works » collaboration





"In October 2021, KW Institute for Contemporary Art and Julia Stoschek Collection collaboratively present a commissioned performance by Michele Rizzo (born in 1984, based in Amsterdam). The choreographer and multidisciplinary artist investigates rave culture and the significance of the moments and spaces in which it becomes palpable. Departing from the ecstatic attitude of his HIGHER xtn. (2019) performance, the trajectory of the artist’s research transitions in the liminal space of REACHING, through a slow-paced choreography, with 14 performers, a sound score by composer Billy Bultheel (born in 1987, based in Berlin and Brussels) and light design by Theresa Baumgartner (born in 1990, based in Berlin).

Rizzo assesses and embraces multiple layers intrinsic to a journey of unison and transcendence, which comes into existence between and among moving bodies. REACHING unfolds the space hidden within and around the predominantly addressed emotions of ecstasy, euphoria, and acceleration by unveiling allusions to desire and the secret will of each individual, to evolve into an introspective yet rousing choreography of friction and coalescence."


choreographer / artist Michele Rizzo

curator Léon Kruijswijk

composer Billy Bultheel

light design Theresa Baumgartner

stylist Leendert Sonnevelt

dramaturgical advise Juan Pablo Cámara

performers Aaron Ratajczyk, Anna Rose, Arad Inbar, Carolina de Vega, Daniel Schabert, Dionisis Argyropoulos-Ioannou, Djibril Sall, Ewa Dziarnowska, Maria Metsalu, Matilde Bassetti, Max Göran, Milena Weber, Reza Mirabi, Snorre Hansen


performance 1 october 2021 at kW, Berlin






"caner teker dedicates the premiere of KARADENIZ to the theatricality of Turkish wedding practices. We encounter them as rituals, as hetero- and homonormative social institutions, and finally as staged events with choreographed sequencing and traditional Turkish dances such as Halay or the Zeybek. With the aid of the “Köçek” character, the androgynous belly-dancer, infamous for his*her sex work, caner teker and accomplices will look at these references from a diasporic perspective. The audience will be invited as witnesses, to become part of a temporary community that seeks to transform oriental gaze relations into non-hierarchic witnessing."


concept, performance, choreography caner teker

artistic production, production dramaturgy Sofie Luckhardt

performance Ewa Dziarnowska, Billy Morgan, caner teker

music direction, performance LABOUR (Farahnaz Hatam, Colin Hacklander)

musicians Ali Hasan, Deniz Mahir Kartal

dramaturgy, text Lou Drago

advisor Göksu Kunak, Black Joy, Ahmet Öğüt

styling Billy Lobos

costumes Olivia Ballard

stage, set Katharina Pia Schütz


performance 10 september 2021 at tanzhaus NRW, Düsseldorf and 17 september 2021 at Hebbel am Ufer / HAU3, Berlin







"FLUSH unfolds in a reduced set-up: 3 performers on a stage, framed by a series of 5 wall elements. It is based on a carefully assembled movement vocabulary that takes inspiration from ubiquitous video-editing techniques. It combines the laborious task of performing live slow motion, rewind, fast edits and endless repetitions with the considered exploration of composition and non-linear narration in order to create a ‘landscape play’ coined in 1935 by Gertrude Stein. FLUSH relies on a highly technical, articulate and stylized composition drawing on the formal ordering principles of juxtaposition, simultaneity, multiplicity and repetition also to be found in the ‘plays’ from Stein. It is a study on radical temporaries and illogical intimacies that proposes various articulations and modes of temporality, even going as far to evoke a lesbian time / aesthetic. 

