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PRO SCENE 2018

TURBO artist in residence Burger/Jacobs/Sabella 2013 © Burger/Jacobs/Sabella
TURBO artist in residence Burger/Jacobs/Sabella 2013 © Burger/Jacobs/Sabella

Residencies

ImPulsTanz mit seinem vielschichtigen, dichten Angebot stellt allsommerlich eine ideale Brutstätte für Choreograf_innen, Tänzer_innen, Dozent_innen, Künstler_innen, Student_innen, Präsentator_innen, Journalist_innen, u.v.m. dar. Jedes Jahr lädt das Festival daher aufstrebende wie auch bereits etablierte Künstler_innen ein diese kreative Atmosphäre zu nutzen um im Rahmen einer Residency zu arbeiten, zu recherchieren, zu kreieren und zu schreiben.

Wir freuen 2018 auf folgende Artists in Residence:
Alex Baczynski-Jenkins (UK/PL)
Samira Elagoz (NL/Fi)
Moriah Evans (US)
Juan Jesús Guiraldi (AR)
Silke Huysmans & Hannes Dereere (BE)
Cat Jimenez (AT)
Jamila Johnson-Small (UK)
Jennifer Lacey (FR/US)
Simon Mayer (AT)
Valerie Oberleithner (FR/AT)  & Magdalena Chowaniec (AT/PL)
Ofelia Jarl Ortega (SE)
Karin Pauer (AT)
Amanda Piña (AT/MX)
Matthias Ringgenberg aka PRICE (CH/BR)
Mårten Spångberg (SE)
Mark Tompkins (FR/US) & Meg Stuart (DE/BE/US)
Kevin Turner (UK/US)

 

TURBO-Research-Residencies

Wie freuen wir uns, während ImPulsTanz 2018 wieder 2 TURBO-Research-Residencies für in Österreich lebende und arbeitende Choreograf_innen anzubieten. Die Residencies beinhalten Proberaum-Nutzung, Workshops und Research Projekte, Performancetickets sowie individuelles Coaching durch erfahrene Künstler_innen.
Mit den TURBO-Research-Residencies bietet ImPulsTanz ein intensives Förderprogramm.
Jede Residency wird individuell erst im Dialog mit dem/der Choreograf_in definiert.

TURBO Artists in Residence 2018

Jasmin Hoffer (AT)
Research project: Motherhood remixed

Turbo residency would give me the opportunity to develop further an artistic practice that relates to a wider research investigating how care work, reproductive labor, rearing and bearing two children has been affecting me on a somatic, psychological, intellectual and microbiological level.
The nourishing environment of ImPulsTanz would help me to contextualize my practice and relate it to other hot and burning artistic and sociological questions the contemporary dance and performance community is dealing with.
The performative practice consists of the analyzation, abstraction and transformation of my daily activities related to household chores and my corporeal reality of being a mother.
The research includes a meticulous observation of my current situation as mother and housekeeper, I observe and talk with other main caretakers in a similar situation, analyze how the domestic drama is passed on through generations, take a look at my mother's and grandmother's performance in their home as well as try to understand the female evolutionary trauma of giving birth in short intervals and the resulting dependency on often lacking support systems from their partners, family or community.
I search for alternative concepts of mothering and domestic labour distribution outside the heteronormative context and postfeministic perspectives on care work.

Working methods
Analyzing the domestic environment
Video documenting the execution of domestic labour whilst being among children or observing these activities and taking detailed notes.
What are the actions being performed? eg. collecting, distributing, rearranging, folding, unfolding...
What state is housework performed in: tired, disengaged, rather doing something else or with a sense of competence and satisfaction?
What are the relational- socio- political frameworks that lead towards different experiences of being in charge of this specific work?
Tracing obsessive housewife thought and behavior patterns eg. perceiving every object as a potential threat and source of labour.
a lonely sock on the floor, needs to find its mate, needs to be washed, needs to be dried, needs to be put away in the right drawer, needs to be put on, put off, is again lost somewhere in the apartment and the circle continues - the floor needs to be wiped, needs to be wiped, needs to be wiped...

