#impulstanz

[bretterbodendisko]

The first live recording.

[zoranphoto]

40. Međunarodni festival plesa ImPulsTanz privlači ljubitelje plesne umjetnosti u Beč

Međunarodni festival plesa u Beču ImPulsTanz pokrenut je 1984. godine, a do danas se prometnuo u jedan od najvećih festivala suvremenog plesa. Svake godine donosi raznolik program s brojnim plesnim i glazbenim izvedbama, radionicama i projektima. Povodom 40. rođendana festival od 6. srpnja do 6. kolovoza ove godine predstavlja šaroliko izdanje koje uključuje međunarodne plesne ikone, nove talente kao i brojne praizvedbe iz bogatog svijeta suvremenog plesa.   Više od 200 radionica i projekata s brojnim austrijskim i inozemnim voditeljima privući će zaljubljenike u ples iz cijelog svijeta kako bi izbrusili svoje plesne vještine, otkrili nove stilove i okušali se u njima. Osim toga u okviru festivala prikazat će se 68 predstava međunarodnih plesača i plesnih skupina na preko 20 lokacija. Posjetitelje očekuje i bogat popratni program uz filmove i glazbene videe. Više o programu: www.impulstanz.com/en/performances/.  www.viennaoffices.hr Read the full article

[scenariopubblico]

Intervista con Emio Greco, coreografo di ROCCO.

Abbiamo incontrato Emio Greco (1965), danzatore e coreografo italiano che dopo essersi formato a Cannes ha danzato e collaborato con numerosi artisti tra cui Jan Fabre e Saburo Teshigawara. Dal 1995 lavora con Pieter C. Scholten (1965), con il quale ha fondato ad Amsterdam la compagnia Emio Greco/PC riconosciuta come una delle più importanti del panorama europeo.

Rocco è stato portato per la prima volta in scena nel 2011. Come si è sviluppato il processo creativo e come lo spettacolo è cambiato oggi da allora? La genesi risale al 2008 quando inizialmente io e Pieter pensavamo di creare uno spettacolo di teatro in collaborazione con un importante regista, oggi molto famoso per i musical, che voleva curare la messa in scena di Rocco. Il suo linguaggio però era molto realistico, così abbiamo deciso di sviluppare le nostre idee iniziali. La prima ufficiale fu a Vienna a ImpulsTanz nel 2011; da allora lo spettacolo si è nutrito del proprio vissuto acquisendo qualcosa di nuovo e perdendo qualcos’altro, com'è naturale. Abbiamo poi creato anche una versione femminile, Rocca. Adesso il cast è misto e diciamo che questo aspetto fa anche parte della storia di Rocco dal punto di vista etico-sociale: la scelta dei performer, infatti, va oltre il gender e la rappresentazione dell’uomo e della donna. È più uno stato di amicizia, relazione, combattimento, distanza, sfida ad essere in scena. Ciò che importa è l’energia che emana quella specifica persona aldilà del proprio gender.

Il lavoro tra te, coreografo, e Pieter, regia, come si sviluppa? Posso dire che siamo entrambi coreografi perché la regia è qualcosa che emerge dal corpo e da me. In altre parole, per regia intendo il fatto di leggere, cogliere ciò che il corpo che ho di fronte ha bisogno in relazione al circostante e alla situazione teatrale…bisogna capire cosa fornire affinché il corpo possa vivere in modo ottimale. Riguardo Rocco avevamo chiaro sin dall’inizio l’idea spaziale del ring – tra l’altro quella di considerare la scena come un ring è una suggestione che ho da molto prima della creazione – e la suddivisione del tempo in round di tre minuti. Idee che avevamo sin dall’inizio a differenza di molti altri lavori in cui la forma scenica si specifica dopo.

Molti hanno parlato di Rocco come uno spettacolo rappresentativo del vostro lavoro. Che significato ha, allora, Rocco nella vostra carriera? È piuttosto importante perché mi ha permesso di lavorare su una dualità; il rapporto a due che nella danza è molto importante (penso al passo a due) e che qui acquisisce nuove soluzioni formali e coreografiche.  Abbiamo studiato come creare altre strategie, una forma nuova che abbiamo sperimentato per la prima volta con Rocco che quindi è un tourning point nel nostro percorso.

Ci sono delle figure di riferimento nella storia della danza, della musica, del cinema e dell'arte che sono state importanti nel corso degli anni? Da italiano sento che c'è una cultura classica che mi impregna. Sono cresciuto a Brindisi dove c’è una presenza artistico-architettonica greca e romana. Ci rapportiamo quindi con quel tipo di idea di “purezza” nelle dimensioni e nelle proporzioni. Anche con il cinema c’è un rapporto importante. Ho un legame particolare perché quando vivevo nel mio paese non avevo molto accesso all’arte e alla cultura e quella cinematografica è una delle forme d'arte più accessibili. Un riferimento su tutti è David Lynch, con la sua magistrale capacità di trovare sempre un'altra narrazione, cioè un altro modo per dire qualcosa. Riguardo la danza mi sono formato negli anni Ottanta, quindi con un pensiero neoclassico di base da cui mi sono poi allontanato. L’astrazione della tecnica è una delle cose che mi affascina di più, poiché da quella situazione – con le tecniche incorporate nel corpo – puoi disfare qualsiasi cosa e quindi ricreare qualsiasi cosa. Riferimenti principali sono Cunningham e Forsythe e le loro danze fanatiche che sono qualcosa che dal punto di vista energetico mi hanno sempre colpito. Ulteriore figura importante è Jan Fabre, altra faccia di uno stesso oggetto… Siamo molto legati anche all’ambito musicale, e questo si vede nelle scelte sonore che facciamo che si nutrono di mondi ed epoche diverse. Non mi dispiace la musica di ricerca, più sofisticata, nel campo dell’elettronica.