Bodies, temporal and physical manifestations will be the explicit material in the construction of the landscapes. With a strong emphasis on the quotidian FLUSH wrestles with the impossibility of stopping time  in order to simultaneously move it  to see everything that is there behind a gesture, form the mundane to the spectacle. FLUSH makes apparent the tiny details that are hidden in situations, the ambivalences and notions between actions, subtexts, the hesitations and irruptions."


concept and direction Sheena McGrandles
​performed by Sheena McGrandles, Annegret Schalke and Ewa Dziarnowska
​sound Stellan Veloce
text Mila Pavicevic and Sheena McGrandles 
dramaturgy Mila Pavicevic and Thomas Schaupp 
​stage and costume Michiel Keuper and Martin Sieweke


performance 6 february 2020 at Sophiensaele, Berlin







"You’re watching. Dancing is listening, sensing is imagining.
Time is thick, space is thick, we’re soaked in language.
We’re not alone. Maps are overrated. Everything matters.

A dance in companionship with six dancers and a reader.

Six women dance, together and side by side. Another woman reads. Many other people sit, watch and listen. In this suspended time, a space of attention, commitment and autonomy spreads out. Listening closely to what is not always understood, paying attention to emerging singularities, relations and commonalities, deploying ticklish feelers, we grow interlaced strands that structure our ensemble.

Alice Chauchat's choreographic scores activate paradoxical relationships: distant intimacy, attentive autonomy, impersonal commitment. They stage dance as the borderland between perception and production (or sensation and expression), between a sense of self within a group and the dissolution of that self into the group. Ensembling is developed from two strands: dancing as listening, where listening is an expressive activity, and non-formal unison, which investigates our capacity to know what binds us without proof or measurement. Together they call forth an attention to relationships that evade systematization, instead nurturing endless differentiation."


choreography Alice Chauchat
dance Alice Martucci, Arantxa Martínez, Ewa Dziarnowska, Kai Evans, Julek Kreutzer, Alice Chauchat
reader Siegmar Zacharias
light and room design Bruno Pocheron, Elliot Blue
costumes Alexander Wolff
assistante Jennifer Lacey
production management Micaela Kühn Jara


performance 29 august 2019 at Uferstudios, Berlin





"Reflection is perception, observation, transformation and perspective. A group of performers negotiates the theatre as a space for social gathering, (re)presentation and an apparatus whose motors interact with the biomechanics and different energies of the human body’s movements.

The work invites into a hybrid zone made of sculptural figurations, chain reactions and mirrored realities, inanimate and alive bodies – resonating bodies made of many, that can break, fall apart and re-consolidate: A powerfully sensuous experience shifting between monstrosity and contemplation.

Reflection is the last part of a trilogy on the collective body. From the community that we form (Collective Jumps) to the analogy of nature (Pieces and Elements), Reflection brings the focus to energetic and physical forces that make us move and the importance of the singularity to move others: everyone can be the nucleus, the driving force, the seed, the sacrifice around which the group reverberates or responds upon."


concept & choreography Isabelle Schad

co-choreography & performance Jozefien Beckers, Barbara Berti, Frederike Doffin, Ewa Dziarnowska, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Jan Lorys, Josh Marcy, Claudia Tomasi, Nir Vidan, Natalia Wilk

dramaturgical & artistic collaboration Saša Božić

artistic assistance Claudia Tomasi

composition & sound Damir Šimunović

light design & technical direction Emma Juliard, assistance lights Andreas Harder

costumes Charlotte Pistorius , costume assistance Maja Svartåker

theoretical collaboration Elena Basteri

production management Heiko Schramm


performance 23 may 2019 at Hebbel am Ufer / HAU1, Berlin



Untitled Dances


"In this new work, Alex Baczyński-Jenkins continues with his choreographic practice that undertakes the politics of desire, queer embodiment, relationality and collectivity. His work choreographs ways of being together, that manifest affinities and entanglements between the queer utopian potentiality found in everyday materials, social dances and fragments of counter-culture histories.  This new work is embedded in an immersive sonic space of songs by Brygada Kryzys, a post-punk band that released their first album during the years of marshal law. Baczyński-Jenkins choreographs ways of being together – through kinaesthetic empathy, gestures and sensuality, using minimal situations and means to draw attention to the politics of affect and the force of relationality."


choreography Alex Baczyński-Jenkins in collaboration with and performed by Billy Morgan, Agata Grabowska, Małga Kubiak, Dawid Stan, Strike, Ewa Dziarnowska

sound and light Krzysztof Bagiński

production Aleksandra Knychalska

coordination Olga Kozińska, Joanna Tercjak

styling in collaboration with Rafał Domagała

curator of the cycle Agnieszka Sosnowska


performance 31 march 2019 at CSW Zamek Ujazdowski, Warsaw







"(Awkward is the new comfortable; ADHD is the new slow; sex is the new automation.)

