Freitag

12.4.2019

Ivy Monteiro
TRINTA Y DOIS IGUAL A 5

Trinta Y Dois Igual a 5 ist ein rhythmisches Performance-Experiment – nonlinear, nonkonform und unverfroren. Mit seinem neusten Projekt ruft Ivy ein dissidentes Afrokollektiv mit dem Namen L.O.S.S. ins Leben, was für Lovely Outrageous Savage Sounds steht (auf Deutsch etwa: entzückende, empörende, barbarische Klänge). Während 32 Jahren haben sie die «kochend heisse Wüste des Lebens» durchquert, und doch ergibt 3+2 immer noch 5. Fünf Punkte, fünf Elemente und fünf Schwerter bestimmen ihr Leben, wohin auch immer sie gehen – ein Pentagramm, das sich wie ein Käfig um ihre entfremdete körperliche Erfahrung schliesst. In einem ewigen Kreis von Liebe, Hass, Frieden und Krieg – übertragen in Musik, Rhythmus und Bewegung – lehnen sie sich gegen diese Existenz auf und versöhnen sich schlussendlich mit ihr.

Trinta Y Dois Igual a 5 is rhythmical & experimental performance; non linear, non conforming and non apologetical. In this latest venture, Ivy conjures an afro dissident collective, going by the name of L.O.S.S. (Lovely Outrageous Savage Sounds). They have taken 32 years to cross the Scalding Desert of Life and after all this time, 3+2 still equals 5. Five points, five elements and five swords, ruling their lifes, wherever they possibly go. Like a pentagram, drawing a cage around their alienated bodily experience. They recognize it, they rage against it and make peace with it in a continuous circle of love, hate, peace and war - all translated in music, rhythm and movement.

About
Ivan "Ivy" is a developer of practices and performative roles in Dance, Music, and Visual Arts. They are a natural shapeshifter, re-imagining femininity, gender, social and race expectations through (dis)identifcation. Furthermore, Ancestrality and Spirituality are reshaped and envisioned in queer afro latinx futuristic pieces. Ivy has their work presented at Counterpulse (San Francisco), Queer InfectionLab (Rome), Museum of Image and Sound (São Paulo), Cuntemporary (London) among others.

Credits
Concept Ivy Monteiro Creation Ivy Monteiro
 Performance Support Tracy September, Nilo Stillhart, Lydia Perrot and Ivy Monteiro Mentoring Marc Streit Production Support Hans Manz (Theatre Neumarkt)
 Sound Support Tracy September

Krassen Krastev
CLSTRS

Ein choreographisches Stück für zwei Personen, zur Inspiration für CLSTRS dienten verschiedene Ausdrucksformen der traditionellen Unterhaltung wie Cabaret, Burlesque und Revuetheater, in denen deutliche soziale Konstrukte und eindeutige Geschlechterrollen dargestellt werden. An der Schnittstelle von Gegenwart und Zukunft öffnet CLSTRS einen utopischen Horizont von unendlichen Möglichkeiten. Hybridartige Körper, im konstanten Wandel formen einen Klumpen ohne klare Trennung von Maskulinität, Femininität sowie biologischen und technologischen Polen. Diese Arbeit fragt nach dem menschlichen Ideal in einer unbestimmten Zukunft und woraus dieser leibliche Umschlag geschaffen sein wird.

A choreographic piece for two people, CLSTRS draws its inspiration from various entertainment traditions – such as cabaret, burlesque and the musical revue – which render visible the social construction of bodies and gender. Moved by a tension between the present and an indeterminate future, it opens onto a new horizon of utopia, offering an infinite range of possibilities represented by hybrid and ever-changing bodies, as the result of a cluster between the masculine, feminine, biological and technological poles. This work questions what could a human ideal represent in an indeterminate future and what will this corporeal envelope be made of in the time to come.

About
Krassen Krastev’s work questions the body-and-soul relationship, between the fear of disappearing and the hope of immortality and about gender and sexuality. Presented in his adoptive city Lausanne or abroad as well as in his home country Bulgaria, his work uses cabaret to turn over by giving them a resolutely non-binary dimension. As an interpret, he has been working with Alain Buffard, Brice Leroux, Nicole Seiler, Manolis Tsipos, Yan Duyvendak, Daniel Hellmann. 