Il vostro manifesto, scritto nel 1996, è ancora oggi perfettamente valido nella vostra est-etica? Senza che venga considerato un tabù, il manifesto è ancora qualcosa di valido a cui ci riferiamo. Abbiamo elaborato il nostro linguaggio proprio sulla base di questi punti che ci hanno permesso anche di dialogare con altre situazioni e altri ambiti di ricerca come musica, teatro, filosofia e ricerca scientifica. È affascinante un pensiero della danza così poliedrico… ed è importante anche dal punto di vista dell’approccio sociale.

1. It is necessary for me to tell you that my body is curious about everything and I am my body 2. It is necessary for me to tell you that I am not alone 3. It is necessary for me to tell you that I can control my body and play with it at the same time 4. It is necessary for me to tell you that my body is escaping 5. It is necessary for me to tell you that I can multiply my body 6. It is necessary for me to tell you that you have to turn your head 7. It is necessary for me to tell you that I am leaving you and I am giving you my statue

Infatti, il punto tre dice «io posso controllare il mio corpo e allo stesso tempo giocarci». Un concetto che esplica un tipo di lavoro di ricerca e allo stesso tempo una posizione politica, nei confronti del pubblico. Questo si lega anche a un'ulteriore domanda: quale pensi sia il ruolo della danza nella società di oggi? Sappiamo che la danza è stata una delle forme più importanti di espressione sia per il suo potenziale vibrante che per il suo essere sociale, aggregante. Questo è un elemento fondante, presente intrinsecamente, che rimane nonostante l’evoluzione della forma. Penso che le capacità di grido e parola siano eccezionali. La danza è poi la forma che evolve più velocemente di ogni altra e riesce a comunicare senza barriere: legata ai corpi è legata alla società e quindi al cambiamento, c’è una corrispondenza.

Secondo te, in generale, il pubblico vuole dialogare con la danza? O è più predisposto ad accogliere un intrattenimento?   Soprattutto dopo il Covid noto che c’è una dipendenza a volere cose che si riconoscono e che siano riconoscibili...

La danza allora deve prendere considerazione di questo aspetto e sforzarsi di andare incontro al pubblico? Si, ma senza svendere la sua natura e questa è la cosa più difficile…penso che debba avvicinarsi il più possibile ma senza diventare inutile. Intendo, cioè, di dare qualcosa soltanto in accordo con un gusto particolare. Che senso avrebbe a quel punto? Bisogna "indicare" sempre un pensiero attraverso la danza…il pensiero è ciò che ha fatto evolvere la società. Gli artisti prima di noi hanno indicato una strada, con il loro pensiero…sono stati pionieri con qualcosa di nuovo. Noi siamo qui grazie a loro, grazie a chi ha smosso resistenze e tabù ed è stato artista per noi.

di Sofia Bordieri

[ehcirbnats]

Juillet / Aout 2024

Du 05 au 06.07: Bal Surprise, Das Kollektiv Mahu, dans le cadre de la Nuit d'Amour(s), avec A Vrai Dire Collectif et TéATr'éPROUVèTe, Abbaye du Jouïr, Corbigny (58)

Du 09 au 12.07: Ateliers et résidence de création Nouveaux Rêves, C. Perdriel / Graines de Mouvement, Paris

Jusqu'au 14.07: Le Lac des Cygnes, R. Noureev, Opera National, Paris

Du 5 au 26: Exposition de photos de TaleOfMen, dans le cadre du Festival "Queer as we are", Galerie Grevy, Köln (DE)

Mercredi 17: Tournage Demain notre amour, A. Deval, La Filature, Evreux (27)

Du 20 au 21: Trash Off, Workshop I. Dimchev, dans le cadre de Impulstanz, Volksoper Probebühne, Vienna (AT)

Lundi 22: The will to move, workshop, L. Wahl, dans le cadre du programme "Public move", du Festival Impulstanz, Wien (AT)

Mercredi 24: Shooting PCP Fotografie, Hotel Daniel, Graz (AT)

Vendredi 26: Canon and on and on..., workshop, M. Lorimer, dans le cadre du programme "Public move", du Festival Impulstanz, Wien (AT)

Dimanche 4: Sortie du clip Night-Club, réal. M. Eyer / De Lestran, en ligne

Mardi 6: Shooting photo M. Deck-Sablon, Jardins du Montperthuis, Chemili (61)

Lundi 12: Shooting photo, Momento Desnudo / Instant en Suspend, Bretigny-sur-Orge