ADHD Penetration is a performance which conjures family/sex, surveillance, and affects of the digital or online as negotiations of attention and different forms of liveness or embodiment. Penetrating “attention deficit hyperactivity disorder” as both a diagnosis and extrapolated condition of the 21st century appears to require excessive interdisciplinary collaboration, elements of surprise, and invitations to the audience to feel both totally uninvolved and hyper-present. Taking personal photos is encouraged."


by/with Zander Porter, Ewa Dziarnowska & Maciej Sado

sound by KILBOURNE & rick h m [umami goddess™]

costume by Franziska Acksel

also with Andrey Bogush & Elliott Cennetoglu


performance 30 november 2018, Sophiensæle as part of Dirty Debüt's #3 - "Snickers"



Untitled (Holding Horizon) / Frieze Artist Award 2018 at Frieze London / Alex Baczyński-Jenkins


"This year’s award winner, Alex Baczynski-Jenkins’ new commission continues his choreographic practice engaging with queer relationality and the politics of desire, intimacy and friendship."


by Alex Baczyński-Jenkins

with Ewa Dziarnowska, Agata Grabowska, Rafał Pierzyński, Tiran Willemse

supported by Ola Knychalska, Krzysztof Bagiński, Billy Morgan, Eliel Jones







"PURPOSE is an imaginative/artificial brand and a new materialist cult of the future. It is inspired by contemporary company lounges, meetings and hangouts and appropriates their hyper-commercial aesthetics, codes and popular culture to reveal their connection to biological conditioned primal phenomena of attraction and thereby as natural objects. PURPOSE is pointing to a timelessness: maybe it is eternity by its very nature. Starting from the creation of the brand, Reza Mirabi creates PURPOSE NEXT, a performative situation that allows a speculative culture of the future to emerge and become dominant in a specific space. A time both expanded and saturated by a circulation of codes, atmospheres, choreographies, lyrics and a brand. A series of elements that gradually disappear over the course of the performance, as if they never existed in the first place, or as if they are to be kept as a distant yet familiar memory within the visitors, leaving their traces in the form of an installation that remains as a sort of neo archaeological site."


by Reza Mirabi with Ewa Dziarnowska, Maciej Sado

collection by Juliane König


performance 20 july 2018, in the frame of LIVE WORKS performance act award vol.6 at Supercontinent2, Mezzelune, Centrale Fies, Dro (IT)



Until a thousand roses bloom (with Warsaw in the background)


"Foksal Gallery Foundation is pleased to present a new choreography by Alex Baczyński-Jenkins, which combines queer sensuality, eroticism, memory and desire.

The work is informed by the origin of the name 'Foksal’, which can be traced back to London’s Vauxhall Pleasure Garden, known as a place of erotic encounters and cruising.

The pleasure garden undergoes here a process of choreographic, affective, and conceptual transformation. The work considers the garden as a site of intimacy, sensuality, and interrelation and pleasure as politics of eroticism and desire. It interacts with queer memory recorded in gestures such as backward glances, unexpected events or ephemeral spaces.

