Ines Birkhan: text
Bertram Dhellemmes: music
Klosterhof im MuseumsQuartier
Museumsplatz 1/5 1070 Vienna
3 July 2015 | 5:30 pm
about & around Real Dance Super Sentai performance company
No performances projects for the rest of 2012 - as Real Dance Super Sentai just relocated to Vienna, Austria -, we will come back in 2013 with the new performance Dancing on Ashes (Berlin).
But the action doesn't stop on the publication front: first you will find two reviews of Ines Birkhan's novel Angel Meat. Verwerfungen on Literaturhaus Wien and Triëdere, Periodikum für theorie und Kunst's websites (in German), then an essay about two Dancing on Ashes performances on Design of the In/Human, and finally a new Angel Meat hybrid form in newly released Akademie Schloss Solitude Yearbook 2011.
“Aika is genetically cool
She can’t really do anything else, but this she does perfectly
In such a cool world, she even can make a living out of it
But then she can never leave
She can never leave the cool world"
Real Dance Super Sentai proposes two videos showing the dance work of Body Weather practitioners Frank van de Ven and Oguri. Both were part in the 1990s of Min Tanaka's performance company Maijuku - then prolonged their experience into their own dance work, still sharing expressivity, radicality and a strong feeling of here and now.
"Ci-vit" tells the meeting of a dancer and a location.A programme having been previously established for the order, duration and the intensity of each part in the different spaces, dancer Frank van de Ven explores and reacts organically to sonic, tactile, meteorological and visual elements of this old disabled factory. The editing respects the chronology of the shooting.
Prior to moving from Japan to America, acclaimed Butoh dancer Oguri had never seen a desert. When he encountered the unforgiving vastness of the California deserts, Oguri was inspired to undertake a four-year personal and artistic journey, during which he created more than fifty original site-specific dances within and around Joshua Tree National Park. Dancer, choreographer and filmmaker Morleigh Steinberg observes and documents Oguri as he explores the literal and psychic borderlands between the body and the landscape.
Things wabi-sabi are usually small and compact, quiet and inward-oriented. They beckon: get close, touch, relate. They inspire a reduction of the psychic distance between one thing and another thing; between people and things.
Leonard Koren, Wabi-Sabi for Artists, Designers, Poets and Philosophers
Robin Hayward and Diego Chamy’s work is based on an improvisation of non-reaction, in which the apparent discourse between the two artists turns out to be two separated series of events, each taking place in solitary confinement. This impracticable communication acts as a starting point for a kind of drama, where the stage becomes a diagonal line in which different kinds of events are thrown: concentrations and dispersions of the space-time provided by a percussive and noise-based approach to tuba playing, twisted and out-of-confusion actions and inactions, fake movements, forced displacements and invisible gestures.
Para no enredarse con la sombra.
La sombra ensambla referencias
equívocas. Cabeza y rodilla,
por ejemplo. O peor,
hombro y objeto sanitario.
Chantal Maillard, Hilos
Not to tangle with shadow.
Shade joins equivocal referencies. Head and knee,
for exemple. Or worst,
shoulder and sanitary object.
To abbreviate.* * *Artistic supervision: Ines Birkhan + Bertram Dhellemmes
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