After documenting the domestic scenarios in various ways - photographs, videos, poetries, interviews- the findings will be reflected upon in the studio and put in a new context.
There might be repetitions, exaggeration of house related activities till they become ridiculous.
flour is continuously spilt on the floor and washed up, a huge thick paper gets crumbled into a small ball, thrown somewhere just to get unfolded again, 10 battery driven jumping dogs, mimicking kids, are going wild and contribute to the general mess on stage...
Isolating the self or what is left of it
Being a mother always entails the experience of being relational and dispersed.
Since i am constantly surrounded by two kids, one of them a toddler the other a baby, I feel a sense of lightness and detachment, as soon as I am just with one child, or completely by myself.
The silence of an empty studio is penetrating and I feel as if I would be relieved from a weight attached to my limps. I sense how a certain area of my brain can suddenly relax and other parts can become active.
How can this sensation be translated into a physical practice?
Outlook
My artistic practice will consist of dance and performative actions that are inspired by my domestic reality the the bone shaking experience of being responsible for a child.
I am interested in a process abstraction and transformation and giving visibility to something which is often hidden in the private realm.
In consequence I want to produce actions and movements that would enable me to achieve emancipatory, transformative agency.
And ultimately create the antidote of the good mom I am trying and failing to be – an Utopian other.
References:
Sylvia Federici, Revolution at Point Zero. Housework, reproduction and the Feminist Struggle Miri Rozmarin Creating Oneself: Agency, Desire and Feminist Transformations http://www.artistresidencyinmotherhood.com

 

Veza Fernandez (AT/ES), Teresa Vittucci (AT) & Alex Zehetbauer (AT)
Research project:
crystalline sounds taste like metal petals

Alex, Teresa and Veza share a passion for the emotional, formal and spiritual potential of the voice and all the physical, spatial and mental states surrounding its production. They are looking for the voices and the sounds that connect them without needing to do/be the same; the voices that challenge the representation of what they represent; the voices that allow their bodies to be transparent, revealing how they are being transformed, touched, moved.
They are looking for the voices of the feminine, which for them is not a notion bound to an essentialist and dualistic understanding of gender but rather to an energy that embodies and recalls different contours, flavors, androgynities, femmeninities , queerneties, textures, bodies, forms, tails, dresses, metals, petals, goddesses and socks.

They would like to use their bodies and voices in the framework of Turbo Residency:
a) as a first encounter for a future collaboration and a means of developing choreographic material together
b) for practicing, developing, thinking and sounding together and thus inventing a series of common choreographic performative methodologies
c) as a space for exchange of knowledge, tools and trade secrets regarding voice production and perception, for the respective solo works they are each currently developing:
whale song – the aquatic yodeling project (Alex Franz Zehetbauer), HATE ME, TENDER (by Teresa), devotion (by Veza)

Alex is working on underwater sound production, an invocation to the voice of the whale and its magnificent, emotional power. Teresa is working on a tender feminist revolution against global hatred and alienation by becoming the Virgin Mary and regaining her more powerful connotations. Veza is working on the magnetic power of the pronunciation of mystic texts based on the ecstatic poems of the Spanish Saint Santa Teresa de Ávila, the creation of these texts emanate from deep and extreme mental and physical states. In all of the three solos the voice plays an essential role.
As if they were in a convent, during the period of the residency, they will follow a strict routine. They will focus on the how, the where and the under what circumstances in their quest to prepare and practice material, to let their experience, dialogue and learning together engrave their works. Every day they will start with a long movement practice that encircle the notion of ecstatic dances, empty-vessel bodies, breathing and listening meditations. Then, coming from the body, they will train the voice in different spaces – under water in the Danube, in the woods, in a noisy street, in the studio. They will cook and eat together without speaking. They will take a nap together in the studio and rise, still in a sleepy, dreamy state to work on common material making dance together or working simultaneously on their solos or on specific aspects of the solos, which will then be shared and practiced with the others – each of our solos becomes infiltrated by the solo of the others.
In the end of the residency we would like to share with the audience the dances, words, states and sounds we have found through our practicing and sharing routine. This showing might be outdoors close to the water.

Eventuelle Showing-Termine werden auf unserer Open Doors - Seite veröffentlicht!

Wir freuen uns auf die Zusammenarbeit im Sommer!
Info & Kontakt:
Johanna Figl und Rio Rutzinger 
turbo@impulstanz.com
T: 01.523 55 58

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Date: 14.12.2018, 14:01 | Link: https://www.impulstanz.com/archive/2018/proscene/id5873/