The choreography consists of two parts, which take place simultaneously on the gallery’s two floors. It is non-linear and has a variable structure negotiated by performers."


by Alex Baczyński-Jenkins

in collaboration / performed by Ewa Dziarnowska, Joseph Funnell, Agata Grabowska, Billy Morgan, Rafał Pierzyński, Filip Rutkowski, Katarzyna Szugajew

production in collaboration with Ola Knychalska
sound in collaboration with Filip Lech and Lubomir Grzelak
scenography in collaboration with Małgorzata Nawrocka and Kwiaty i Miut 
look in collaboration with Rafał Domagała
photography Dawid Nickel, Spyros Rennt

Special thanks to Krzysztof Bagiński, Joe Crowdy, Ania Miczko, Dawid Nickel


performances 1-22 june 2018 at Foksal Gallery Foundation, Warsaw (PL)





"In this choreography, the all female group of performers exercise ways of belonging, relating and producing a space together. "Bless This Place" organises and frames a community through bodily experience. Using expanded choreography and installation the performance manipulates its immediate space and time into a non linear, queer timeline of female affinity."


by Zuzanna Ratajczyk with Ewa Dziarnowska, Josephine Findeisen, Garazi Valmaseda

performance 17 march 2018 in the frame of Departament Obecności / Kem Care at MSN, Warsaw (PL)



Free Gestures


"Free Gestures is a choreographic exhibition, activated by a group of dancers for five hours each day. The starting point is the question of how ideologies become incorporated into our bodies and language. Here, it is not the performers’ bodies or objects that are the works of art, but rather the performed texts, gestures, and movement. The first individual exhibition of Ula Sickle,a Canadian artist of Polish origin, presented in the Ujazdowski Castle Centre for Contemporary Art,confronts the problem of the loss of individual and collective agency in today's world."


by Ula Sickle

performed by Liwia Bargieł, Ewa Dziarnowska, Jan Lorys, Joseph Funnell, Wojtek Grudziński, Karolina Kraczkowska, Sara Lâm, Ania Nowak, Aleksandra Osowicz, Bożena Wydrowska

texts by Natalia Fiedorczuk-Cieślak, Amandeep Sandhu, Jacob Wren, Mi You, Anna Zett

curator Agnieszka Sosnowska

artist's assistant Dominik Skrzypkowski

co-oridinator Joanna Manecka

costumes by Sabrina Seifried assisted by Sylwester Krupiński

music by Poly Chain

exhibition design by Studio Matosek/Niezgoda (Paulina Tyro-Niezgoda/Piotr Matosek)


performances 2-25 march 2018, Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw (PL)





Seismic Session


"After having let her two successful pieces Universal Dancer and Ravemachine vibrate into each other in her Seismic Night in Odeon, choreographer and this year’s danceWEB mentor Doris Uhlich develops – together with DJ Boris Kopeinig – a Seismic Session: a visual, acoustic and fleshy setting for the scaffolding constructed for renovation works at the Secession. A choreography of building, melting and parasitical cohabitation of the famous art nouveau building’s skin."


choreography doris uhlich

with pêdra costa, ewa dziarnowska, christina gazi, aleksandar georgiev, andrea gunnlaugsdóttir, barbara lehtna, lilach livne & ellen soderhult

DJ boris kopeinig 

outside eye yoshie maruoka & theresa rauter 

feedback space/costume D. nicka

production theresa rauter & christine sbaschnigg

co-production wiener secession, ImPulsTanz & insert (Theaterverein)


performances 10 & 13 august 2017, wiener secession, ImPulsTanz, vienna (AT)





un peu de romantisme

"What brings a space to life? In Un Peu de Romantisme Lyllie Rouvière creates interactions between human-bodies and non-human bodies using awareness and observation. Over time and through movement the performer is slowly transformed into a hybrid object-plant-animal. A series of gestures builds an architecture in relation to a landscape composed of vegetation, geometrical abstract forms and the human body. A dialectic state between that which is built and that which is falling into disuse and decay starts to emerge. The reduced scale and minimalistic approach to movement and space attempt to enter into the silence and the rhythm of a ghostly romantic landscape with its indeterminate inhabitants, open to the potential of unexpected phenomena."


by lyllie rouvière

with ewa dziarnowska


14 june 2017, performing arts festival berlin, CHB - collegium hungaricum berlin (DE)