Dimanche 18: Séance de poses, Handful of Moss, Paris

Du 27 au 29.08: Résidence Das Kollektiv Mahu, Les Dominicains CCR, Guebwiller (68)

Mardi 27: Shooting photo Portraits by Sky, Guebwiller

Vendredi 30: Public warm up, M. Nyamza, dans le cadre de Zürcher Theater Spektakel, Zürich, CH

+ tout l'été: Boléro, M. Béjart / Opéra National de Paris, projections gratuites, dans le cadre de "Opéra d'été 2024", divers lieux France

[yohmorishita]

Chrysalis premiere 11.12.13. March 2024 studio brut / imagetanz festival

By fusing the animated and the inanimate, Yoh Morishita’s performance Chrysalis creates an incarnation of the absurd. We see a body infested with a variety of materials: mussels, horn, tentacles, synapses, tubers, claws, and rhizomes. This body is mutating all the time, nothing ever fits together. And it withstands the forces eager to eliminate diversity. It eludes oppression by altering its shape or slipping away from it altogether and leaving behind only skin. Like a pupated insect about to hatch.

In Chrysalis, Yoh Morishita ponders on how organisms and people change. She embodies a process of metamorphosis that perceives life as a dynamic equilibrium. Different types of movement appear simultaneously at the various body parts, creating a fatuous coherence of the animated and the inanimate. Existing orders are constantly being dissolved and created anew. Where will this slowly evolving sequence of images lead us? If change is the essence of life, how much do we allow ourselves to change? How do we feel about strange beings and objects? And who are ‘we’ anyway?

Chrysalis addresses and processes various questions around change. Lithuanian artist/composer Marija Jociūtė creates an electronic soundscape for the piece that inspires communication between all those involved. An uncanny world looms before us!

Concept and performance Yoh Morishita Live sound and music Marija Jociūtė Lighting design Leo Kuraitė Costume design Lisa Knoll Outside eye and ear Camilla Schielin, Julia Müllner, Magdalena Forster, Dominik Morishita-Leitner

A co-production of Yoh Morishita, brut Wien and Im_flieger. With the kind support of the Austrian Federal Ministry of Art, Culture, Civil Service and Sport, and ImPulsTanz Atlas program.

[praxismatters]

Evens Arts Prize 2021

The Evens Arts Prize 2021 is awarded to choreographer and dancer Marlene Monteiro Freitas, with a Special Mention of the Jury for artist Andrea Büttner.

The biennial Prize honours artists who engage with the challenges of contemporary Europe. The laureates were selected by an independent jury from nominations put forward by 25 representatives of cultural institutions across Europe.

The Jury of the 2021 edition was composed of Daniel Blanga Gubbay, Artistic Co-Director of Kunstenfestivaldesarts, Brussels; Manuel Borja-Villel, Director of Museo Reina Sofia, Madrid; Carlo Chatrian, Artistic Director of the Berlinale, Berlin; Anne Hilde Neset, Director of Kunstnernes Hus, Oslo; and Christine Standfest, Dramaturg, Curator, ImPulsTanz Festival, Vienna. The Jury Chair is Ernest Van Buynder, Honorary Chairman, M KHA, Antwerp.

Curated by Anne Davidian for Evens Foundarion.

The Laureate Marlene Monteiro Freitas (born in 1979, Cape Verde) is a choreographer, artist, and the founder of the Lisbon-based production and dance company P.OR.K. With a career spanning over 15 years, Freitas has earned a reputation for creating visually and sensorially rich performances.

“Freitas invests in the construction of worlds where lush, evil, illness, madness and opulence are underlined – excesses that the choreographer proposes us to meet through the confrontation with surprising visual scenarios and performers’ strong physical language,” explain Tiago Rodrigues, Director, Festival d’Avignon, and Cristina Grande, Head of the Performing Arts Department, Serralves Foundation, Porto, who nominated Freitas for the Prize.

Freitas' recent creations include Pierrot Lunaire (2021), which premiered at Wiener Festwochen, Mal – Embriaguez Divina (2020), 2020 Bacchae - Prelude to a Purge (2017). In 2018 La Biennale di Venezia awarded the artist the Silver Lion for Dance.

Jury statement The jury recognised the singular and compelling force of the choreographic worlds created by the artist Marlene Monteiro Freitas. Daring and experimental, their sensorial immediacy draws discrete audiences into contact with a dazzling interplay of bodies, energies and effects.

The jury particularly praised the artist’s rich and layered scrutiny of European cultural traditions and their legacies. Often merging genres, myths and allegories, the works deftly undermine implicit power structures, reimagining traditions not as fixed absolutes, but as fluid encounters between subjectivities.

The Special Mention of the Jury The jury chose to award a Special Mention to Berlin-based visual artist Andrea Büttner. The Special Mention distinction was introduced in 2019 as a way to recognise outstanding work and contributions to the European art scene.

