Calendar

Calendar

Mai
2
jeu
2019
PINK EYE – 2 and 3 may 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 2 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 and 3 may 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Österreich

Elisabeth Bakambamba Tambwe takes a look at the gaze itself and confronts us with the question: Can you see without looking?

What do we know when we see something – someone? Do we really perceive the person in front of us or do we merely react to the codes of a reality that is both familiar and forced upon us? Gender, age, skin colour, class… Working on a new project, Elisabeth Bakambamba Tambwe, visual artist and choreographer shows a step of reflexion for steirischer herbst, accompanied by the Chilean multimedia artist Nicolas Spencer.

Elisabeth Bakambamba Tambwe explores individual perceptual differences along with the filters applied by us when we categorise our fellow human beings – in her case as a black, female, artist and mother.

In “Pink Eye” she deals with those gazes and how they can be re-conquered, thwarted and redirected, focusing on the (self-)manipulation of bodies in Western Europe, the Austrian-African diaspora and in Congolese society. She invites the audience to follow her behind the mirror and cast a critical eye on the gaze.

More info

PINK EYE – 2 et 3 mai 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 2 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 et 3 mai 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Autriche

Elisabeth Bakambamba Tambwe porte un regard sur le regard lui-même et nous confronte à la question: Pouvez-vous voir sans regarder?

Que savons-nous quand nous voyons quelque chose ou quelqu’un? Est-ce que nous percevons vraiment la personne en face de nous ou réagissons-nous simplement aux codes d’une réalité qui est à la fois familière et qui s’impose à nous? Sexe, âge, couleur de la peau, la classe sociale …

Travaillant sur un nouveau projet, Elisabeth Bakambamba Tambwe, artiste visuel et chorégraphe montre une étape de réflexion pour steirischer herbst, accompagné par l’artiste multimédia chilien Nicolas Spencer.

Elisabeth Bakambamba Tambwe explore les différences dans les perceptions individuelles ainsi que les filtres que nous appliquons lorsque nous classons nos frères humains – dans son cas comme une femme, noire, artiste et mère.

Dans « Pink Eye », elle traite ces regards et comment ils peuvent être reconquis, contrecarrés et redirigés, en se concentrant sur la manipulation (l’auto-manipulation) des corps en Europe occidentale, dans la diaspora autrichienne-africaine et dans la société congolaise. Elle invite le public à la suivre derrière le miroir et jeter un regard critique sur le regard.

LIRE PLUS

PINK EYE – 2 und 3 Mai 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 2 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 und 3 Mai 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Österreich

Was wissen wir, wenn wir etwas – jemanden – sehen? Nehmen wir unser Gegenüber wirklich wahr oder reagieren wir nur auf Codes einer uns auferlegten, bekannten Realität? Geschlecht, Alter, Hautfarbe, Klasse… Im Rahmen ihres neuen Projekts setzt sich die bildende Künstlerin und Choreografin Elisabeth Bakambamba Tambwe für den steirischen herbst mit Fragen wie diesen auseinander, begleitet vom chilenischen Multimedia-Künstler Nicolas Spencer.

Tambwe befragt die individuelle Unterschiedlichkeit von Wahrnehmungen und die in uns wirkenden Filter, die Personen in Kategorien einteilen – in ihrem Fall schwarz, weiblich, Künstlerin und Mutter.

In „Pink Eye“ beschäftigt sich die Künstlerin mit diesen Blicken und damit, wie sie sich zurückerobern, brechen, umlenken lassen. Im Zentrum ihres Interesses steht die (Selbst-)Manipulation von Körpern in Westeuropa, in der afro-österreichischen Diaspora und in der kongolesischen Gesellschaft. Tambwe lädt das Publikum ein, ihr hinter den Spiegel zu folgen und einen kritischen Blick auf den Blick selbst zu werfen.

Weiterlesen

Mai
3
ven
2019
PINK EYE – 2 and 3 may 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 3 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 and 3 may 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Österreich

Elisabeth Bakambamba Tambwe takes a look at the gaze itself and confronts us with the question: Can you see without looking?

What do we know when we see something – someone? Do we really perceive the person in front of us or do we merely react to the codes of a reality that is both familiar and forced upon us? Gender, age, skin colour, class… Working on a new project, Elisabeth Bakambamba Tambwe, visual artist and choreographer shows a step of reflexion for steirischer herbst, accompanied by the Chilean multimedia artist Nicolas Spencer.

Elisabeth Bakambamba Tambwe explores individual perceptual differences along with the filters applied by us when we categorise our fellow human beings – in her case as a black, female, artist and mother.

In “Pink Eye” she deals with those gazes and how they can be re-conquered, thwarted and redirected, focusing on the (self-)manipulation of bodies in Western Europe, the Austrian-African diaspora and in Congolese society. She invites the audience to follow her behind the mirror and cast a critical eye on the gaze.

More info

PINK EYE – 2 et 3 mai 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 3 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 et 3 mai 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Autriche

Elisabeth Bakambamba Tambwe porte un regard sur le regard lui-même et nous confronte à la question: Pouvez-vous voir sans regarder?

Que savons-nous quand nous voyons quelque chose ou quelqu’un? Est-ce que nous percevons vraiment la personne en face de nous ou réagissons-nous simplement aux codes d’une réalité qui est à la fois familière et qui s’impose à nous? Sexe, âge, couleur de la peau, la classe sociale …

Travaillant sur un nouveau projet, Elisabeth Bakambamba Tambwe, artiste visuel et chorégraphe montre une étape de réflexion pour steirischer herbst, accompagné par l’artiste multimédia chilien Nicolas Spencer.

Elisabeth Bakambamba Tambwe explore les différences dans les perceptions individuelles ainsi que les filtres que nous appliquons lorsque nous classons nos frères humains – dans son cas comme une femme, noire, artiste et mère.

Dans « Pink Eye », elle traite ces regards et comment ils peuvent être reconquis, contrecarrés et redirigés, en se concentrant sur la manipulation (l’auto-manipulation) des corps en Europe occidentale, dans la diaspora autrichienne-africaine et dans la société congolaise. Elle invite le public à la suivre derrière le miroir et jeter un regard critique sur le regard.

LIRE PLUS

PINK EYE – 2 und 3 Mai 2019 @ 19 h 00 – Studio Brut @ Studio brut
Mai 3 @ 19 h 00 min – 20 h 00 min
PINK EYE - 2 und 3 Mai 2019 @ 19 h 00 - Studio Brut @ Studio brut | Wien | Wien | Österreich

Was wissen wir, wenn wir etwas – jemanden – sehen? Nehmen wir unser Gegenüber wirklich wahr oder reagieren wir nur auf Codes einer uns auferlegten, bekannten Realität? Geschlecht, Alter, Hautfarbe, Klasse… Im Rahmen ihres neuen Projekts setzt sich die bildende Künstlerin und Choreografin Elisabeth Bakambamba Tambwe für den steirischen herbst mit Fragen wie diesen auseinander, begleitet vom chilenischen Multimedia-Künstler Nicolas Spencer.

Tambwe befragt die individuelle Unterschiedlichkeit von Wahrnehmungen und die in uns wirkenden Filter, die Personen in Kategorien einteilen – in ihrem Fall schwarz, weiblich, Künstlerin und Mutter.

In „Pink Eye“ beschäftigt sich die Künstlerin mit diesen Blicken und damit, wie sie sich zurückerobern, brechen, umlenken lassen. Im Zentrum ihres Interesses steht die (Selbst-)Manipulation von Körpern in Westeuropa, in der afro-österreichischen Diaspora und in der kongolesischen Gesellschaft. Tambwe lädt das Publikum ein, ihr hinter den Spiegel zu folgen und einen kritischen Blick auf den Blick selbst zu werfen.

Weiterlesen

Mai
4
sam
2019
Nana ou est-ce que tu connais le bara? – 4 et 5 mai @ 20h – Theater Rampe @ Theater Rampe
Mai 4 @ 20 h 00 min – 22 h 00 min

Thèâtre, danse inspiré par Émile Zola
de Monika Gintersdorfer, Franck E. Yao et La Fleur

Nana ne chante pas bien, ne joue pas bien, ne danse pas bien, mais elle a un bon déhanché. Elle incarne une présence radicale qui ne crée pas seulement un lien érotico-agressif sur scène avec le public, mais aussi dans la vie. Dans le roman de Zola, le monde réel ne diffère guère du théâtre que son directeur n’est d’ailleurs pas le seul à appeler un bordel. Nana est une entrepreneuse prospère qui utilise son corps comme première ressource disponible et ne craint ni les risques ni les difficultés. Certains hommes ayant été très riches y perdent tout leur capital, d’autres leur vie même. Un journaliste aussi incapable que les autres d’échapper à l’influence de Nana, interprète l’irrésistible ascension de celle-ci – depuis la boue et les beuveries de Château Rouge jusqu’au monde de l’argent et des honneurs – comme une revanche du prolétariat sur la bourgeoisie.