"Being naked doesn’t mean you have to feel naked. The “more than naked” ensemble, founded in 2013 around Doris Uhlich, operates in a realm beyond the dichotomy of gawking/gawked at and pays no mind to shame or actionist provocation. Instead, Uhlich creates choreographed free spaces and immerses herself in refined rituals for human flesh that doesn’t want to play hide-and-seek anymore. On two days in Krems about 30 performers will occupy the monumental Dominican Church, which was already secularised in 1786, and transform it into a habitat full of unimagined life forms. The horde celebrates their unity in the diversity. They do not obey the imperatives of the sex market economy and aren’t ashamed to bring wrinkles and love handles into the picture. The image is a literal and a social movement. The dancers play with the metaphor of infection: One quivers, the other tremors. Sweating and gasping. Impulses twitch, energies invisible yet perceptible. The space becomes a social body, “there’s vibes in the air”.


choreography doris uhlich

with juan felipe amaya gonzalez, samira bösch, uwe brauns, eyal bromberg, zinzi rosa buchanan, manuela calleja, pêdra costa, ewa dziarnowska, anna friedrich, christina gazi, alexandar georgiev, andrea júlía gunnlaugsdóttir, lotta maaria halinen, christina hurt, irene irrgeher, boris kopeinig,  louis labadens,  hugo le brigand, barbara lethna, lilach livne, milan loviska, aloun, marchal, raúl márquez, yoshie maruoka, andrius mulokas, mzamo nondlwana, ofelia jarl ortega, johanna pauer, yali rivlin, vera rosner-nógel,  lyllie rouviere, roni sagi,  grete smitaite, ulla stahlstadt, julischka stengele, doris uhlich, christina vivenz, werner vockenhuber, brigitte weinberger, johannes zits

sound boris kopeinig & doris uhlich

light gerald pappenberger

production theresa rauter & christine sbaschnigg

co-production donaufestival & insert (theaterverein)


premiere 29 april 2017, dominikanerkirche krems, donaufestival, krem (AT)





L Dance


"here we are / bittersweet creatures / if you’re gentle or not / play sharp stay losing / choosing over / attempt missed standing under / parallel earth fluid dualities / dependent co-creating fall over! / forgave not fitting together flailing forever / mercy mercy mercy / grace peripheries / it’s awfully serious and one ridiculous yoke / on you at the same time on you / listen / all you need is lichen, lava, light, lungs, lakes, lucid dreams and that loosener of limbs..."


by alistair watts

with ewa dziarnowska


21 april 2017, suddenly! festival, uferstudios berlin (DE)







all inclusive


"In all inclusive Julian Weber and a group of five dancers explore the parallels and paradoxes of the manic-obsessive culture industry and enact a wholesome, hyper-real holiday resort. The performative potential of the catastrophic serves here as a foil to question conventions and hierarchies of institutional space in the context of the visual and performing arts.

Julian Weber deconstructs strategies of image production and its logistics in this choreography: practical working processes crash against sensual physicalities. The collision of images, bodies, and materials produce ambiguous conditions between Slow Motion und Fast Action Control. Flows of images from new media meet iconic works of modernism and are confronted as oversized souvenirs with composition methods from art and dance history.

The dancers thereby move through sceneries in which hierarchies and power relationships are inscribed, becoming themselves an image and object on display, in order to excessively emancipate themselves from it. In interplay between fact and fiction—between regarding objects and being regarded as objects—the dancers explore questions on the construction of the valences of the milieu of art consumption. In a hybrid setting somewhere between choreographed scenography, museal space, and holiday resorts, the audience itself becomes part of the polymorphic scenery."


choreography/set/costume julian weber

dance annegret schalke, ana laura lozza, ivo serra, ewa dziarnowska, oliver connew

music stella veloce

costume michiel keuper

light martin beeretz

production andrea keppler

set-assistance jonas droste

co-production tanzfabrik berlin and district berlin


premiere 12 october 2016, uferstudios, tanzfabrik berlin (DE)





boom bodies


"Doris Uhlich joins eight international dancers to explore a dance technique that is devoted to opening, that tests the limits of energy output and that yearns to be able to use energy to move the surroundings, the outside world – an output of energy that sees the body as the epicentre of action and change. «Space» for Doris Uhlich is a body, similar to the human body. Accordingly, the piece not only puts the human body in motion, but also the flesh of space. The aim is to develop an energy to create ways of seeing the dense complex present as a moving body. Boom Bodies grapples with this body and its mechanisms."


