4010 Mal gesehen

Datum der Aufzeichnung: 31.03.2017

Ort: TQW / Studios

Im Rahmen von: Theory / Lecture series (Concept & curating: Krassimira Kruschkova)


What does get under the critical skin of contemporary art? Can critique evade normativity, and do we have to weaken it immediately, as soon as it empowers itself? How to criticise critique – weaken in order to strengthen? And concretely: which critique today strengthens contemporary dance and performance, and first of all – which critique is strengthened by these?




Enlightenment of the Negative 


Who today would want to conquer the hearts of a critical generation with a slogan like “No Future” as punk managed to in the 1970s? Or launch a “No Manifesto”, like Yvonne Rainer ten years earlier. The once cult negative has thus largely lost its sexiness, in the same way as photography has lost its analogue negative. But after the “sore point” that was placed behind the critique, this rewrites itself afresh as a “critical version” – also from the photo-negative.




Crisis and Critique (Benjamin/Brecht) & Critical Joy (Peaches/Hennessy)


In 1929 in a letter to Brecht, Benjamin formulated their joint magazine project Crisis and Critique as follows: “[it would] occupy the hitherto empty place of an organ in which the bourgeois intelligentsia renders its account of the demands and insights, which alone allow it under current conditions to produce in an interventionist manner and with consequences”. An attempted rereading without nostalgia. And how could traces be laid from there to the workshop performance Critical Joy (2016) by Keith Hennessy and Peaches, who state: Critical: Being awake to structural violence. Joy: The secret of struggle (Alice Walker)?





Helmut Ploebst is an author and a critic with the focus on dance and performance, who graduated in journalism/communication studies and art history at the University of Vienna. Freelance editor of the daily Der Standard Vienna. Founder and editorial spokesperson for the internet magazine Corpus University lecturer: performance theory, IDA of the ABPU/Linz. Visiting lecturer, i.a.: Salzburg University, MDW/Vienna and at the HZT of UdK/Berlin; director of artistic labs. Book publication (selected): No Wind No Word – Neue Choreografie  in der Gesellschaft des Spektakels, Munich: K.Kieser 2001; Versehen: Tanz in allen Medien, ed. with N. Haitzinger, Munich: Epodium 2010.


Chris Standfest is a curator, dramaturge, and (ex) performer who has worked intensively on critique and theatre for many years with Theatercombinat and Claudia Bosse and many others. She works as a dramaturge and curator with Impulstanz – Vienna International Festival, and there she is also involved in the above-mentioned project Critical Joy as part of a cooperation with Impulstanz and Mumok.






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