Mais Nana est aussi la parfaite incarnation du capitalisme. Elle consomme sans cesse et sans modération, elle consomme tout et tout le monde sans réserve. Ce qui l’intéresse c’est moins de satisfaire ses besoins que la consommation en elle-même, pure. Pour la bourgeoisie, dont les progrès et la domination sont étroitement liés au capitalisme, Nana est un élément de maintien du système, certes dont certains sont victimes, mais seulement pour stabiliser de l’intérieur le système en tant que tel.

Au XIXe siècle, Nana était un peu artiste et beaucoup courtisane. Au XXIe siècle, elle est une travailleuse du sexe et une performeuse qui s’est affranchie de la narration et des rôles mais qui, comme Kim Kardashian, travaille à son image comme à une valeur inépuisable et sait saisir le moment pour faire du spectaculaire. En Côte d’Ivoire et en Afrique de l’Ouest, il y a beaucoup de Kim, on les appelle Emma Lohoues, Coco Emilia biscuit de mer, Eudoxy Yao ou Diaba Sora.

Première: 12.02.2019, MC93

Avec le soutien du

En coproduction avec Theater Bremen, MC93, Pumpenhaus Münster

Nana ou est-ce que tu connais le bara? – 4 und 5 Mai @ 20h – Theater Rampe @ Theater Rampe
Mai 4 @ 20 h 00 min – 22 h 00 min

Nana ou est-ce que tu connais le bara

nach Émile Zola
von Monika Gintersdorfer, Franck E. Yao und La Fleur

Nana singt nicht gut, Nana spielt nicht gut, Nana tanzt nicht gut, aber hat sie einen tollen Hüftschwung. Sie verkörpert eine radikale Präsenz, die nicht nur auf der Bühne eine agressiv-erotische Verbindung zu ihrem Publikum herstellt, sondern auch im Leben. Diese wirkliche Welt unterscheidet sich in Zolas Roman kaum vom Theater, das nicht nur von seinem Direktor als Bordell bezeichnet wird. Nana ist darin eine erfolgreiche Unternehmerin, die ihren Körper als erste verfügbare Ressource einsetzt und dabei keine Risiken und Härten scheut. In diesem Unternehmen verlieren einige vormals sehr reiche Männer ihr gesamtes Kapital an Nana, manche lassen dabei sogar ihr Leben. Ein Journalist, der sich ihrem Einfluss genauso wenig entziehen kann wie alle anderen, deutet ihren unaufhaltsamen Aufstieg aus dem Schlamm der Pariser Trunkenbolde von Chateau Rouge in die Welt des Geldes und der Ehre als Rache des Proletariats an der Bourgeoisie.

Aber Nana ist gleichzeitig auch die perfekte Bewohnerin des Kapitalismus. Sie konsumiert ohne Unterlass und ohne Mass, rückhaltlos verleibt sie sich alles und jeden ein und dabei geht es ihr nicht um die Befriedigung von Bedürfnissen, sondern um das reine Konsumieren um seiner selbst willen. Fuer die Bourgeoisie, deren Aufstieg und Herrschaft eng mit dem Kapitalismus verbunden ist, ist Nana das systemerhaltende Element, dem Einzelne zwar zum Opfer fallen, aber nur um das System als solches von innen heraus zu stabilisieren. 

Im 19. Jahrhundert war Nana ein bißchen Künstlerin und viel Kurtisane. Im 21. Jahrhundert ist sie Sexarbeiterin und Protagonistin der Performance-Szene, die weder Narration noch eine Rolle mehr braucht, sondern die wie eine Kim Kardashian an ihrem Image als unerschöpflichem Wert arbeitet und spektakulär den Moment krachen lässt. In der Elfenbeinküste und Westafrika gibt es gerade sehr viele Kims, sie heißen Emma Lohoues, Coco Emilia, biscuit de mer, Eudoxy Yao oder Diaba Sora.

Premiere: 12.02.2019, MC93

Gefördert vom Fonds Doppelpass

In Koproduktion mit MC93, Theater Bremen, Pumpenhaus Münster

Nana ou est-ce que tu connais le bara? – May 4 and 5 @ 20h – Theater Rampe @ Theater Rampe
Mai 4 @ 20 h 00 min – 22 h 00 min

Nana ou est-ce que tu connais le bara

Thèâtre, danse inspiré par Émile Zola
de Monika Gintersdorfer, Franck E. Yao et La Fleur

Nana ne chante pas bien, ne joue pas bien, ne danse pas bien, mais elle a un bon déhanché. Elle incarne une présence radicale qui ne crée pas seulement un lien érotico-agressif sur scène avec le public, mais aussi dans la vie. Dans le roman de Zola, le monde réel ne diffère guère du théâtre que son directeur n’est d’ailleurs pas le seul à appeler un bordel. Nana est une entrepreneuse prospère qui utilise son corps comme première ressource disponible et ne craint ni les risques ni les difficultés. Certains hommes ayant été très riches y perdent tout leur capital, d’autres leur vie même. Un journaliste aussi incapable que les autres d’échapper à l’influence de Nana, interprète l’irrésistible ascension de celle-ci – depuis la boue et les beuveries de Château Rouge jusqu’au monde de l’argent et des honneurs – comme une revanche du prolétariat sur la bourgeoisie.

Mais Nana est aussi la parfaite incarnation du capitalisme. Elle consomme sans cesse et sans modération, elle consomme tout et tout le monde sans réserve. Ce qui l’intéresse c’est moins de satisfaire ses besoins que la consommation en elle-même, pure. Pour la bourgeoisie, dont les progrès et la domination sont étroitement liés au capitalisme, Nana est un élément de maintien du système, certes dont certains sont victimes, mais seulement pour stabiliser de l’intérieur le système en tant que tel.

Au XIXe siècle, Nana était un peu artiste et beaucoup courtisane. Au XXIe siècle, elle est une travailleuse du sexe et une performeuse qui s’est affranchie de la narration et des rôles mais qui, comme Kim Kardashian, travaille à son image comme à une valeur inépuisable et sait saisir le moment pour faire du spectaculaire. En Côte d’Ivoire et en Afrique de l’Ouest, il y a beaucoup de Kim, on les appelle Emma Lohoues, Coco Emilia biscuit de mer, Eudoxy Yao ou Diaba Sora.

Première: 12.02.2019, MC93

Avec le soutien du

En coproduction avec Theater Bremen, MC93, Pumpenhaus Münster

Mai
5
dim
2019
Nana ou est-ce que tu connais le bara? – 4 et 5 mai @ 20h – Theater Rampe @ Theater Rampe
Mai 5 @ 20 h 00 min – 22 h 00 min

Thèâtre, danse inspiré par Émile Zola
de Monika Gintersdorfer, Franck E. Yao et La Fleur

Nana ne chante pas bien, ne joue pas bien, ne danse pas bien, mais elle a un bon déhanché. Elle incarne une présence radicale qui ne crée pas seulement un lien érotico-agressif sur scène avec le public, mais aussi dans la vie. Dans le roman de Zola, le monde réel ne diffère guère du théâtre que son directeur n’est d’ailleurs pas le seul à appeler un bordel. Nana est une entrepreneuse prospère qui utilise son corps comme première ressource disponible et ne craint ni les risques ni les difficultés. Certains hommes ayant été très riches y perdent tout leur capital, d’autres leur vie même. Un journaliste aussi incapable que les autres d’échapper à l’influence de Nana, interprète l’irrésistible ascension de celle-ci – depuis la boue et les beuveries de Château Rouge jusqu’au monde de l’argent et des honneurs – comme une revanche du prolétariat sur la bourgeoisie.

Mais Nana est aussi la parfaite incarnation du capitalisme. Elle consomme sans cesse et sans modération, elle consomme tout et tout le monde sans réserve. Ce qui l’intéresse c’est moins de satisfaire ses besoins que la consommation en elle-même, pure. Pour la bourgeoisie, dont les progrès et la domination sont étroitement liés au capitalisme, Nana est un élément de maintien du système, certes dont certains sont victimes, mais seulement pour stabiliser de l’intérieur le système en tant que tel.

