Michael Clark + The Fall, Adam Linder, Thomas Kratz
Performance: 7 p.m.
The end of the exhibition series “The only performances that make it all the way ...“ and the last and concluding opening on this Thursday will present a video documentation of the collaboration between Michael Clark + The Fall within the existing display and also bring performances by Adam Linder and Thomas Kratz for the very first time to Austria.
The two songs “Big New Prinz” and “Wrong Place Right Time” of the collaborative piece “I Am Curious, Orange” of the Scottish choreographer and dancer Michael Clark and the long running and uncompromising post punk outfit The Fall around Mark E. Smith is exemplary for the synergetic fringes of the performative in and with different fields like pop or dance and choreography. The video was by the way filmed by the artist Cerith Wyn Evans and edited by Angus Cook.
The Berlin-based Australien choreographer and dancer Adam Linder who already has performed with the likes of Meg Stuart, Michael Clark, Jeremy Wade, Netherlands Dance Theatre or The Royal Ballet is about to perform his piece “Cult to the What”. Therein he is working with the linguistic strategies of rap music to navigate through different attitudes of staging the body. Into this “rapography” – as he calls it -, also the rhythm and sampling-methods of hip hop find entrance.
Besides his painting practice the artist Thomas Kratz follows with huge interest performative rudiments and actions. In his piece “Colour blind”, he releases performance-related expectations by abrogations of time and space, so that via the accomplished situation in the exhibition room presenting galanty show, hand massages and surreal overloads of everyday objects, various levels of communication are shown in their parallelism and regarding different steps of accessibility. He rather aims for associative potentiality than intellectual explicability.
Susanne Schuda. Wollsau - die politische Sinnfreiheit eines pornographischen Blicks und der Kannibalismus in der Bildverwertung / Video Ed.26
Presentation: 8 p.m.
In her blurring, pulsing video collage "Wollsau – die politische Sinnfreiheit eines pornographischen Blicks und der Kannibalismus in der Bildverwertung" [Wolly Sow: The Political Mindlessness of a Pornographic Gaze and the Cannibalism Found in the Exploitation of Images], the artist Susanne Schuda explores these terms and their efficacy. Common dialogue situations involving the viewer and the video image are overlaid and shown interactively, with models of reception already included once the visuals are employed. Added to the virtually pornographic surplus is a further telling facet, an immoral one that is subconsciously desired constantly by a present-day viewer-ego. Schuda’s video locks precisely onto this point where the dialectics of perpetrator (the visual producer) and victim (the visual consumer) can be portrayed in a virulent way distinguished by uncanny cooperation.