Performances


Diese Videoaufzeichnung stellt nur eine Möglichkeit der Inszenierung dar, da sie während nur einer Aufführung aufgenommen wurde und könnte an einem anderen Tag möglicherweise unterschiedlich wirken.

AO&, MARINO FORMENTI, TANZQUARTIER WIEN + GÄSTE
UNTER TAG - Part 3

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Datum der Aufzeichnung: 25.09.2015

Ort: TQW / Halle G

Im Rahmen von: Season Opening

Info

 

On September 25 2015 from 8 o’clock in the morning another habitat will be available for 24 hours to the people of Vienna. 3000 cubic metres of space under the earth offer security and shelter. Drinks, food, sleeping possibilities and sanitary installations allow for stays for any wished for length of time.


This gathering explores the question of what incites people to get up every day anew, continue their lives and what they want or have to do. Guests from diverse geographies, fields of work and areas of live will speak out on their inner motors and motivations of acting, the relation between “unmoved mover” and actual movens.


Impulses and directions in this simultaneously interactive as performative, intimate as public, quotidian as staged space are incited through the boundaries interweaving interventions and temporary relations constructed around the sonic spaces of pianist Marino Formenti and the spatial proposals and social situations of AO&. Occurrences appear and accumulate over the day in different stages and phases to condense successively towards the evening and extend overnight. Guests simultaneously become originators and witnesses of events, encounters and utterances of this assembly of which everybody can and shall become part.



HEIDI ACHTER, IHU ANYANWU, DANIEL ASCHWANDEN, THOMAS BALLHAUSEN, ESTUARDO CHACÓN, BERNHARD CELLA, TIM ETCHELLS, MALIKA FANKHA, ARNE FORKE, CHRISTINE GAIGG, WOLFGANG GANTNER, PHILIPP GEHMACHER, ELIO GERVASI, SUSANNE VALERIE GRANZER, MARIELLA GREIL, RICO GULDA, THOMAS JELINEK, ERICH RENÉ KARAUSCHEK, GÖKHAN KAYA, BARBARA KRAUS, THOMAS LEVENITSCHNIG, ROBERTA LIMA, TOM MARSCHALL, LYDIA MISCHKULNIG, BORIS ONDREICKA, FRITZ OSTERMAYER, BRUNO PUDSCHEDL, OMAR RAJEH, AUGUST RUHS, MICHAEL TURINSKY, VETCHESLAV SENIUGOV, ANAT STAINBERG, ELISABETH B. TAMBWE, ALFRED UHL, KRIS VERDONCK, DORIS UHLICH, YOSI WANUNU, DIETER WÜRCH, SUHAIB ZIDAN, TOMAS ZIERHOFER-KIN, HELENE ZINIEL, YOU, ME and many more.


#labour #primummobile #earth #darkness #glade #encounter #motor #you/me #gathering


Guests will be successively published!

 

Credits

 

AO& (Philipp Furtenbach, Philipp Riccabona und Thomas A. Wisser) haben seit 2008 eine Vielzahl an Projekten im In- und Ausland verwirklicht  und bewegen sich dabei in den Feldern Bildende Kunst, Performance, Architektur und Orts-, bzw. Regionalentwicklung. AO& entwickeln Raumfolgen und Dramaturgien, durch die sich außergewöhnliche Bedingungen für Aufenthalt, Kommunikation und Produktion ergeben. Kunst wird als Handlungsform und Erweiterung des Möglichen, Erlaubten verstanden. Seit 2012 werden Settings für Tonaufnahmen entwickelt und Serien von Interviews zu biografischen und gesellschaftspolitischen Themen geführt. Seit Jahren entsteht ein umfangreiches Werk an Fotografien, Zeichnungen, Objekten sowie Audio- und Videodokumenten.

www.aound.net

 

Marino Formenti, described by the Los Angeles Times as “a Glenn Gould for the 21st Century” has been working for many years on the examination of his métier. Celebrated in the classical halls of New York, London or Berlin, he repeatedly creates musical spaces that negate or question the structures of the enterprise.

 

In Nowhere, for example, (performed among other places in Graz, Berlin and  Brussels) he performs, sleeps and eats for up to four weeks without a break in a simultaneously private and public space in order to create a musical situation that, as he says, “does not say ‘listen to me’.”

 

In the project  Schubert and I, which is documented in the eponymous film by Bruno Moll, he makes music with musical lay-people based on music by Schubert by accompanying them through music and life and developing musical interpretations together and

 

on an equal footing.

 

One to One is a two-hour musical encounter originally conceived for Art Basel in  2013 with one listener each.

 

In Seven studies of communication and musicianship (Berlin 2015), he spends a whole day with seven different unknown people, one person per day, from breakfast until late at night. The people only know that they have to be prepared to make music themselves, that is, to sing. The recordings became part of the installation Selber Künstler [Self Artist] as sound impressions of the “studies”.

 

Formenti calls conventions into question on the musical stage, where he also works: in Kurtag’s Ghosts and Liszt Inspections, through the strictly conceived dialogue between selected compositions and an unbroken flow he strives for a procedure that Joshua Kosman of the San Francisco Chronicle compared to the prose technique of James Joyce. In Torso he plays with the idea of the incomplete, by putting together fragments from Bach and Mozart to Rihm and Barraquè into a whole. In The Song Project, premiered at New York’s Poisson Rouge, he compares pop songs by Nirvana and Coldplay with works by Bernhard Lang and Luciano Berio in a revue-like dramaturgy.

 

He works both with  musical institutions such as the festivals in Salzburg, Lucerne and Edinburgh, or concert halls in Berlin, Vienna, London or New York, as well as in the performative field (Sterischer Herbst, Berlin Festival, Brussels Performatik), in the field of art (Art Basel, Fahrbereitschaft Berlin) or in the theatre (Festival d’Automne Paris, TQW).

 

He is the holder of the 2009 Belmont Prize for Contemporary Music of the Forberg-Schneider Foundation in Munich.

 

 

 

www.marinoformenti.com

 

 

Supported by


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