Au XIXe siècle, Nana était un peu artiste et beaucoup courtisane. Au XXIe siècle, elle est une travailleuse du sexe et une performeuse qui s’est affranchie de la narration et des rôles mais qui, comme Kim Kardashian, travaille à son image comme à une valeur inépuisable et sait saisir le moment pour faire du spectaculaire. En Côte d’Ivoire et en Afrique de l’Ouest, il y a beaucoup de Kim, on les appelle Emma Lohoues, Coco Emilia biscuit de mer, Eudoxy Yao ou Diaba Sora.

Première: 12.02.2019, MC93

Avec le soutien du

En coproduction avec Theater Bremen, MC93, Pumpenhaus Münster

Nana ou est-ce que tu connais le bara? – 4 und 5 Mai @ 20h – Theater Rampe @ Theater Rampe
Mai 5 @ 20 h 00 min – 22 h 00 min

Nana ou est-ce que tu connais le bara

nach Émile Zola
von Monika Gintersdorfer, Franck E. Yao und La Fleur

Nana singt nicht gut, Nana spielt nicht gut, Nana tanzt nicht gut, aber hat sie einen tollen Hüftschwung. Sie verkörpert eine radikale Präsenz, die nicht nur auf der Bühne eine agressiv-erotische Verbindung zu ihrem Publikum herstellt, sondern auch im Leben. Diese wirkliche Welt unterscheidet sich in Zolas Roman kaum vom Theater, das nicht nur von seinem Direktor als Bordell bezeichnet wird. Nana ist darin eine erfolgreiche Unternehmerin, die ihren Körper als erste verfügbare Ressource einsetzt und dabei keine Risiken und Härten scheut. In diesem Unternehmen verlieren einige vormals sehr reiche Männer ihr gesamtes Kapital an Nana, manche lassen dabei sogar ihr Leben. Ein Journalist, der sich ihrem Einfluss genauso wenig entziehen kann wie alle anderen, deutet ihren unaufhaltsamen Aufstieg aus dem Schlamm der Pariser Trunkenbolde von Chateau Rouge in die Welt des Geldes und der Ehre als Rache des Proletariats an der Bourgeoisie.

Aber Nana ist gleichzeitig auch die perfekte Bewohnerin des Kapitalismus. Sie konsumiert ohne Unterlass und ohne Mass, rückhaltlos verleibt sie sich alles und jeden ein und dabei geht es ihr nicht um die Befriedigung von Bedürfnissen, sondern um das reine Konsumieren um seiner selbst willen. Fuer die Bourgeoisie, deren Aufstieg und Herrschaft eng mit dem Kapitalismus verbunden ist, ist Nana das systemerhaltende Element, dem Einzelne zwar zum Opfer fallen, aber nur um das System als solches von innen heraus zu stabilisieren. 

Im 19. Jahrhundert war Nana ein bißchen Künstlerin und viel Kurtisane. Im 21. Jahrhundert ist sie Sexarbeiterin und Protagonistin der Performance-Szene, die weder Narration noch eine Rolle mehr braucht, sondern die wie eine Kim Kardashian an ihrem Image als unerschöpflichem Wert arbeitet und spektakulär den Moment krachen lässt. In der Elfenbeinküste und Westafrika gibt es gerade sehr viele Kims, sie heißen Emma Lohoues, Coco Emilia, biscuit de mer, Eudoxy Yao oder Diaba Sora.

Premiere: 12.02.2019, MC93

Gefördert vom Fonds Doppelpass

In Koproduktion mit MC93, Theater Bremen, Pumpenhaus Münster

Nana ou est-ce que tu connais le bara? – May 4 and 5 @ 20h – Theater Rampe @ Theater Rampe
Mai 5 @ 20 h 00 min – 22 h 00 min

Nana ou est-ce que tu connais le bara

Thèâtre, danse inspiré par Émile Zola
de Monika Gintersdorfer, Franck E. Yao et La Fleur

Nana ne chante pas bien, ne joue pas bien, ne danse pas bien, mais elle a un bon déhanché. Elle incarne une présence radicale qui ne crée pas seulement un lien érotico-agressif sur scène avec le public, mais aussi dans la vie. Dans le roman de Zola, le monde réel ne diffère guère du théâtre que son directeur n’est d’ailleurs pas le seul à appeler un bordel. Nana est une entrepreneuse prospère qui utilise son corps comme première ressource disponible et ne craint ni les risques ni les difficultés. Certains hommes ayant été très riches y perdent tout leur capital, d’autres leur vie même. Un journaliste aussi incapable que les autres d’échapper à l’influence de Nana, interprète l’irrésistible ascension de celle-ci – depuis la boue et les beuveries de Château Rouge jusqu’au monde de l’argent et des honneurs – comme une revanche du prolétariat sur la bourgeoisie.

Mais Nana est aussi la parfaite incarnation du capitalisme. Elle consomme sans cesse et sans modération, elle consomme tout et tout le monde sans réserve. Ce qui l’intéresse c’est moins de satisfaire ses besoins que la consommation en elle-même, pure. Pour la bourgeoisie, dont les progrès et la domination sont étroitement liés au capitalisme, Nana est un élément de maintien du système, certes dont certains sont victimes, mais seulement pour stabiliser de l’intérieur le système en tant que tel.

Au XIXe siècle, Nana était un peu artiste et beaucoup courtisane. Au XXIe siècle, elle est une travailleuse du sexe et une performeuse qui s’est affranchie de la narration et des rôles mais qui, comme Kim Kardashian, travaille à son image comme à une valeur inépuisable et sait saisir le moment pour faire du spectaculaire. En Côte d’Ivoire et en Afrique de l’Ouest, il y a beaucoup de Kim, on les appelle Emma Lohoues, Coco Emilia biscuit de mer, Eudoxy Yao ou Diaba Sora.

Première: 12.02.2019, MC93

Avec le soutien du

En coproduction avec Theater Bremen, MC93, Pumpenhaus Münster

Mai
11
sam
2019
Salon Souterrain – 11 mai @ 19h – Künstlerhaus 1050 @ Künstlerhaus 1050
Mai 11 @ 19 h 00 min – 23 h 45 min
Salon Souterrain - 11 mai @ 19h - Künstlerhaus 1050 @ Künstlerhaus 1050 | Wien | Wien | Austria

Salon Souterrain

Remember, 100 years of women right to vote…

What about now?

 

The right to vote for women now seems to us an obvious right. However, we have to remember that women did not obtain it until the end of the 19th century. Before only men could vote. The first country to grant women the right to vote was New Zealand in 1893. Austria has granted it only in 1918 and France in 1946. This 100 years anniversary raises a lot questions.

 

What is the evolution of the women’s vote? When we look at voter lists, are women the majority? If so, how to explain the current evolution? If they register and vote, it means that the current situation suits them. This means that few women manifest the will to be in the Spotlight and lead. Why ?

 

One of the most powerful women in the world governs Germany. However, in the Bundestag the proportion of women has fallen again since the 2017 federal elections, from 36 to just over 30 percent. If we look at the different political parties, which one has the most women in positions of responsibility and in positions to obtain mandates through elections? And the questions is the same as far as the number of women represented in other high-level public offices is concerned.

 

When one considers this reality, one can perhaps come to the conclusion that progressivity is the fruit of a minority. On the subject of minorities, there is another minority of women who are not often mentioned and who are active, who participate in the life of society: all foreign women living in Austria. What does Austrian and European legislation say about their ability to participate in public life and debate? When they are non-Austrian but European and when they are not Austrian but not European

 

DATE :

11th of May 2019

 

PLACE :

Künstlerhaus, Stolberggasse 26 1050 Wien

 

PROGRAM

 

Doors open: 19h

 

CONCERT : Koehne Quartet

Joanna Lewis – violin

Diane Pascal – violin

Lena Fankhauser-viola

Alison Frilingos-cello

 

Program: list of composers

Sofia Gubaidulina-Tatar, Russia

Philip Glass-Baltimore, USA

Manuela Kerer-Brixen, Italy…

 

Concert moderated by :

Ulla Pilz (ORF)

 

GUESTS ARTISTS :

Eric ABROGOUA : Performance : “Fuck Codes  and Containment”

God´s Entertainment/Karl Wratschko : Art –installation

 

DISCUSSION PANEL :

Amani Abu Zahra, philosophe, writer

Denise Vandecruze, computer engineer

Gerd Valchars, political scientist

Tim Voss, Kunsthlerhaus Director

 

Discussion moderated by:

François Luakabuanga

 

DJ FLO REAL.

