statements of interest


Dalıja Acın

Dalıja Acin took the risk to elaborate a non-seductive dramaturgy of slowness: on the edge of visibility and invisibility, performativity of shapes and contours, gestures in slow motion. „Handle wıth great care“ thematızes an oppressıve state of mind, opposing the society of spectacle and questioning the psychology of fastness. Her politics of slowness and invisibility subvert the flux of ımages we reproduce every day. (mimi)


Cristina Blanco

„cuadrado_flecha_persona que corre“ –– Christina Blanco's piece is a playground-like micro-universe full of small objects, well-known forms and signs, parallel narratives. A world with its own rules, where objects can behave like a human being and human beings can seem to be objects. A clear and intelligible dramaturgy structures the composition rhythmically by using short breaks, repeating gestures, creating variations on the same topic. Blanco creates a special language on stage focusing on and questioning the power of arbitrary signs, the verbal and visual components of everyday life communication. (doju)


Manah Depauw / Bernard Van Eeghem

„How do you like my landscape“ by Manah Depauw proposes an ironic displacement of the point of view. The choreographer invents a new world, functioning within its own system. In the same time this artificial landscape extracts and subverts symbols and meanings from Western mythologies. The freedom of the imagination sets in motion a deconstructive power that deals in one blow with the history of our civilization. (aniv)


Olivier DUBOIS

Olivier Dubois is scorning towards himself and the classical ballet in a seductive way in "Pour tout l'or du monde", a graceful choreography of control. Dubois managed to associate in a very professional way some images in his mind and sensations in his body without going to the extreme, relying neither on physical nor conceptual language exclusively. (domm)


Radhouane El Meddeb

Pour en finir avec MOI –– a paradoxical statement for a piece of solo dance. The performing artist invokes the spectres of the interior and haunts the wide, barren stage with its twilight zones and its luring questions. The Me goes triumphant in the end. The paradox goes unsolved. (fac)


Pere Faura

The principles of seduction are the basic material in Pere Faura’s show “Striptease”. Through specific choreographic tactics based on combination of dance and mediatised theoretical lecture, Pere Faura performs “Striptease” as an analytical model based on over-identification, which reveals that the aim of desire production is not its own fulfillment, but self-reproduction. Pere Faura promises seduction but breaks his promise in the end ... (anav)


Matija Ferlin

With „SaD SaM (revisited)“ Matija Ferlin created a remarkable piece on the difficulties in representing representation of personal grief and pain. The piece stages the loneliness after a love affair has ended. „SaD SaM (revisited)“ raises questions about real and fictionalized emotions, about empathy and self-exposure. How to talk about loneliness when there's an audience watching? (séba)


Diego Gil

„Creating Sense“ –– Diego Gil was one of the few choreographers in the competition to really develop his own distinct movement language. His careful attention to the details of form, dynamic, focus, space, and the architecture and interplay of moving bodies impressed the jury. In Creating Sense, Gil makes a convincing choreographic proposition by setting each of these elements on a clear trajectory, in a crescendo through time. (lywi)


Ayse Orhon

“Can you repeat?” –– Ayse Orhon pushes the form by focussing on “silent” questions and resisting mainstream attitude of sensationalism. Her stringent etude-structure corresponds with her economical corporal expression. Ayse Orhon reflects about rehearsal process and stage performance by reversing their linearity and questioning body and meaning not only in a semantic way but also in a cultural one. Her kind of dealing with feminist issues out of artistic practice points at the hierarchical structure of dance production. (itch)


Amanda Piña / Daniel Zimmermann

In subverting the expectations of an anonymous audience and mirroring the gaze back towards the public, „WE“ are suddenly there for our own entertainment. The thoughts shown in bubbles on the screen create new individuals and represent possible interpretations of the piece. Especially in a community like the dance community, this poignant idea can turn into big fun – or even a party. (beha)


Ibrahim Quraishi

Ibrahim Quraishi’s piece “Islamic Violins” presents an inquiry on how to match form and content, aesthetics with socio-political concerns. Looking at contemporary society by means of contemporary art, it opens new ways of thinking about both. Representing a refined artistic material, it radically questions the socio-political reality, as well as the meanings of body, choreography, dance and contemporary art. (bkur)


Doris Uhlich

With her piece “Spitze” Doris Uhlich created a kaleidoscope of intense colours by inviting the well known retired first soloist Susanne Kirnbauer and the soloist Harald Baluch to perform with herself. She merges these colours in a powerful, sharp and humorous style but without ever falling into parody. Each scene therfore offers a new view on her approach to the world of classical ballet. (nana)


9 August 2008, Vienna 

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