Andrea Büttner (1972, Stuttgart, Germany) connects art history with social and ethical issues, exploring broad-ranging topics such as poverty, work, community, belief, botany, Catholicism, and philosophy. Her work is based on thorough research into specific areas or situations and is articulated through diverse formats including printmaking, sculpture, painting, photography, and video. "The artistic project of Andrea Büttner proposes a bridge between different historical eras and worldviews, showing ways of being together that arise out of the gaps that divide people", explains Lars Bang Larsen, Co-Director, Art Hub, Copenhagen, who nominated the artist for the Prize.

Shortlisted for the Turner Prize in 2017, Büttner had numerous solo exhibitions at institutions worldwide, including Kunstmuseum Basel (2023), Bergen Kunsthall (2018); Hammer Museum (2017); Kunsthalle Wien (2016); Walker Art Center (2015); Tate Britain (2014). She teaches at Kunsthochschule Kassel and has authored several books.

Jury statement The Special Mention of the Jury is given to the artist Andrea Büttner for her rich, multifaceted work, that composes and dismantles relationships between cultural registers, philosophical and aesthetic traditions of Western modernity, and European histories of fascism and exploitation.

With her in-depth research into the systems of value and practices of craftmanship, her works weave intricate connections between dignity, shame, religion, care, and labour. The jury particularly noted Büttner’s ability to uncover the transformative potentials of collaborative processes, illuminating otherwise shrouded forms of resistance, togetherness, and community.

The nominators of the Evens Arts Prize 2021 Aaron Cesar, Director, Delphina Foundation, London; Andrea Lissoni, Director, Haus der Kunst, Munich; Bart de Baere, Director, M HKA, Antwerp; Lars Bang Larsen, Co-Director, Art Hub, Copenhagen; Beatrice Fiorentino, International Film Critics Week, Venice Film Festival; Björn Gottstein, Artistic Director, Donaueschinger Musiktage, Donaueschingen; Cristina Grande, Head of the Performing Arts Department, Serralves Foundation, Porto; Christophe Slagmuylder, Artistic Director, Wiener Festwochen, Vienna; Christos Carras, Director, Onassis Foundation, Athens; Ekaterina Degot, Steirischer Herbst, Graz; Eva Sangiorgi, Artistic Director, Viennale, Vienna; Farid Rakun, Artistic Co-Director, documenta 15; Frank Madlener, Director, IRCAM, Paris; Julia Eckhardt, Artistic Director, Q-02, Brussels; Maialen Beloki Berasategui, Deputy Director, San Sebastien Film Festival; Malgorzata Ludwisiak, Board Member, CiMAM; Marcella Lista, Chief Curator, Centre Pompidou, Paris; Marta Keil, Director, Performing Arts Institute, Warsaw; Mathilde Henrot, Selector, Locarno Film Festival; Niklas Engstrøm, Artistic Director, CPH:DOX, Copenhagen; Silvia Fanti, Artistic Director, Live Arts Week /Xing, Bologna; Teja Reba, Program Director, City of Woman, Ljubliana; Tiago Rodrigues, Artistic Director, Teatro National Dona Maria II, Lisbon; and Virve Sutinen, Artistic Director, Tanz im August Festival, Berlin.

More about the Evens Arts Prize

📷 Marlene Monteiro Freitas ©Peter Hönnemann | Andrea Büttner ©Julia Zimmermann

[borosflora]

CINDY

CINDY is an experiment that dissects kinesthetics, sounds and visuals into isolated scores, slowly molding into a sensory representation of game theory. A desire to investigate behaviors in situations where the outcome of decisions is influenced by the possible choices of each element. They are reassembled according to a game theory algorithm using live coding, enabling sensitive interaction between all elements and offering a new installation each time. It is not so much an attempt to imitate games in the traditional sense, but rather a play between fragmented states. Inspired by the loopy pathways of Hurricane Cindy, a clear game-theoretical pattern emerges as the body storms through the space. 

Concept, performance Flóra Boros Live sound and light design Gábor Lázár Outside Eye Melina Papoulia 

With kind support from the Austrian Federal Ministry of Arts, Culture, the Civil Service and Sport. Thanks to workspacebrussels, Im_Flieger, ATLAS programme ImPulsTanz, D.ID Dance Identity, NunArt, Bears in the Park, Raw Matters and SÍN Arts Centre.  

©️Ella Felber

[kazu-moin]

昔ニコニコ動画で「ちょｗｗｗｗ何これ？！色々すごすぎてわからない舞台」としてバズってた舞台のカンパニー。以下wikipediaより

Marie Chouinard OC (born 14 May 1955) is a Canadian dancer, choreographer, and dance company director.

Life and work In 1978, Chouinard presented her first work, Crystallization. After 12 years as a solo performer and choreographer, Chouinard founded her own company in 1990, the Compagnie Marie Chouinard. In 1988, Chouinard, along with Wim Vandekeybus and Mark Tompkins, introduced the ImPulsTanz Vienna International Dance Festival. Her son is actor Théodore Pellerin.[1]

[publicfacing]

What’s worth seeing? What’s worth showing?

What does it mean to have a voice? In a culture where I don’t feel represented or feel misrepresented?