 

SALON SOUTERRAIN is a format of the underground art space CHATEAU ROUGE created by Elisabeth Bakambamba Tambwe and a response to the unbridled accentuation of the exclusionary dynamics, which have become the prerogative of our societies in Europe in partnership with Lena Fankhauser from the association (CH)AMBER.

 

 

In cooperation with: Künstlerhaus, Grüne Bildungswerkstat, Chateau Rouge, Association (CH)AMBER and Kulturen in bewegung – “Dis-Othering Beyond Afropolitan & other Labels” a Creative Europe collaborative project on the necessary deconstruction of ‘othering’ practices in European cultural institutions. Thanks for the support of Brunnenpassage

Salon Souterrain – 11 Mai @ 19h – Künstlerhaus 1050 @ Künstlerhaus 1050
Mai 11 @ 19 h 00 min – 23 h 45 min
Salon Souterrain - 11 Mai @ 19h - Künstlerhaus 1050 @ Künstlerhaus 1050 | Wien | Wien | Austria

Salon Souterrain

Remember, 100 years of women right to vote…

What about now?

 

The right to vote for women now seems to us an obvious right. However, we have to remember that women did not obtain it until the end of the 19th century. Before only men could vote. The first country to grant women the right to vote was New Zealand in 1893. Austria has granted it only in 1918 and France in 1946. This 100 years anniversary raises a lot questions.

 

What is the evolution of the women’s vote? When we look at voter lists, are women the majority? If so, how to explain the current evolution? If they register and vote, it means that the current situation suits them. This means that few women manifest the will to be in the Spotlight and lead. Why ?

 

One of the most powerful women in the world governs Germany. However, in the Bundestag the proportion of women has fallen again since the 2017 federal elections, from 36 to just over 30 percent. If we look at the different political parties, which one has the most women in positions of responsibility and in positions to obtain mandates through elections? And the questions is the same as far as the number of women represented in other high-level public offices is concerned.

 

When one considers this reality, one can perhaps come to the conclusion that progressivity is the fruit of a minority. On the subject of minorities, there is another minority of women who are not often mentioned and who are active, who participate in the life of society: all foreign women living in Austria. What does Austrian and European legislation say about their ability to participate in public life and debate? When they are non-Austrian but European and when they are not Austrian but not European

 

DATE :

11th of May 2019

 

PLACE :

Künstlerhaus, Stolberggasse 26 1050 Wien

 

PROGRAM

 

Doors open: 19h

 

CONCERT : Koehne Quartet

Joanna Lewis – violin

Diane Pascal – violin

Lena Fankhauser-viola

Alison Frilingos-cello

 

Program: list of composers

Sofia Gubaidulina-Tatar, Russia

Philip Glass-Baltimore, USA

Manuela Kerer-Brixen, Italy…

 

Concert moderated by :

Ulla Pilz (ORF)

 

GUESTS ARTISTS :

Eric ABROGOUA : Performance : “Fuck Codes  and Containment”

God´s Entertainment/Karl Wratschko : Art –installation

 

DISCUSSION PANEL :

Amani Abu Zahra, philosophe, writer

Denise Vandecruze, computer engineer

Gerd Valchars, political scientist

Tim Voss, Kunsthlerhaus Director

 

Discussion moderated by:

François Luakabuanga

 

DJ FLO REAL.

 

SALON SOUTERRAIN is a format of the underground art space CHATEAU ROUGE created by Elisabeth Bakambamba Tambwe and a response to the unbridled accentuation of the exclusionary dynamics, which have become the prerogative of our societies in Europe in partnership with Lena Fankhauser from the association (CH)AMBER.

 

 

In cooperation with: Künstlerhaus, Grüne Bildungswerkstat, Chateau Rouge, Association (CH)AMBER and Kulturen in bewegung – “Dis-Othering Beyond Afropolitan & other Labels” a Creative Europe collaborative project on the necessary deconstruction of ‘othering’ practices in European cultural institutions. Thanks for the support of Brunnenpassage

Salon Souterrain – May 11 @ 19h – Künstlerhaus 1050 @ Künstlerhaus 1050
Mai 11 @ 19 h 00 min – 23 h 45 min
Salon Souterrain - May 11 @ 19h - Künstlerhaus 1050 @ Künstlerhaus 1050 | Wien | Wien | Austria

Salon Souterrain

Remember, 100 years of women right to vote…

What about now?

 

The right to vote for women now seems to us an obvious right. However, we have to remember that women did not obtain it until the end of the 19th century. Before only men could vote. The first country to grant women the right to vote was New Zealand in 1893. Austria has granted it only in 1918 and France in 1946. This 100 years anniversary raises a lot questions.

 

What is the evolution of the women’s vote? When we look at voter lists, are women the majority? If so, how to explain the current evolution? If they register and vote, it means that the current situation suits them. This means that few women manifest the will to be in the Spotlight and lead. Why ?

 

One of the most powerful women in the world governs Germany. However, in the Bundestag the proportion of women has fallen again since the 2017 federal elections, from 36 to just over 30 percent. If we look at the different political parties, which one has the most women in positions of responsibility and in positions to obtain mandates through elections? And the questions is the same as far as the number of women represented in other high-level public offices is concerned.

 

When one considers this reality, one can perhaps come to the conclusion that progressivity is the fruit of a minority. On the subject of minorities, there is another minority of women who are not often mentioned and who are active, who participate in the life of society: all foreign women living in Austria. What does Austrian and European legislation say about their ability to participate in public life and debate? When they are non-Austrian but European and when they are not Austrian but not European

 

DATE :

11th of May 2019

 

PLACE :

Künstlerhaus, Stolberggasse 26 1050 Wien

 

PROGRAM

 

Doors open: 19h

 

CONCERT : Koehne Quartet

Joanna Lewis – violin

Diane Pascal – violin

Lena Fankhauser-viola

Alison Frilingos-cello

 

Program: list of composers

Sofia Gubaidulina-Tatar, Russia

Philip Glass-Baltimore, USA

Manuela Kerer-Brixen, Italy…

 

Concert moderated by :

Ulla Pilz (ORF)

 

GUESTS ARTISTS :

Eric ABROGOUA : Performance : “Fuck Codes  and Containment”

God´s Entertainment/Karl Wratschko : Art –installation

 

DISCUSSION PANEL :

Amani Abu Zahra, philosophe, writer

Denise Vandecruze, computer engineer

Gerd Valchars, political scientist

Tim Voss, Kunsthlerhaus Director

 

Discussion moderated by:

François Luakabuanga

 

DJ FLO REAL.

 

SALON SOUTERRAIN is a format of the underground art space CHATEAU ROUGE created by Elisabeth Bakambamba Tambwe and a response to the unbridled accentuation of the exclusionary dynamics, which have become the prerogative of our societies in Europe in partnership with Lena Fankhauser from the association (CH)AMBER.

 

 

In cooperation with: Künstlerhaus, Grüne Bildungswerkstat, Chateau Rouge, Association (CH)AMBER and Kulturen in bewegung – “Dis-Othering Beyond Afropolitan & other Labels” a Creative Europe collaborative project on the necessary deconstruction of ‘othering’ practices in European cultural institutions. Thanks for the support of Brunnenpassage

Août
2
ven
2019
Salon Souterrain : Art & Prostitution : part 1 – 2 Août @ 19h30 – Rote Bar Volkstheater @ Rote Bar – Volkstheater
Août 2 @ 19 h 30 min – 23 h 45 min
Salon Souterrain : Art & Prostitution : part 1 - 2 Août @ 19h30 - Rote Bar Volkstheater @ Rote Bar – Volkstheater | Wien | Wien | Autriche

Salon Souterrain

 

Art & Prostitution : part 1

Salon Souterrain is a format of the underground art space „Chateau Rouge“, created by performance-visual artist Elisabeth Bakambamba Tambwe, as a response to certain exclusionary dynamics within the European society. In partnership with violist Lena Fankhauser, founder of (CH)AMBER- an association for new chamber music, Salon Souterrain delves into various aspects and approaches towards this issue. It is a place of hospitality, a melting pot of people, styles, ideas and engages in the systematic practice of dialogue. It looks at works of all forms of artistic expression, but also with the voice and presence of contemporary thinkers; writers, philosophers, activists, scientists etc.

