It must be imagined.

With his self-titled solo project, Stefan Grimus draws on contemporary concert practices as well as the fringes of pop music. In his work, electronic textures and his singing voice merge with pieces for electric guitar, creating images and moods reminiscent of faded memories and cinematic scenarios.

dragonfly is hacking routines, warping protocols, and whispering quiet temptations of misbehaviour towards you. The everyday becomes the stage for a rehearsal of flexible yet uncompromising tactics that might serve to confront dominant structures of discipline. Through a live negotiation of the relationship between body, objects, sound, and audience, Jakob Wittkowsky explores possible strategic attitudes that oscillate between defiance, hesitation, lament, and mischief. In an attempt to recode movement and meaning, questions about desire, recklessness, and responsibility arise. A chaotic yet precise dance along the edges of the rational.

In a world where land, language and folklore have become commodities, the only place you’re invited back is outside, where greenery is no longer the primary reference. Instead, uneven floorboards, illusion mirrors, and trickster steps form profitable landscapes.

Nüganen, KISLING and Sova, as a reaction, open up their ice-manufacturing business. In the backdrop of nightmares and constant dripping, they navigate between multiple perspectives on locality, accompanied by CDJs and a banjo. At Earth’s magnitude, they are specks of dust, and next to geological time, as if on speed. They trace locality from places where the influence of one dominant culture has made imported goods part of folklore, while the word ‘local’ still adds value when making choices as a tourist.

Ash, horizon, riding a house is a series of chain reactions that invites the audience to envision a belonging – one that cannot be seen from here. It must be imagined.

Dismantling the compartmentalisation of the body, SKINFOLD is a choreographic disintegration of flesh and form. Influenced by Monique Wittig’s The Lesbian Body, which cleaves language open in its radical re-envisioning of flesh, SKINFOLD undoes the rigid frameworks of bodily perception and felt sense. This is not a performance of arrival nor an attempt to transcend. By liquefying the hardened forms imposed by expectation and identity, SKINFOLD fractures the conventional grammar of the body, creating something mercurial, transforming it into a mutable terrain where familiar forms collapse into fluid ambiguity. Skin folds into itself, limbs blur boundaries, and what once seemed stable becomes something beautifully unknown.

A scene, your stage, my coma is a portrayal of the singular body conditioned and eager to perform. Through invitations of proximity, the viewer follows a solo performer (Andersen) as she reveals cohabiting postures of the complexities and chameleonistic tendencies of a staged work life. Aware of the tangent between megalomania and imposter syndrome, the performance embraces the opaque absurdity of the relationship between viewer and performer in a solo setting. Filmed with 16mm film, the work transfers ephemerality in capsules of real-time onto the frame. The film is a tribute to showgirls with second thoughts, given the state of the world.

Artist Talk with the filmmakers after the screening. Moderation: Lewon Heublein. In English.

Dismantling the compartmentalisation of the body, SKINFOLD is a choreographic disintegration of flesh and form. Influenced by Monique Wittig’s The Lesbian Body, which cleaves language open in its radical re-envisioning of flesh, SKINFOLD undoes the rigid frameworks of bodily perception and felt sense. This is not a performance of arrival nor an attempt to transcend. By liquefying the hardened forms imposed by expectation and identity, SKINFOLD fractures the conventional grammar of the body, creating something mercurial, transforming it into a mutable terrain where familiar forms collapse into fluid ambiguity. Skin folds into itself, limbs blur boundaries, and what once seemed stable becomes something beautifully unknown.

Earth, wood, asphalt, warming, change: In this performance, the ground, frequently ignored, becomes the narrator and archive of material changes. In Heat Island, Chiara Bartl-Salvi – together with dancers Chihiro Araki and Elena Francalanci – uses shoes as a tool. Friction with the floor becomes the central element of choreography and sound. An interaction of fleeting intensity, where the collision of forces leaves residual traces. Friction as a physical process but also as a means of interaction with urban landscapes. Heat Island refers to TikTok choreographies and music videos, moves between original and imitation, and is complemented by three-part vocals and recurring variations of sound. But who is the author when everything is in constant repetition?

Through a set of fantastic organs, babes introduces a form of worlding that doesn’t stop at the body’s borders. These organs don’t have vital functions: their byproducts are dances, sounds, objects and poems –a gathering of lovers in lust for touch.

babes cultivates a space where fantasy does matter, matter does fantasy, and where sensual experiences are one’s primary way of staying in touch with the world. babes is the prelude to farkas’ first evening-length group piece mama and the first work created through organ-ing, a choreographic research queering the body by weaving together fantasy with its physically felt sense.