I spent the summer at ImpulsTanz festival where I was exposed to a wide array of post-modern and contemporary work in choreography. Interactions with artists who participated in DanceWEB scholarship program to talk about the work we’d seen and engaging with each other’s choreographic material helped me ruminate on value-building and taste-making as a choreographer. Generous offerings from Alban Ovenessian, Osamu Shikichi, Kim Ip, and Bettina Blanc-Penther helped me see what I wanted to see as a choreographer.

I’m finally in a place (both mentally and socially) where I feel psychological safety to speak, dance, and be, without worrying how I’d be seen, stand out, put myself in danger. Bettina shared with me Dancing around Race lecture slides from Camping, 2023 led by Gerald Cassel.

Being around artists, peers, and educators who are sensitive towards building equity-minded practices means a lot to me.

Questions I carry from the essay-this summer-into this semester

How can I choreograph with affect that comes from an intimate internal place–what you’d put in journal and would be embarrassed to reread?

How can I be a facilitator, not a censor-or to myself and to others? How can I be human in the process of inviting others into my interest/research?

How can I build a clear structure in space and communicate it so that my collaborators and I would have the freedom to delve deeply into what they want to bring to my work?

How can I utilize the underbelly of theatrical spaces?

Part II. Culture, Media and Politics

What’s cannot be seen? What has to be seen?

I chose the material that I want to be in dialogue with: an archival text from the 1970’s that I found on Korean Movie Data Base.

I am in the process of analyzing the parts of prolific writer-director Kim Ki-Young’s script that were censored by the government during Yushin Regime (1960s-70s). I still feel the heavy impact of this time of recalibration towards modernity in contemporary Korea. That is why I decided to unearth the script containing marks that

deletes

edits

inserts

The military junta heavily censored scenes written by Kim for depicting imagery associated with ideas that went against the regime. The images contain expressions of women and their empowerment (sexual, social, political) and premodern traditions associated with Buddhism, ritualistic elements, music and dance.

Looking at the script I am fascinated by images imagined by the artist vs. Censor-ers overlooking and policing, selecting — what can be shown, what was worthy of showing?

[1weltreisender]

Wien im Sommer: Sieben unvergessliche Erlebnisse

Als die vom Economist weltweit lebenswerteste Stadt im Jahr 2022 ausgezeichnet, ist Wien eine begehrte Destination für Reisende aus der ganzen Welt. Die Attraktivität Wiens als Touristenziel ist auf die Kombination aus Natur, Architektur, exquisiter Gastronomie und Musik zurückzuführen. Jedes Jahr kommen Millionen von Touristen (im Durchschnitt 6,8 Millionen) in die österreichische Hauptstadt, um die Schönheit und den Charme dieser Stadt zu genießen. Wenn Du planst, diesen Sommer nach Wien zu reisen, solltest Du die exzellenten Unterkünfte von Luxury Vienna in Betracht ziehen. Aber was kann man nun im Sommer in Wien so alles machen? Lass uns die besten Aktivitäten erforschen.

1. Lausche der Sommer-Rhapsodie im Liechtenstein Gartenpalais

Auch im Jahr 2023, von 7. Juli bis 8. August, wird das Liechtenstein Gartenpalais zum Schauplatz eines einzigartigen Musikfestivals. Die spektakuläre Kulisse und das sorgfältig ausgewählte Musikprogramm machen diesen Event zu einem Muss für jeden Wien-Besucher. Als Hauptstadt der klassischen Musik bietet Wien ein unvergleichliches Erlebnis für Musikliebhaber. Du kannst dort ein interessantes Programm erleben, wie The Music of Bond (10. Juli), aber auch Lesungen mit Musik, wie “Ein Sommernachtstraum” (12. Juli), Kabarett mit Florian Scheuba (25. Juli) und Klassische Musik. Ticket mit Kulinarik-Paket und Service: 132,00 € Ticket mit Selbstbedienung am Kiosk: 57,00 €

2. Erlebe Wienerlied und Heurigenlied

Wenn Du einen wirklich authentischen und tiefen Einblick in die reiche Musikkultur Wiens gewinnen möchtest, ist eine ausführliche Tour durch die traditionellen Heurigen in den idyllischen Dörfern Grinzing, Neustift am Walde oder Nussdorf genau das Richtige für Dich. Nahezu alle Heurigen, die in diesen malerischen und romantischen Dörfern in der wunderschönen Weinregion Wiens verstreut sind, bieten Live-Musikdarbietungen, die von talentierten Heurigenmusikern aufgeführt werden. Diese Musiker sind stolz darauf, die Tradition des legendären Wiener Volksmusik-Quartetts aus dem 19. Jahrhundert, den Schrammeln, fortzuführen und dem Publikum eine einzigartige musikalische Erfahrung zu liefern. Schunkel mit!

3. Genieße das Vienna International Dance Festival

Das Vienna International Dance Festival - das ImPulsTanz, im Jahr 2023 vom 6. Juli bis 6. August, zählt zu den wichtigsten Sommerereignissen der Stadt. Mehr als 60 Performances, Retreats und Workshops kann man dort erleben. Es ist die perfekte Gelegenheit, um die österreichische Kultur kennenzulernen und sich im Rhythmus ihrer Musik und entspannten Atmosphäre zu bewegen. Die Ticketpreise variieren je nach Performance, Spielstätte, Dauer und Sitzplatz.