In collaboration with Red Edition – Migrant Sex Workers Group Vienna, Salon Souterrain will deal with issues linking art and prostitution in various categories: prostitution as art, prostitution as a topic in the arts, the art of prostitutes, forms of structural violence and methods to overcome these structures in both fields as well as questioning our relationship to work in general.

 

DATE:

2nd of August 2019

PLACE:

Rote Bar – Volkstheater, Arthur-Schnitzler-Platz 1, 1070 Wien.

 

DISCUSSION PANEL :

Liad Hussein Kantorowicz, performance artist, musician

Liad Hussein Kantorowicz is a performance artist, musician, activist, and perpetual migrant. Her performances de-exotify and de-mystify the positions of so-called sexual or political deviants. In them, the body is used as a site to exhibit its multitude of marginalities, as well as being a tool to transgress the boundaries of the public space, and to call into question the public‘s ‘democratic’ limitations.

Her performance work has been presented at the 10th Berlin Biennale, Schwules Museum Berlin, Athens Museum of Queer Arts AMOQA, Kampnagel Hamburg, Transmediale festival Berlin, Ljubljana’s City of Women, Berliner Festspiele, Arcola Theatre London, Haus der Kulturen der Welt Berlin, Kabareet in Haifa/Palestine and more, and in streets, alleyways, social centers and queer bars in Europe and Palestine-Israel. Her first short film NO DEMOCRACY HERE premiered at CPH:DOX and is currently touring film festivals around the world. Her first EP with her musical partner Kalpour will be released later this year. Liad is a spokesperson for sex workers’ rights and a founder of a Berlin’s peer project for migrant sex workers at Hydra e.V.

 

Trajche Janusev, activist member of Red- Edition

Trajche Janushev is engaged in the sex work movement since 2009  in the begins of the first sex work community-based organization in the Balkans. Through Artivism he put the important questions for sex workers lives in the front of society eyes. In the regional level, he was also active and really familiar with almost all sex work-led Organization in Macedonia, Turkey, Serbia, France, Spain, Greece, UK, Bulgaria, Hungary… And last but not less, since he moved to live in Vienna he started with Red Edition – Sex Work Group Vienna and start with a different perspective of art-activism with main focus on migrants sex workers!

Konstanze Breitebner, actress and screenwriter

Konstanze Breitebner attended the Gymnasium Wenzgasse in the 13th district of Vienna, Hietzing, and then received her education at the drama school Krauss in Vienna and at the École internationale de Théâtre Jacques Lecoq in Paris. This was followed by theater engagements at the Volkstheater Wien, at the Bonn Theater, at the Theater in der Josefstadt in Vienna and at the Reichenau Summer Festival. She worked with well-known directors and also starred in numerous television plays and films such as “Das unbezähmbare Herz”, directed by Karl Kase, with Sonja Kirchberger, Dietmar Schönherr, Bernd Herzsprung and Miroslav Nemec, Mozart. “ Ich hätte München Ehre gemacht “ directed by Bernd Fischerauer, starring Konstantin Wecker or Vom Ende der Eiszeit, directed by Friedemann Fromm.

 

Ofelia Jarl Ortega, choreographer and performer

Ofelia Jarl Ortega is a choreographer and performer based in Stockholm. Her work centers around vulnerability and femininity, often with a suggestive erotic aesthetic; lately a notion of “voluntary objectification” has been at the core for her investigations. She has a MA in Choreography from DOCH, Stockholm, and her works have been shown at venues including ImPulsTanz (Vienna), MDT (Stockholm), Inkonst (Malmö), Les Urbaines (Lausanne), Manifesta11 (Zürich). Ofelia Jarl Ortega received the Young Choreographers’ Award at ImPulsTanz – Vienna International Dance Festival, 2018, for her piece « B.B. »

 

Discussion moderated by:

Topoke, : Afro-European artist -activist strong believer and fighter for human rights, based in Wien . As living off ones Art is very challenging, he also teaches in a middle school .

 

 

CONCERT:

Ensemble Kontrapunkte – a Viennese Contemporary Music Ensemble 

The Ensemble Kontrapunkte was founded in 1965 and consists of soloists from renowned Viennese orchestras such as the Vienna Philharmonic, the ORF Radio Symphony Orchestra Vienna, the Vienna Symphony Orchestra and the Vienna Volksoper Orchestra. Together with its director, Peter Keuschnig, the versatile and flexible formation with a broad repertoire has long been regarded as the first address of the Viennese music scene. Naturally competent in classical music and romance, the ensemble was able to make a name for itself particularly in the field of 20th and 21st century chamber music and classic big band jazz.

 

MUSICIANS :

Franz-Markus Siegert – born in Dresden in 1981, began his training as a musician at the age of 15 in the class for gifted students conducted by Prof. Rudolf Rampf at the music college in Trossingen. He completed his studies at the University of Music and Performing Arts Vienna with Prof. Christian Altenburger in 2009, graduating with distinction. He gathered further experience in master classes given by Dorothy Delay and Kurt Sassmannshaus in Aspen, Colorado. He is a member of several chamber music ensembles and undertook a number of concert tours to Japan as first violin of the Rasumofsky-Quartett Wien during which he played in the Tokyo Opera City Hall and the Tokyo Oji Hall among others. Franz-Markus Siegert has been assistant concertmaster of the ORF Vienna Radio Symphony Orchestra since 2009.

Amalie Elmark – born in Denmark, she has spent a great deal of my life living abroad, untiringly getting to know foreign mentalities and musical approaches. She started playing the violin at the age of 6 with the Japanese Suzuki-method and am educated from The Juilliard School in New York and The University of Music in Vienna, where she live.

 

Lena Fankhauser – She is violist born in Montreal, Canada with a Bachelor and Master‘s degree from the Juilliard School of Music in New York. After receiving a scholarship for a post-graduate with Prof. Thomas Riebl at the Mozarteum in Salzburg, she played with Camerata Salzburg. In Vienna, she has played with many orchestras and ensembles including, Volksoper Vienna, Klangforum and RSO Vienna. She is currently a member of the Burgtheater and Koehne Quartet. Lena Fankhauser is the founder of her Verein, (CH)AMBER, an association for new music and is co-founder of Salon Souterrain.

 

Othmar Müller – born in May 29, 1963 in Vienna. He is an Austrian cellist and founding member of the Artis Quartet Vienna. Müller was born as the third child of music critic and composer Herbert Müller. He received his first instrumental lessons at the age of five at the Conservatory of the City of Vienna, from 1977 to 1984 he studied with Valentin Erben at the Vienna Musikhochschule. In 1980 he became cellist of the Artis Quartet Vienna. In 1982 and 1983 he was a member of the ORF Symphony Orchestra, from 1982 to 1984 he was also solo cellist of the Vienna Chamber Orchestra. Since the academic year 1984/85 in Cincinnati at the LaSalle Quartet he has worked full-time in the Artis Quartet. From 1993 to 1998 and from 2007 to 2009 he directed the chamber music class of the Music Academy Graz, Expositur Oberschützen. Since 2008, Othmar Müller has also been conductor of the violoncello class at the Joseph Haydn Conservatory of the Province of Burgenland. Müller was and is a lecturer at courses in the USA, Hong Kong, Germany, Austria and the Casals Festival Prades.

 

Programme

 

Suite Nr 3 for solo Cello – J.S: Bach -2 mouvements

Cello soloist : Othmar Mulluer

 

String Quartet Nr .3 Op. 46 – Viktor Ullmann

Kontrapunkte Ensemble

 

Metamorphosis and Resonances for Solo Viola – Hugo Vasco Reis

Viola soloist : Lena Fankhauser

 

GUESTS  ARTISTS :

Cleo Duplan: Art –installation

Cléo Duplan lives and works in Marseille. She trained in scenography at the Ecole Nationale Supérieure des Arts Décoratifs in Paris, then did a training in art publishing and artist’s book at the Jean Monnet University of St Etienne.