choreography doris uhlich

dancers eyal bromberg, ewa dziarnowska, christina gazi, hugo le brigand, andrius mulokas, yali rivlin, roni sagi, anna virkkunen

dramaturgy heike albrecht

DJ boris kopeinig

light bruno pocheron

costumes attila lajos

feedback katalin erdödi, yoshie maruoka, christine standfest

technical advisor gerald pappenberger

production theresa rauter, christine sbaschnigg / insert (theaterverein)

co-production TQW 


premiere 28 january 2016, halle G, TQW Vienna (AT)






THE PLANET first location


"The truly passionate archeologist does not worship objects extracted from earth but worship the earth itself. Not the world, not earth but the planet - in it self, in its most anonymous.

The Planet is an ongoing proposal that examines the ownership and the rights to land beyond perspectives, beyond humans, nations, faith and belief. 

Where stones move, where oil dances, where a pair of jeans are equally important as something else, a person, a flame, combinations or a windmill. Where time knows no distance and distance doesn’t know at all, and still it’s happening. We think that’s it to begin but only what we think because there is also flowers, somebody, many instances, the things you use when playing ice-hockey. Langoustine or perhaps one for the road.

Those are the planet. Always."


with and by: hend el balouty, alina popa, zen jefferson, sigrid lauren, hana erdman, noura seif hassanein, andrew turner, jo koppe, frosina dimovska, adriano wilfert jensen, jule flierl, rebecca jensen, gillian walsh, rachael dichter, angie pittman, mårten spångberg, rósa ómarsdóttir, ewa dziarnowska, ellen söderhult, zuzanna ratajczyk, chloe chignell, tamara alegre, philip berlin, louise dahl, linda blomqvist, emma daniel, susanne grau, annegret schalke

supported by the swedish art council, the swedish arts grants committee, impulstanz and PAF


premiere 3 august 2015, mumok hofstallungen, impulstanz festival, vienna (AT)





tino sehgal

kiss (2002)


"like no other artist of his generation, berliner tino sehgal represents a radical redefinition of art and its experience. sehgal constructs situations rather than material objects. his media are the human voice, physical movements and social interaction that are initiated and enacted by the interpreters of the work who address visitors through conversation, song and choreography. although sehgal’s works never materialise in the form of an object, they conform to all the conventions of exhibition art: they are present throughout the institution’s opening hours and are bought and sold like conventional material artworks and are as well included in museum collections and private collections. this practice produces a fundamentally new understanding of the work of art that can have both a lasting value as well as an intense and sustained impact on a given space."


presented in the frame of tino sehgal's solo exhibition at martin-gropius-bau

organizers berliner festspiele / martin-gropius-bau
made possible by the capital cultural fund, berlin







simone forti

thinking with the body: a retrospective in motion


“i am interested in what we know about things through our bodies,” says simone forti, who was born in florence in 1935 but has mostly lived in los angeles since 1938, with extended stays in new york and other places. the exhibition presents the first comprehensive retrospective of the seminal work of this influential artist, choreographer, dancer, and writer. in addition to numerous performances, many of them presented in live enactments, forti’s sculptures, drawings, works with holograms and sound, and videos demonstrate her strikingly broad creative range. she is regarded as a key figure in postmodern dance and pioneer of minimal art—she personally likes to describe herself as a “movement artist.”