4. Lerne die österreichische Kultur beim Kultursommer Wien kennen

Der Kultursommer Wien ist ein eindrucksvolles, kulturelles Ereignis, das jedes Jahr im Sommer eine bedeutende Rolle im Veranstaltungskalender der Stadt spielt. Das Festival bietet von 30. Juni bis 13. August 2023 ein unglaublich reichhaltiges und vielfältiges Programm aus Musik, Theater und Kunst, das den vielfältigen Geschmack der Besucher bedient. Und das an spannenden Orten wie dem Wasserturm Favoriten (10. Bezirk), dem Währinger Park (18. Bezirk) oder dem Schrödingerplatz (22. Bezirk). Es zieht jedes Jahr Tausende von Besuchern aus dem In- und Ausland an, die in die österreichische Kultur eintauchen und die künstlerische Vielfalt, die Wien zu bieten hat, hautnah erleben möchten.

5. Schwimme im schwimmenden Donau-Pool

Jeden Sommer bietet das riesige Badeschiff, das malerisch an der Donau liegt, eine einzigartige Möglichkeit, das gute Wetter voll und ganz zu genießen. Der schwimmende Pool öffnet seine Pforten und lädt die Besucher ein, sich in den kühlen Fluten zu erfrischen. Doch das ist nicht alles: Nur in den Sommermonaten wird eine stilvolle Bar eingerichtet, so dass Du Deinen entspannten Schwimmgang mit einem köstlichen Getränk, sei es ein erfrischender Cocktail oder ein Glas österreichischen Weins, begleiten kannst. Dies bietet eine einzigartige Kombination aus Entspannung und Genuss, die Deinen Sommer in Wien unvergesslich machen wird. Der Pool ist für Tagesgäste von 9 bis 22 Uhr zugänglich, für Saisonkarten-Besitzerinnen ab 8 Uhr. Tageskarte: 8,50€ | Ermäßigt 4,50€ | Abendkarte (ab 18:30) 4,50€ Kinder  6-12 Jahre 3,50€ | Kinder bis 6 Jahre frei Saisonkarte: 165€ | Ermäßigt 90€ 10er-Block: 72€ | Ermäßigt 40€ Jahreskarte: 250€ | Ermäßigt 140€

6. Buche eine Bootsfahrt auf der Alten Donau

Die Stadt Wien wird von der beeindruckenden Donau durchzogen, und ein besonders charmantes Gebiet des mächtigen Nebenflusses Alte Donau hat sich zu einem der gefragtesten Unterhaltungs- und Freizeitgebiete der Stadt entwickelt. Die Alte Donau besticht nicht nur durch ihre malerische Schönheit, sondern bietet auch eine Vielzahl an gastronomischen Angeboten, die von traditioneller österreichischer Küche bis hin zu internationalen Spezialitäten reichen. Zusätzlich locken idyllische hölzerne Gehwege zu ausgedehnten Spaziergängen entlang des Flussufers. Ein besonderes Highlight ist der charmante kleine Flusshafen, von dem aus regelmäßig Boote zu ein- oder zweistündigen Fahrten auf der Alten Donau ablegen. Der Sommer mit seinen warmen Temperaturen und der strahlenden Sonne ist zweifellos die perfekte Zeit für solch eine malerische Bootsfahrt. Boote mieten kann man nahe der U-Bahn Station Alte Donau bei 11 unterschiedlichen Betrieben. Preise ab ca. 15€.

Park in Wien: bereit für Besucher / Foto: tzevena / pixabay

7. Besuche ein Sommer-Nachtkonzert des Wiener Philharmonischen Orchesters

Ein Sommer in Wien ohne einen Besuch des berühmten Platzes vor dem Wiener Rathaus, auf dem das jährliche Musikfilmfestival stattfindet, ist schlichtweg undenkbar. Das auf der gigantischen Leinwand präsentierte Programm ist beeindruckend vielfältig und bietet für jeden Musikgeschmack etwas: Von atemberaubenden klassischen Opernaufführungen über Konzerte von renommierten internationalen Musikern bis hin zu mitreißenden Darbietungen von Austropop-Stars. Ein besonderer Höhepunkt des sommerlichen Musikprogramms sind die Sommer-Nachtkonzerte des renommierten Wiener Philharmonischen Orchesters, die ein unvergessliches Musikerlebnis unter freiem Himmel bieten. Die genauen Termine für diese musikalischen Highlights in diesem Jahr werden in Kürze bekannt gegeben, daher sollten Musikliebhaber auf jeden Fall die Ankündigungen im Auge behalten. Das Sommernachtskonzert im Schlossgarten Schönbrunn findet im Jahr 2023 am 8. Juni statt und ist kostenlos.