His plastic practices are diverse, theatrical scenographies, masks, drawings, illustrations and installations. Paper is his favorite material. Recently, she founded the « Lunes Bergers », a publishing house of book-objects and curiosities of paper in limited series.

www.lunesbergers.com

 

Liad Hussein Kantorowicz: Performance : “PUSSY” , short documentary : “NO DEMOCRACY HERE

 

Mzamo Nondlwana

Mzamo Nondlwana a queer, non-binary performing artist .  Their work focuses on marginalized folks. They are also one half of an audio-visual collective Bisha  Boo that centers queer, trans, indigenous, black and people of color

 

Eric ABROGOUA

Born in Abidjan (Ivory Coast), grew up on three continents, between his native country (Côte d’Ivoire- Africa), the USA (Washington D.C/ New York City) and France (Tours/ Paris). Trained in classical and modern dance with Jacques Laurent Madiba (Abidjan) and acting (Cours Florent –France). Based in Paris since 2004. He has been developing his practice as an artist and performer working around gender, identity, uprooting and displacement. As a solo artist, he is currently working on «V.B.S.S»*( Violence, Boxes, Sex in Society.), an ode to our social plurality on interviews with members of the Afro and L.G.B.T.I.Q community from here ( France) and moreover ( America, Africa).

 

 

DJs:

SOUNDS OF BLACKNESS

[SOB] is a collective of artists (of various forms – DJs, musicians, actors, producers), activists and entrepreneurs based in Vienna with the aim of celebrating the cultural and ethnic diversity in urban space in European cities. We express the celebration of diversity through visuals, sound & dance amongst other art forms and events.

 

 

Thanks to the designer Goran Bugaric, the video maker Eduardo Trivino Cely, the photograph Esther Ojo and Philip Riera for the dramaturgy support

In cooperation with: ImPulsTanz Vienna International Dance Festival, Wienwoche – Festival for Art and Activism, kültür gemma!, Kulturen in bewegung and Radio Orange.

 

Salon Souterrain : Art & Prostitution : part 1 – 2 August @ 19h30 – Rote Bar Volkstheater @ Rote Bar – Volkstheater
Août 2 @ 19 h 30 min – 23 h 45 min
Salon Souterrain : Art & Prostitution : part 1 - 2 August @ 19h30 - Rote Bar Volkstheater @ Rote Bar – Volkstheater | Wien | Wien | Autriche

Salon Souterrain

 

Art & Prostitution : part 1

Salon Souterrain is a format of the underground art space „Chateau Rouge“, created by performance-visual artist Elisabeth Bakambamba Tambwe, as a response to certain exclusionary dynamics within the European society. In partnership with violist Lena Fankhauser, founder of (CH)AMBER- an association for new chamber music, Salon Souterrain delves into various aspects and approaches towards this issue. It is a place of hospitality, a melting pot of people, styles, ideas and engages in the systematic practice of dialogue. It looks at works of all forms of artistic expression, but also with the voice and presence of contemporary thinkers; writers, philosophers, activists, scientists etc.

In collaboration with Red Edition – Migrant Sex Workers Group Vienna, Salon Souterrain will deal with issues linking art and prostitution in various categories: prostitution as art, prostitution as a topic in the arts, the art of prostitutes, forms of structural violence and methods to overcome these structures in both fields as well as questioning our relationship to work in general.

 

DATE:

2nd of August 2019

PLACE:

Rote Bar – Volkstheater, Arthur-Schnitzler-Platz 1, 1070 Wien.

 

DISCUSSION PANEL :

Liad Hussein Kantorowicz, performance artist, musician

Liad Hussein Kantorowicz is a performance artist, musician, activist, and perpetual migrant. Her performances de-exotify and de-mystify the positions of so-called sexual or political deviants. In them, the body is used as a site to exhibit its multitude of marginalities, as well as being a tool to transgress the boundaries of the public space, and to call into question the public‘s ‘democratic’ limitations.

Her performance work has been presented at the 10th Berlin Biennale, Schwules Museum Berlin, Athens Museum of Queer Arts AMOQA, Kampnagel Hamburg, Transmediale festival Berlin, Ljubljana’s City of Women, Berliner Festspiele, Arcola Theatre London, Haus der Kulturen der Welt Berlin, Kabareet in Haifa/Palestine and more, and in streets, alleyways, social centers and queer bars in Europe and Palestine-Israel. Her first short film NO DEMOCRACY HERE premiered at CPH:DOX and is currently touring film festivals around the world. Her first EP with her musical partner Kalpour will be released later this year. Liad is a spokesperson for sex workers’ rights and a founder of a Berlin’s peer project for migrant sex workers at Hydra e.V.

 

Trajche Janusev, activist member of Red- Edition

Trajche Janushev is engaged in the sex work movement since 2009  in the begins of the first sex work community-based organization in the Balkans. Through Artivism he put the important questions for sex workers lives in the front of society eyes. In the regional level, he was also active and really familiar with almost all sex work-led Organization in Macedonia, Turkey, Serbia, France, Spain, Greece, UK, Bulgaria, Hungary… And last but not less, since he moved to live in Vienna he started with Red Edition – Sex Work Group Vienna and start with a different perspective of art-activism with main focus on migrants sex workers!

Konstanze Breitebner, actress and screenwriter

Konstanze Breitebner attended the Gymnasium Wenzgasse in the 13th district of Vienna, Hietzing, and then received her education at the drama school Krauss in Vienna and at the École internationale de Théâtre Jacques Lecoq in Paris. This was followed by theater engagements at the Volkstheater Wien, at the Bonn Theater, at the Theater in der Josefstadt in Vienna and at the Reichenau Summer Festival. She worked with well-known directors and also starred in numerous television plays and films such as “Das unbezähmbare Herz”, directed by Karl Kase, with Sonja Kirchberger, Dietmar Schönherr, Bernd Herzsprung and Miroslav Nemec, Mozart. “ Ich hätte München Ehre gemacht “ directed by Bernd Fischerauer, starring Konstantin Wecker or Vom Ende der Eiszeit, directed by Friedemann Fromm.

 

Ofelia Jarl Ortega, choreographer and performer

Ofelia Jarl Ortega is a choreographer and performer based in Stockholm. Her work centers around vulnerability and femininity, often with a suggestive erotic aesthetic; lately a notion of “voluntary objectification” has been at the core for her investigations. She has a MA in Choreography from DOCH, Stockholm, and her works have been shown at venues including ImPulsTanz (Vienna), MDT (Stockholm), Inkonst (Malmö), Les Urbaines (Lausanne), Manifesta11 (Zürich). Ofelia Jarl Ortega received the Young Choreographers’ Award at ImPulsTanz – Vienna International Dance Festival, 2018, for her piece « B.B. »

 

Discussion moderated by:

Topoke, : Afro-European artist -activist strong believer and fighter for human rights, based in Wien . As living off ones Art is very challenging, he also teaches in a middle school .

 

 

CONCERT:

Ensemble Kontrapunkte – a Viennese Contemporary Music Ensemble 

The Ensemble Kontrapunkte was founded in 1965 and consists of soloists from renowned Viennese orchestras such as the Vienna Philharmonic, the ORF Radio Symphony Orchestra Vienna, the Vienna Symphony Orchestra and the Vienna Volksoper Orchestra. Together with its director, Peter Keuschnig, the versatile and flexible formation with a broad repertoire has long been regarded as the first address of the Viennese music scene. Naturally competent in classical music and romance, the ensemble was able to make a name for itself particularly in the field of 20th and 21st century chamber music and classic big band jazz.

 

MUSICIANS :

Franz-Markus Siegert – born in Dresden in 1981, began his training as a musician at the age of 15 in the class for gifted students conducted by Prof. Rudolf Rampf at the music college in Trossingen. He completed his studies at the University of Music and Performing Arts Vienna with Prof. Christian Altenburger in 2009, graduating with distinction. He gathered further experience in master classes given by Dorothy Delay and Kurt Sassmannshaus in Aspen, Colorado. He is a member of several chamber music ensembles and undertook a number of concert tours to Japan as first violin of the Rasumofsky-Quartett Wien during which he played in the Tokyo Opera City Hall and the Tokyo Oji Hall among others. Franz-Markus Siegert has been assistant concertmaster of the ORF Vienna Radio Symphony Orchestra since 2009.

Amalie Elmark – born in Denmark, she has spent a great deal of my life living abroad, untiringly getting to know foreign mentalities and musical approaches. She started playing the violin at the age of 6 with the Japanese Suzuki-method and am educated from The Juilliard School in New York and The University of Music in Vienna, where she live.

 

Lena Fankhauser – She is violist born in Montreal, Canada with a Bachelor and Master‘s degree from the Juilliard School of Music in New York. After receiving a scholarship for a post-graduate with Prof. Thomas Riebl at the Mozarteum in Salzburg, she played with Camerata Salzburg. In Vienna, she has played with many orchestras and ensembles including, Volksoper Vienna, Klangforum and RSO Vienna. She is currently a member of the Burgtheater and Koehne Quartet. Lena Fankhauser is the founder of her Verein, (CH)AMBER, an association for new music and is co-founder of Salon Souterrain.

