Archives: Projekte

Within the framework of OASIS, one week of artistic research with three different choreographers is made possible. Dancers are familiarized with different creative processes and styles and choreographers have the chance to get to know the scene anchored in Munich.

These three results will be shown in the final performance at the HochX Theater.

The two initiatives TanzQuelle and Bad Lemons Project strengthen the community of dance creators in Munich and have established themselves as an integral part of the city as well as developing supra-regional appeal. Together this year, under the name OASIS, they offer professional training, schaffen space for open-ended research, intensive exchange and artistic development.

4×4 meters – a box. 2 performers – one couple. “Relationshits” explores the different phases and dynamics of a relationship in a limited space through dance. From the romantic-enthusiastic beginning, to the shared space and the feeling of deep grounding and connectedness, to phases of longing for autonomy, the desire to break out of familiar paths, to leave obligations behind. Also included in the relationship package: betrayal, anger, longing, intimacy, compassion, sex, boredom, surrender and… love. “Relationshifts” takes all these big words that are part of our everyday life together as a couple and declines through the emotional and physical aspects of a relationship in different life situations. The starting point is very personal stories of the artistic team; which the performance translates into global images, using choreography and music as a language in which the audience can discover everyday moments.

„Relationshifts“ takes place as a 50-minute loop five times each evening, and the audience is invited to watch one or more replays. A kind of real-time effect: in the same space, with the same protagonists and the same choreographic sequence, the dancers exhaust themselves, age, lose their temper, give up and start again.

Dance performance about the human and the monstrous
by Mónica Garcia Vicente
with 6 dancers and a musical composition of her own.

The dance performance “Mary Frankenstein” is an artistic exploration of the multi-layered and contradictory facets of the human and the monstrous. Based on the novel Frankenstein or the Modern Prometheus by Mary Shelley (1818), the choreography goes in search of an aesthetic and dance language of the monster as a threshold figure and questions our concepts of normality and order, culture and aesthetics, humanity and humanity.
The dance performance also wants to remind us of the task of art to stand up for humanity and community, especially in “monstrous” times. The audience can find its own way through the Kesselhaus on the Faust grounds and follow the dance, video and sound installation at various stations.

a dance piece by Anna Konjetzky

Does hope help us to create a different future, visions of the future? Or does hope block us and leave us hanging in a kind of passive waiting loop? In our society in upheaval, both hope and its inverse, hopelessness, play a central role.

In a space divided horizontally by a net of safety belts, four dancers perform on the net and under the net. Hanging in the net, lying on it, pulling themselves up on it, but also falling through the net.

A spatial horizon line as a very classical image of hope – only that with us this horizon can be stretched and deformed.

A break into the colonial labyrinth

For audiences 12 years and older

In this immersive project, the interdisciplinary artist team Traummaschine Inc. takes up the discussion on Germany’s colonial heritage in connection with looted art. Following the model of popular Escape Rooms, the collective develops a fictitious criminal case in the rooms of the MARKK: a valuable exhibit has disappeared!
In this setting, the young audience must solve tasks to get behind the mystery of a missing sculpture, unravel its origin and history.
But who was it actually stolen from? Who does it really belong to?
With the exciting Escape Thriller, the project creates a playful approach to complex topics such as the sharing of cultural heritage and the healing of colonial trauma, which also includes the return of cultural assets. These tell of the manufacturing techniques, ideals of beauty and aesthetics of the countries and cultures of origin, but also of German colonial history.

Background
The so-called restitution debate, i.e. the question of how to deal with art objects from colonial contexts of injustice, is in full swing: in its coalition agreement of 2018, the German government committed itself to coming to terms with colonialism, and in 2022 the return of the Benin Bronzes was begun. But to whom should these go? To the government of Nigeria? To the state of Edo, where the Benin Kingdom is located today? Or to the Oba of Benin, the descendant of that king whose palace the British sacked in 1897?
The debate about the return of historical stolen goods is about questions of identity and ownership, about respect for property and international law.
With this project, Traummaschine Inc. aims to raise awareness of this discussion among a young audience. Should ownership be reversed and objects shown as loans from their countries of origin? Should collections be digitized and thus made accessible worldwide, and who should take on this task? Who decides what is appropriate handling?

Traummaschine Inc. uses the means of immersive theater and gamification, thus creating a hybrid theater and mediation format in which visitors are immersed in the discussion about looted art in contact with the performers. While cracking exciting puzzles, they learn more about historical stolen goods and have to apply newly learned knowledge and find their own attitude while solving tricky tasks.

Traummaschine Inc. is interested in the interactive mediation of social and political content. The Munich-North German group from the fields of performance, music, visual arts, fashion design and film seeks an approach to the audience that appeals on many levels. The story is only one of several narrative tools. Equally important are the music and the play with form and material, i.e. the acoustic and visual images that are created. TRAUMMASCHINE Inc. develops a narrative space for Die Beute, a detailed and playable parallel and experiential world. Through participation in the action, we create opportunities for the empowerment of children and young people.
In doing so, the artists want to animate the audience to enter into an aesthetic communication with their surroundings.

Join us in the complex world of a recording artist. What, pray tell, is a sound carrier? A recording artist is an archivist of voice-sound-noise-music documents of the last decades, centuries. She makes recordings and reinterprets them ad hoc, by means of a mysterious technique: she makes the stored time audible in the movement of the tape. Our protagonist pursues the question of what is touched by renewed touch, what is moved by renewed movement. What should and may remain? What is important for the here and now? The analog sound storage is subject to typical disturbances: Noise, crackling, distortion and other unpredictabilities, such as the encounter with a stranger: stop rewind!