Weitere großartige Sommeraktivitäten in Wien

Zusätzlich zu den oben genannten Highlights hat Wien noch weitere Schätze zu bieten, die Deinen Sommer unvergesslich machen: Genieße beispielsweise ein entspanntes Picknick in den malerischen Parks der Stadt wie dem Burggarten, Volksgarten oder Türkenschanzpark. Diese grünen Oasen sind perfekt für ein gemütliches Picknick und bieten Dir die Möglichkeit, die österreichische Sonne in vollen Zügen zu genießen. Ein Besuch des Cobenzl, von wo aus Du einen atemberaubenden Blick auf die Stadt hast, darf natürlich auch nicht fehlen. In den Sommermonaten kannst Du zudem die Open-Air-Konzerte auf dem Rathausplatz besuchen. Diese kostenlosen Konzerte unter freiem Himmel bieten eine Vielfalt an Musikgenres und eine unvergleichliche Atmosphäre. All diese zusätzlichen Facetten machen Wien zu einem absoluten Sommerparadies, das eine Vielzahl an unvergesslichen Erlebnissen zu bieten hat.

Warum Wien ein wunderbarer Ort für einen Sommerbesuch ist

Zusammenfassend lässt sich eindeutig sagen, dass Wien im Sommer ein wahres Paradies für Kulturliebhaber, Musikbegeisterte und Naturliebhaber ist. Neben den oben genannten Aktivitäten bietet Wien auch eine Vielzahl von Museen, Parks für Picknicks und Vergnügungsparks wie den Prater. Von der Spitze des Riesenrades im Prater aus kannst Du beispielsweise die Stadt aus der Vogelperspektive betrachten. So mancher Heiratsantrag wurde hier schon gemacht. Titelfoto / Wien soll weltweit die lebenswerteste Stadt sein / Foto: sjuzi_sue / pixabay

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[performanceperform]

Glenna (G;emma) Batson (US) the fold: an eco-somatic voyage 12–19 August 2023 Folding is the base of worldly engagement, a living continuum of dimension and depth. This workshop offers an immersion into bodily fold / folding as a somatic / artistic practice. Rooted in improvisation, the fold offers a sensory-rich field for sourcing making – “for making anything” – unburdened by habit or training. Glenna loosely guides the group into somatic portals and pathways to greet the unknown. Through partnering with body, nature and with other materials at hand, participants co-create from the macro- and micro-folding dynamics to uncover new edges of becoming. Themes evolve from our co-creating and are not be product driven. Together, we fold and unfold, allowing new ideas to emerge. Out of somatic materiality comes support for freeing the imagination and making choice. Come join this divine entanglement!

[yingtingan]

CV / chronology

Blue for dance and creation

Purple for words, facilitation and research

2024 : second half : Co-founder and facilitator 2024 “Alternatives Denkmal für Deutschland”, project coordinator/communication 2023 “Zeroth Law” by Gamut Inc, Deutsche Oper, dancer 2023 [Good, night self-learning], research project supported by Dachverband Tanz Deutschland - an experiment on interactive and participatory facilitation practice.

2020-2023 "TOUCH" by Anouk van Dijk & Falk Richter, Münchner Kammerspiele, dancer/performer/co-creator

2022 "Time Traveller", Rundfunkchor, Shangchi Sun, Berlin, Germany, dancer

2019-2022 Inter-Actions Edan Gorlicki, Heidelberg, Germany, dancer/performer/co-creator - collabration with Edan Gorlicki since 2017. performed and co-created What Do We Do (2019), IMPACT (2020), RE-COVER (2020-2022), Lost Bodies (2022)

2022 EXPO Festival, English Theater Berlin, festival assistant 

2021 "The Very Eye" by Cie Tumbleweed, Danse Atelier, Rotterdam, Netherlands, dancer 

2021 Ventriloquism - Let me speak your language, research project supported by Dachverband Tanz Deutschland - interviewing and writing project focusing on dance and performing artists with migrant background

2019 twoo, New Choreographer Project, National Theater, Taipei, Taiwan, choreographer/dancer - a collabration with Robert Bridger focusing on improvisation and instant composition.

2019 "Médée" by David McVicar, Grand Théâtre de Genève, Geneva, Switzerland, dancer

2018-2019 "Story Water" by Emanuel Gat, Festival d'Avignon, Frankfurt Lab, dancer and co-creator

2017 "Mechanical Ecstasy" Club Guy and Roni, Groningen, Netherlands, dancer

2017 Joshua Monten Dance Company, Bern, Switzerland, dancer, performer and co-creator - performed pieces Doggy Style, JOY/Freude, and Concert dans le goût théâtral.

2016 Think Big, Staatsoper Hannover, Hannover, Germany, dancer

2016 "SPUR" by Shang Chi Sun, Uferstudio, Company Shangchi Sun, Berlin, Germany, dancer 

2015 Relocated in Berlin, Germany

2015 everyday.bodies - a nomadic journey of contemporary dancers, Impulstanz Festival, Vienna, Austria, research project supported by National Culture and Art Foundation Taiwan

2014 "If I Can Dance", Unframed, Stadttheater Heidelberg, choreographer

2013-2015 Stadttheater Heidelberg, soloist dancer

2013 Relocated in Heidelberg, Germany

2013 Meimage Dance, soloist performer

2012 Project Fulfill Art Space, assistant curator

2012-2013 National Science Council, assistant researcher 

2011 American Dance Festival, scholarship holder from Chinlin Foundation for Culture and Arts

2009-2011 Focus Dance Company, producer

Education: 