 

Othmar Müller – born in May 29, 1963 in Vienna. He is an Austrian cellist and founding member of the Artis Quartet Vienna. Müller was born as the third child of music critic and composer Herbert Müller. He received his first instrumental lessons at the age of five at the Conservatory of the City of Vienna, from 1977 to 1984 he studied with Valentin Erben at the Vienna Musikhochschule. In 1980 he became cellist of the Artis Quartet Vienna. In 1982 and 1983 he was a member of the ORF Symphony Orchestra, from 1982 to 1984 he was also solo cellist of the Vienna Chamber Orchestra. Since the academic year 1984/85 in Cincinnati at the LaSalle Quartet he has worked full-time in the Artis Quartet. From 1993 to 1998 and from 2007 to 2009 he directed the chamber music class of the Music Academy Graz, Expositur Oberschützen. Since 2008, Othmar Müller has also been conductor of the violoncello class at the Joseph Haydn Conservatory of the Province of Burgenland. Müller was and is a lecturer at courses in the USA, Hong Kong, Germany, Austria and the Casals Festival Prades.

 

Programme

 

Suite Nr 3 for solo Cello – J.S: Bach -2 mouvements

Cello soloist : Othmar Mulluer

 

String Quartet Nr .3 Op. 46 – Viktor Ullmann

Kontrapunkte Ensemble

 

Metamorphosis and Resonances for Solo Viola – Hugo Vasco Reis

Viola soloist : Lena Fankhauser

 

GUESTS  ARTISTS :

Cleo Duplan: Art –installation

Cléo Duplan lives and works in Marseille. She trained in scenography at the Ecole Nationale Supérieure des Arts Décoratifs in Paris, then did a training in art publishing and artist’s book at the Jean Monnet University of St Etienne.

His plastic practices are diverse, theatrical scenographies, masks, drawings, illustrations and installations. Paper is his favorite material. Recently, she founded the « Lunes Bergers », a publishing house of book-objects and curiosities of paper in limited series.

www.lunesbergers.com

 

Liad Hussein Kantorowicz: Performance : “PUSSY” , short documentary : “NO DEMOCRACY HERE

 

Mzamo Nondlwana

Mzamo Nondlwana a queer, non-binary performing artist .  Their work focuses on marginalized folks. They are also one half of an audio-visual collective Bisha  Boo that centers queer, trans, indigenous, black and people of color

 

Eric ABROGOUA

Born in Abidjan (Ivory Coast), grew up on three continents, between his native country (Côte d’Ivoire- Africa), the USA (Washington D.C/ New York City) and France (Tours/ Paris). Trained in classical and modern dance with Jacques Laurent Madiba (Abidjan) and acting (Cours Florent –France). Based in Paris since 2004. He has been developing his practice as an artist and performer working around gender, identity, uprooting and displacement. As a solo artist, he is currently working on «V.B.S.S»*( Violence, Boxes, Sex in Society.), an ode to our social plurality on interviews with members of the Afro and L.G.B.T.I.Q community from here ( France) and moreover ( America, Africa).

 

 

DJs:

SOUNDS OF BLACKNESS

[SOB] is a collective of artists (of various forms – DJs, musicians, actors, producers), activists and entrepreneurs based in Vienna with the aim of celebrating the cultural and ethnic diversity in urban space in European cities. We express the celebration of diversity through visuals, sound & dance amongst other art forms and events.

 

 

Thanks to the designer Goran Bugaric, the video maker Eduardo Trivino Cely, the photograph Esther Ojo and Philip Riera for the dramaturgy support

In cooperation with: ImPulsTanz Vienna International Dance Festival, Wienwoche – Festival for Art and Activism, kültür gemma!, Kulturen in bewegung and Radio Orange.

 

Salon Souterrain : Art & Prostitution : part 1 – 2 August @ 19h30 – Rote Bar Volkstheater @ Rote Bar – Volkstheater
Août 2 @ 19 h 30 min – 23 h 45 min
Salon Souterrain : Art & Prostitution : part 1 - 2 August @ 19h30 - Rote Bar Volkstheater @ Rote Bar – Volkstheater | Wien | Wien | Autriche

Salon Souterrain

 

Art & Prostitution : part 1

Salon Souterrain is a format of the underground art space „Chateau Rouge“, created by performance-visual artist Elisabeth Bakambamba Tambwe, as a response to certain exclusionary dynamics within the European society. In partnership with violist Lena Fankhauser, founder of (CH)AMBER- an association for new chamber music, Salon Souterrain delves into various aspects and approaches towards this issue. It is a place of hospitality, a melting pot of people, styles, ideas and engages in the systematic practice of dialogue. It looks at works of all forms of artistic expression, but also with the voice and presence of contemporary thinkers; writers, philosophers, activists, scientists etc.

In collaboration with Red Edition – Migrant Sex Workers Group Vienna, Salon Souterrain will deal with issues linking art and prostitution in various categories: prostitution as art, prostitution as a topic in the arts, the art of prostitutes, forms of structural violence and methods to overcome these structures in both fields as well as questioning our relationship to work in general.

 

DATE:

2nd of August 2019

PLACE:

Rote Bar – Volkstheater, Arthur-Schnitzler-Platz 1, 1070 Wien.

 

DISCUSSION PANEL :

Liad Hussein Kantorowicz, performance artist, musician

Liad Hussein Kantorowicz is a performance artist, musician, activist, and perpetual migrant. Her performances de-exotify and de-mystify the positions of so-called sexual or political deviants. In them, the body is used as a site to exhibit its multitude of marginalities, as well as being a tool to transgress the boundaries of the public space, and to call into question the public‘s ‘democratic’ limitations.

Her performance work has been presented at the 10th Berlin Biennale, Schwules Museum Berlin, Athens Museum of Queer Arts AMOQA, Kampnagel Hamburg, Transmediale festival Berlin, Ljubljana’s City of Women, Berliner Festspiele, Arcola Theatre London, Haus der Kulturen der Welt Berlin, Kabareet in Haifa/Palestine and more, and in streets, alleyways, social centers and queer bars in Europe and Palestine-Israel. Her first short film NO DEMOCRACY HERE premiered at CPH:DOX and is currently touring film festivals around the world. Her first EP with her musical partner Kalpour will be released later this year. Liad is a spokesperson for sex workers’ rights and a founder of a Berlin’s peer project for migrant sex workers at Hydra e.V.

 

Trajche Janusev, activist member of Red- Edition

Trajche Janushev is engaged in the sex work movement since 2009  in the begins of the first sex work community-based organization in the Balkans. Through Artivism he put the important questions for sex workers lives in the front of society eyes. In the regional level, he was also active and really familiar with almost all sex work-led Organization in Macedonia, Turkey, Serbia, France, Spain, Greece, UK, Bulgaria, Hungary… And last but not less, since he moved to live in Vienna he started with Red Edition – Sex Work Group Vienna and start with a different perspective of art-activism with main focus on migrants sex workers!

Konstanze Breitebner, actress and screenwriter

Konstanze Breitebner attended the Gymnasium Wenzgasse in the 13th district of Vienna, Hietzing, and then received her education at the drama school Krauss in Vienna and at the École internationale de Théâtre Jacques Lecoq in Paris. This was followed by theater engagements at the Volkstheater Wien, at the Bonn Theater, at the Theater in der Josefstadt in Vienna and at the Reichenau Summer Festival. She worked with well-known directors and also starred in numerous television plays and films such as “Das unbezähmbare Herz”, directed by Karl Kase, with Sonja Kirchberger, Dietmar Schönherr, Bernd Herzsprung and Miroslav Nemec, Mozart. “ Ich hätte München Ehre gemacht “ directed by Bernd Fischerauer, starring Konstantin Wecker or Vom Ende der Eiszeit, directed by Friedemann Fromm.