Earth, wood, asphalt, warming, change: In this performance, the ground, frequently ignored, becomes the narrator and archive of material changes. In Heat Island, Chiara Bartl-Salvi – together with dancers Chihiro Araki and Elena Francalanci – uses shoes as a tool. Friction with the floor becomes the central element of choreography and sound. An interaction of fleeting intensity, where the collision of forces leaves residual traces. Friction as a physical process but also as a means of interaction with urban landscapes. Heat Island refers to TikTok choreographies and music videos, moves between original and imitation, and is complemented by three-part vocals and recurring variations of sound. But who is the author when everything is in constant repetition?

Through a set of fantastic organs, babes introduces a form of worlding that doesn’t stop at the body’s borders. These organs don’t have vital functions: their byproducts are dances, sounds, objects and poems –a gathering of lovers in lust for touch.

babes cultivates a space where fantasy does matter, matter does fantasy, and where sensual experiences are one’s primary way of staying in touch with the world. babes is the prelude to farkas’ first evening-length group piece mama and the first work created through organ-ing, a choreographic research queering the body by weaving together fantasy with its physically felt sense.

Earth, wood, asphalt, warming, change: In this performance, the ground, frequently ignored, becomes the narrator and archive of material changes. In Heat Island, Chiara Bartl-Salvi – together with dancers Chihiro Araki and Elena Francalanci – uses shoes as a tool. Friction with the floor becomes the central element of choreography and sound. An interaction of fleeting intensity, where the collision of forces leaves residual traces. Friction as a physical process but also as a means of interaction with urban landscapes. Heat Island refers to TikTok choreographies and music videos, moves between original and imitation, and is complemented by three-part vocals and recurring variations of sound. But who is the author when everything is in constant repetition?

A monkey, a robot, a painting by Raphael or Pippi Longstocking. They all form an atlas of memory; the body stutters them; the voice transforms them like a radio searching for its frequency. Where the fuck am I? explores various incarnations, mixing entertainment and nostalgia, perdition and amusement. The stage is a playground for an incessant flow of images, shared memories and troubled representations. The dance becomes a chaos of figures and a collage of sound references. Zoé Lakhnati and Per Anders Kraudy Solli experiment with voice and dance movement, viewing both as containers of memory. Their practice consists of following, directing, subverting or emphasising sounds or movements induced by the other. Where the fuck am I? is a space for projecting images that mix and mingle, as if imagining new representations that might belong to Generation Z. The first question, perhaps, is: where are we?

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Ivan Cheng’s works, which are interested in compression and context, are mostly shown in contemporary art spaces. Working with an interest in making theatrical devices visible and making the audience aware of the space between the material and its interpretation, Nowadays is largely informed by two culturally dispersed narratives, which have also had iterations as successful Broadway musicals – Chicago and Spring Awakening. For Cheng, both have narratives that are propelled by forms of misunderstanding or factual obfuscation. Ivan Cheng’s Nowadays emerges desultory from the artifice abyss of theatre, using historical and staging references to indicate towards the fragmented contemporary, where the notion of the criminal or dissident is still produced and romanticised by techniques of representation.

A monkey, a robot, a painting by Raphael or Pippi Longstocking. They all form an atlas of memory; the body stutters them; the voice transforms them like a radio searching for its frequency. Where the fuck am I? explores various incarnations, mixing entertainment and nostalgia, perdition and amusement. The stage is a playground for an incessant flow of images, shared memories and troubled representations. The dance becomes a chaos of figures and a collage of sound references. Zoé Lakhnati and Per Anders Kraudy Solli experiment with voice and dance movement, viewing both as containers of memory. Their practice consists of following, directing, subverting or emphasising sounds or movements induced by the other. Where the fuck am I? is a space for projecting images that mix and mingle, as if imagining new representations that might belong to Generation Z. The first question, perhaps, is: where are we?

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Ivan Cheng’s works, which are interested in compression and context, are mostly shown in contemporary art spaces. Working with an interest in making theatrical devices visible and making the audience aware of the space between the material and its interpretation, Nowadays is largely informed by two culturally dispersed narratives, which have also had iterations as successful Broadway musicals – Chicago and Spring Awakening. For Cheng, both have narratives that are propelled by forms of misunderstanding or factual obfuscation. Ivan Cheng’s Nowadays emerges desultory from the artifice abyss of theatre, using historical and staging references to indicate towards the fragmented contemporary, where the notion of the criminal or dissident is still produced and romanticised by techniques of representation.

The light reflects off its surface in a pale blue colour. Its shimmer is recognised as nothing but its own. The gravity, the weight – how it falls into the hand. Spray on the left wrist, right wrist, centre of the neck. It takes you there. Who wouldn’t want to own it? Turn around, no one in sight. A silent whisper: I dare you… It’s funny, because didn’t you just think to yourself: never would I steal a drug store perfume.

This is a background, a scene, a setting.