in a sustained engagement with kinesthetic awareness and composition, gleaned from her mentors anna halprin, john cage and robert dunn, simone forti dedicated herself to experimentation and improvisation. collaboration with other artists, including musicians such as charlemagne palestine and peter van riper, has been another mainstay of her artistic practice. in the early 1960s, together with dancers including steve paxton and yvonne rainer, she revolutionized the idea of dance and performance art by introducing movements from everyday life. In huddle, one of her most popular works, a group of performers form a sculpture that focuses and expresses their aggregate forces. among simone forti’s best-known works are minimalist objects made of simple materials, the famous dance constructions (1960-61), which she first presented in new york. In the late 1960s—forti, who lived near the zoo in Rome at the time—began to develop performance pieces out of the movements of animals. in her most recent works, the news animations, she includes spoken words in her dance, to reflect current events.


dance constructions:

rollers 1960

see-Saw 1960

huddle 1961

slant Board 1961

hangers 1961

platforms 1961

accompaniment for La Monte’s 2 sounds and La Monte’s 2 sounds 1961


other performances:

from instructions 1961

censor 1961

herding 1961

scramble 1970


the dance constructions and other performance pieces by simone forti will be enacted in the galleries and in public spaces by students of SEAD (salzburg experimental academy of dance).

the exhibition is organized by the museum der moderne salzburg.


curator: sabine breitwieser, director, with katja mittendorfer-oppolzer, curatorial assistant, museum der moderne salzburg

exhibition architecture: kuehn malvezzi


anna friedrich, anna virkunnen, asuka yoneyama, christina gazi, federico valenti, giulia di guardo, hugo le brigand, raùl márquez gaitán, roni sagi, samira boesch, tinna guðlaug ómarsdóttir, younha ma, alessandro sollima, ewa dziarnowska, filipa bavcevic, gat goodovitch, luna cenere, maayan reiter, polychronia-iliana kalapotharakou, theano vasilaki

exhibition july - november 2014, museum der moderne salzburg, salzburg., austria






more than naked


in more than naked, twenty naked dancers make their flesh wiggle, wobble, and crack. their bodies slap against each other, sweating and snapping to dance floor hits and lavish sounds. twenty people on stage are more than a group—they are a society. and this society sets itself in motion. as the movement unfolds, doris uhlich stands on stage, DJing to the whole event the motto being “let’s party our body!” more than naked manages to bring to the stage nakedness free of ideology and provocation. doris uhlich was already occupied with making “her flesh” swing in her previous piece more then enough. in the process, she developed a fat-dance technique. more than naked is a consistent continuation of this concern with body discourses, and it blasts away conventional ideas of body, dance, and nakedness with tremendous subversiveness.


choreography doris uhlich

artistic advisor yoshie maruoka

dramaturgical collaborator christine standfest


with samira boesch, uwe brauns, eyal bromberg, carla morera cruzate, fanny dolinszky, ewa dziarnowska, anna friedrich, raúl márquez gaitán, christina gazi, andrea gunnalaugsdottir, lotta halinen, hugo le brigand, mzamo nondlwana, yali rivlin, roni sagi, josipa stulic, maria teresa tanzarella, manuela calleja valderrama, anna virkkunen and sebastian zuber

light nadja räikkä sound gerald pappenberger production christine sbaschnigg production-assistent theresa rauter

co-production ImPulsTanz & insert (theaterverein)

insert (theaterverein) is subsidised by the cultural department of vienna and the bmu:kk.


premiere july 2014, sommerszene festival, salzburg, austria






picnic with old masters


the japanese artist michikazu matsune hosts an unusual picnic, developed especially for sommerszene and presented at residenzgalerie salzburg. with a group of dancers he stages an unique performance and installation in the museum’s staterooms. the paintings of the old masters that are matsune’s source of inspiration are playfully brought to life through dance and music.


performance: Sander Deben

                        Ewa Dziarnowska

                        Andrea Gunnlaugsdottir

                        Katarina Kavcic

                        Patrik Kelemen

                        Gustavo Monteiro

                        Mzamo Nondlwana

                        Maria-Teresa Tanzarella


concept and art director: michikazu matsune

equipment: michikazu matsune, johannes weckl

production assistant: marco döttlinger

picnic with old masters is a production of michikazu matsune and SZENE salzburg.

in collaboration with reidenzgalerie salzburg.


premiere july 2013, sommerszene festival, salzburg, austria