 

Ofelia Jarl Ortega, choreographer and performer

Ofelia Jarl Ortega is a choreographer and performer based in Stockholm. Her work centers around vulnerability and femininity, often with a suggestive erotic aesthetic; lately a notion of “voluntary objectification” has been at the core for her investigations. She has a MA in Choreography from DOCH, Stockholm, and her works have been shown at venues including ImPulsTanz (Vienna), MDT (Stockholm), Inkonst (Malmö), Les Urbaines (Lausanne), Manifesta11 (Zürich). Ofelia Jarl Ortega received the Young Choreographers’ Award at ImPulsTanz – Vienna International Dance Festival, 2018, for her piece « B.B. »

 

Discussion moderated by:

Topoke, : Afro-European artist -activist strong believer and fighter for human rights, based in Wien . As living off ones Art is very challenging, he also teaches in a middle school .

 

 

CONCERT:

Ensemble Kontrapunkte – a Viennese Contemporary Music Ensemble 

The Ensemble Kontrapunkte was founded in 1965 and consists of soloists from renowned Viennese orchestras such as the Vienna Philharmonic, the ORF Radio Symphony Orchestra Vienna, the Vienna Symphony Orchestra and the Vienna Volksoper Orchestra. Together with its director, Peter Keuschnig, the versatile and flexible formation with a broad repertoire has long been regarded as the first address of the Viennese music scene. Naturally competent in classical music and romance, the ensemble was able to make a name for itself particularly in the field of 20th and 21st century chamber music and classic big band jazz.

 

MUSICIANS :

Franz-Markus Siegert – born in Dresden in 1981, began his training as a musician at the age of 15 in the class for gifted students conducted by Prof. Rudolf Rampf at the music college in Trossingen. He completed his studies at the University of Music and Performing Arts Vienna with Prof. Christian Altenburger in 2009, graduating with distinction. He gathered further experience in master classes given by Dorothy Delay and Kurt Sassmannshaus in Aspen, Colorado. He is a member of several chamber music ensembles and undertook a number of concert tours to Japan as first violin of the Rasumofsky-Quartett Wien during which he played in the Tokyo Opera City Hall and the Tokyo Oji Hall among others. Franz-Markus Siegert has been assistant concertmaster of the ORF Vienna Radio Symphony Orchestra since 2009.

Amalie Elmark – born in Denmark, she has spent a great deal of my life living abroad, untiringly getting to know foreign mentalities and musical approaches. She started playing the violin at the age of 6 with the Japanese Suzuki-method and am educated from The Juilliard School in New York and The University of Music in Vienna, where she live.

 

Lena Fankhauser – She is violist born in Montreal, Canada with a Bachelor and Master‘s degree from the Juilliard School of Music in New York. After receiving a scholarship for a post-graduate with Prof. Thomas Riebl at the Mozarteum in Salzburg, she played with Camerata Salzburg. In Vienna, she has played with many orchestras and ensembles including, Volksoper Vienna, Klangforum and RSO Vienna. She is currently a member of the Burgtheater and Koehne Quartet. Lena Fankhauser is the founder of her Verein, (CH)AMBER, an association for new music and is co-founder of Salon Souterrain.

 

Othmar Müller – born in May 29, 1963 in Vienna. He is an Austrian cellist and founding member of the Artis Quartet Vienna. Müller was born as the third child of music critic and composer Herbert Müller. He received his first instrumental lessons at the age of five at the Conservatory of the City of Vienna, from 1977 to 1984 he studied with Valentin Erben at the Vienna Musikhochschule. In 1980 he became cellist of the Artis Quartet Vienna. In 1982 and 1983 he was a member of the ORF Symphony Orchestra, from 1982 to 1984 he was also solo cellist of the Vienna Chamber Orchestra. Since the academic year 1984/85 in Cincinnati at the LaSalle Quartet he has worked full-time in the Artis Quartet. From 1993 to 1998 and from 2007 to 2009 he directed the chamber music class of the Music Academy Graz, Expositur Oberschützen. Since 2008, Othmar Müller has also been conductor of the violoncello class at the Joseph Haydn Conservatory of the Province of Burgenland. Müller was and is a lecturer at courses in the USA, Hong Kong, Germany, Austria and the Casals Festival Prades.

 

Programme

 

Suite Nr 3 for solo Cello – J.S: Bach -2 mouvements

Cello soloist : Othmar Mulluer

 

String Quartet Nr .3 Op. 46 – Viktor Ullmann

Kontrapunkte Ensemble

 

Metamorphosis and Resonances for Solo Viola – Hugo Vasco Reis

Viola soloist : Lena Fankhauser

 

GUESTS  ARTISTS :

Cleo Duplan: Art –installation

Cléo Duplan lives and works in Marseille. She trained in scenography at the Ecole Nationale Supérieure des Arts Décoratifs in Paris, then did a training in art publishing and artist’s book at the Jean Monnet University of St Etienne.

His plastic practices are diverse, theatrical scenographies, masks, drawings, illustrations and installations. Paper is his favorite material. Recently, she founded the « Lunes Bergers », a publishing house of book-objects and curiosities of paper in limited series.

www.lunesbergers.com

 

Liad Hussein Kantorowicz: Performance : “PUSSY” , short documentary : “NO DEMOCRACY HERE

 

Mzamo Nondlwana

Mzamo Nondlwana a queer, non-binary performing artist .  Their work focuses on marginalized folks. They are also one half of an audio-visual collective Bisha  Boo that centers queer, trans, indigenous, black and people of color

 

Eric ABROGOUA

Born in Abidjan (Ivory Coast), grew up on three continents, between his native country (Côte d’Ivoire- Africa), the USA (Washington D.C/ New York City) and France (Tours/ Paris). Trained in classical and modern dance with Jacques Laurent Madiba (Abidjan) and acting (Cours Florent –France). Based in Paris since 2004. He has been developing his practice as an artist and performer working around gender, identity, uprooting and displacement. As a solo artist, he is currently working on «V.B.S.S»*( Violence, Boxes, Sex in Society.), an ode to our social plurality on interviews with members of the Afro and L.G.B.T.I.Q community from here ( France) and moreover ( America, Africa).

 

 

DJs:

SOUNDS OF BLACKNESS

[SOB] is a collective of artists (of various forms – DJs, musicians, actors, producers), activists and entrepreneurs based in Vienna with the aim of celebrating the cultural and ethnic diversity in urban space in European cities. We express the celebration of diversity through visuals, sound & dance amongst other art forms and events.

 

 

Thanks to the designer Goran Bugaric, the video maker Eduardo Trivino Cely, the photograph Esther Ojo and Philip Riera for the dramaturgy support

In cooperation with: ImPulsTanz Vienna International Dance Festival, Wienwoche – Festival for Art and Activism, kültür gemma!, Kulturen in bewegung and Radio Orange.

 

Août
6
mar
2019
TARZAN – 6, 8 and 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 6 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 and 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 et 9 Août @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 6 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 et 9 Août @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 und 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 6 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 und 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

Août
8
jeu
2019
TARZAN – 6, 8 and 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 8 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 and 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 et 9 Août @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 8 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 et 9 Août @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 und 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 8 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 und 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

Août
9
ven
2019
TARZAN – 6, 8 and 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 9 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 and 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 et 9 Août @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 9 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 et 9 Août @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min

TARZAN – 6, 8 und 9 August @ 20h – Zacherlfabrik @ Zacherlfabrik
Août 9 @ 20 h 00 min – 22 h 00 min
TARZAN - 6, 8 und 9 August @ 20h - Zacherlfabrik @ Zacherlfabrik | Wien | Wien | Österreich

Gordon Griffith. Wer kennt ihn noch? Er war 1918 der allererste Tarzan-Darsteller im Film. Ein Stummfilm, was naturgemäß den berühmten Tarzan-Schrei ausschloss. Dieser machte später, in den 1930er Jahren, Johnny Weissmüller berühmt. Die erste Publikation einer Tarzangeschichte des amerikanischen Schriftstellers Edgar Rice Burroughs war bereits 1912 herausgekommen, und bis heute ist diese Figur des „Herrn des Dschungels“ im popkulturellen Gedächtnis westlicher Gesellschaften verankert. Der jüngste Tarzanfilm kam erst 2016 in die Kinos. Jetzt haben die Radikalperformer_innen der Wiener Gruppe God’s Entertainment, die auf politische Schwachstellen in unserer Gesellschaft spezialisiert sind, diese Figur für sich entdeckt. Dabei ist, als Antithese zu Griffiths und Weissmüllers Repräsentation, eine polarisierende Performance entstanden, die perfekt zu Tarzans Widersprüchlichkeit passt: Zu sehen, inklusive Teezeremonie, im kongenialen Ambiente der Wiener Zacherlfabrik.

Österreichische Erstaufführung
Dauer: 110 min