Christopher Füllemann graduated from ECAL Lausanne and San Francisco Art Institute and is based in Zurich and London. His sculpture work received the Swiss Art Award 2011 and the Gustave Buchet Prize 2013, leading to a solo show at the Musée Cantonal des Beaux-Arts in Lausanne. Recently, he had shows in Basel (Museumsnacht 2017), Zürich (Helmhaus 2017) and works with Simone Aughterlony and Jen Rosenblit (zürich moves! & Tanzhaus Zürich 2017). CLSTRS will have him perform on stage for the first time.

Credits
Concept, choreography and performance Krassen Krastev Stage design and performance Christopher Füllemann Light design Vincent Deblue Costume design Scilla Ilardo Sound design Bruno Robyr Management, touring, and dramaturgy help Isabelle Vuong Production Cie Krassen Krastev Coproduction Arsenic – Centre d’art scénique contemporain, Lausanne Supported by Ville de Lausanne, Loterie Romande, Fondation Nestlé pour l'Art, Oertli Stiftung, Ernst Göhner Stiftung, Schweizerische Interpretenstiftung SIS, Pro Helvetia, Corrodis
Photos ©Johanne Morrison

FR 12.4. um 19.00
60 min
Tanzhaus Zürich

Steven Warwick & Carlos María Romero
HQ: (I feel so Mezzaniney)

HQ: (I feel so Mezzaniney) ist eine Verschmelzung von Warwicks ortsspezifischer Mezzanine-Serie und Maria Romeros Interesse an Go-go als Ausdrucksform zwischen Performance und Dekor. In diesem fiktiven Hauptquartier verrichten die Tänzerinnen (Las Mezzaninas) als Dienstmädchen Arbeiten und tragen klassische Konflikte des Plattformkapitalismus aus, in dem Selbstpflege-Rituale und die Bildung von Gemeinschaften monetisiert werden und Gaslighting, eine Form psychischer Gewalt, jegliches Vertrauen zerstört. Sie leben in einer Welt, in der Körper und Klang zerlegt und auf minimale Rhythmen reduziert werden, um eine Atmosphäre zu schaffen, in der Geld bewegt werden soll. In der Reflexion zeitgenössischer Gefühle der Isolation wird deutlich, dass Fragen der Handlungsmacht und auffällige Darstellungen sozialer Interaktionen unweigerlich mit diesem beunruhigenden Zeitalter des Populismus verbunden sind.

HQ: (I feel so Mezzaniney) is a collaboration conflating Warwick’s site specific Mezzanine series and Maria Romero's interest in Go-Go as form of work half way between performance and decor. In this fictive HQ the dancers (Las Mezzaninas) are maids-in-waiting, performing labour and acting out the conflicts found in, and on, platform-capitalism, where self-care routines and community-building are monetised, and gaslighting fragments trust. They inhabit an ecology where bodies and sound are dissected and reduced to minimal rhythms sculpting an ambient to make money move. Reflecting upon contemporary feelings of isolation, questions of agency and conspicuous displays of social interactions are linked to an age of unsettling populism.

About
Carlos Maria Romero aka Atabey Mamasita is a UK-based Colombian multidisciplinary artist and performer. Maria Romero is a founder of the collectives SPIT! –Sodomites, Perverts, Inverts Together!– with whom they wrote and performed a series of queer manifestos (initially for Frieze Projects 2017), and Vividero Colectivo, a group of multidisciplinary artists and architects re-claiming as cultural heritage historically marginalised social practices and architectural sites; and of Vogue-Chi, a multi-generational queer and allies movement practice and safe space for self-expression and coming together. www.carlosmariaromero.com

Steven Warwick's practice is paradigmatic of an interdisciplinary approach that encompasses DJing and theatre-making along with art, music and writing. His work is disseminated on a multitude of platforms. Warwick creates assemblages of performance, image, sound and language that speak to the ways in which ideologies construct and inhabit spaces, online and offline. His visual work has been exhibited at KW Berlin; ICA, London; He has performed music at Berghain, Berlin; LCMF; Issue Project Room, New York. His writing has appeared in Artforum, Texte zur Kunst, Frieze. His audiovisual lecture with Nora Khan Fear Indexing the X- Files, was published as a book by Primary Information.

Credits
Concept, direction Steven Warwick & Carlos Maria Romero Music Text Steven Warwick Choreography, performance Carlos Maria Romero Performers Indward De Jesus Romero Mercedes, Laura Sorribes Production Michel Hart Developed at FUGA
Photos ©Ilmė Vyšniauskaitė 

FR 12.4. um 21.00
60 min
Cabaret Voltaire