2006-2011 Taipei National University of the Arts, bachelor of arts 

[experimentundzufall]

Tiran Willemse, blackmilk (melancholia), 2022

[logicpublishers]

Call for Applications: danceWEB Scholarship Programme 2023

Call for Applications: danceWEB Scholarship Programme 2023

The scholarship programme offers young professional dancers and choreographers from mainly European but also from non-European countries the possibility to take part in an intense multinational further training programme. The Programme is a 5-week residency taking place every year in July – August in Vienna within the frame of ImPulsTanz festival. The programme focuses on the exchange of ideas…

[gongso]

2022-07-18 Sergiu Matius, Hopeless @OdeonTheater

[body-in-revolt]

Our Bodies Ourselves: A Treatise on Sensation

Text: Edward Lloyd

ICK dancer Edward Lloyd participated in Moriah Evans’ workshop Our Bodies Ourselves at Impulstanz Festival summer 2018. He shares his experiences and his pursuit of the impossible. 

As I look out across the vast, canary yellow linoleum an ecstatic voice exclaims “Time is money in late modern capitalism”. Moriah Evans does not like to waste time in the studio. 

It is a Thursday afternoon in Vienna and I fix my gaze on the word ‘RAUCHVERBOT’. It is printed in large, angular capital letters on the upper part of the huge concrete wall in front of me. I am attempting to slowly follow the outline of the letters with my left kidney. As I do this, imagine that the texture of the tool I am using -fleshy, moist- is replacing the angularity of the font with a delicate, almost calligraphic expression. The task is fairly simple. Choose an organ (left kidney), choose a ‘mode’ (drawing), and choose a ‘mode of address’ (the architecture of the space).

‘Our Bodies Ourselves: A Treatise on Sensation’ was the only week long workshop I attended at the Impulstanz Festival this year. The movement practice is a manifestation of a one and a half year research pursued by Evans and her colleagues. The practice, explains Evans, has been influenced by the texts of a number of scholars, and the title is a direct reference to a work written by French philosopher Etienne Bonnot de Condillac ‘A Treatise on Sensations’. In essence, Condillac’s ‘Treatise’ proposes -of course, it is a little more complex than this- that the starting point for all knowledge, the development of how we perceive the world and therefore our ability to act in the world, originates from the senses. 

“I sense therefore I am” explains Evans half serious, half in jest. Barbara Kruger’s ‘I shop therefore I am’ springs to mind, and it is for this witty, poignant humour that my appreciation for Evans grew as the week progressed. 

“We actually moved”, I uttered at the end of day one, a prejudgement I have come to realise as problematic, not just for my inner sceptic, but for the dance field as a whole. From my experience ‘conceptual dance’, if for the moment we can embrace the ambiguity of this term, has earned itself quite the stigma amongst dancers as a ‘less-physical’ branch of contemporary dance. I must admit, I found the wordy workshop description on the Impulstanz website slightly intimidating, but in my case, and hopefully in the case of others, it is important to embrace artistic experiences that are potentially outside one’s comfort zone. 

Having that said, what ‘Our Bodies Ourselves: A Treatise on Sensation’ proposes is, to put it simply, a pragmatic, multi layered system with a means to generate movement from the pursuit of internal sensation. The layers of this system are built as such; 1) Initiate movement from an organ of your choice, 2) Express this movement through a ‘mode’ (Evans proposes five modes; Vibration, Rhythm, Electrocution, Drawing, Displacement), 3) Direct these actions through various ‘modes of address’ (varying in scale from the surface of your skin, to the architecture of the space, to the cosmos). There are several other layers that we explored during the course of the workshop which gave us tools to add texture and nuance our physicality. 

What I find interesting, and at the same time extremely confronting, is the sense of responsibility  one has for their engagement in the practice, something Evans refers to as ‘radical autonomy’. In this sense, it is the one engaging in the practice that authors how ‘non-physical’ it becomes. Although the focus of the practice is a pursuit of internal sensation, from my rather short experience, this does not necessarily mean that one shifts their awareness and perception inwards. What serves the practice is actually projecting these internal sensations outwards, and for that, I imagine, Evans created the ‘modes of address’. 

‘Our Bodies Ourselves’ -to paraphrase its name- is the sort of practice that requires a lot of ‘doing��, a lot of self reflection, and a lot of perseverance, as the system alone does not support the dancer enough for movement to manifest by itself. It is an ongoing quest without a clear point of arrival.  There is no predetermined physical aesthetic, although the tasks do produce a similar physicality in different bodies, if embodied fully. Evans is not concerned with whether or not the one’s engaged in her practice are actually vibrating their hearts and addressing them to the cosmos, for her the importance lies in the pursuit, in the absolute belief that this is physically possible.

Just as she exclaimed that Thursday afternoon -of course, half in jest- that time is money in late modern capitalism, as dance artists, it is becoming increasingly clear that we do not have time to waste. We must continue to pursue the impossible, we must move past 5,6,7,8 and explore the expression of our bodies beyond what we deem them capable of. What better way is there to spend our time in the studio?

Photo: Edward Lloyed by Alwin Poiana