Uraufführungen / TQW Koproduktion
What? How? and Where to? Are the basic questions in the transitional vacuum between post-graduation and starting a career. The Tanzquartier Wien’s pilot project Calibrate creates a platform for getting to know, exchange and introduction into professional life in the field of performance and contemporary dance. The seeds were sown in intensive cooperation with work-like research labs of graduates of established Austrian dance institutions – IDA (Institute for Dance Arts / Anton Bruckner University/Linz), MUK (Music and Arts Private University of Vienna) and SEAD (Salzburg Experimental Academy of Dance) – with the famous choreographers Alix Eynaudi, Ian Kaler and Paul Wenninger. A choreographic harvest manifested itself in the form of stage works that address both the unique practices of the choreographers as well as posing questions of dance, decoupled from fields of meaning and far from spectacle; a multimedia architecture of perception in relation to bodies and space is sketched out, and aesthetic, political and ethical values are confronted.
With her collaboration Alix Eynaudi leads us into a dance shared and cared for by 3 men, a vaguely poetic dance, where touches transform into lyrics and an irreverent uncertainty expresses itself. With Paul Wenninger we follow a movement of being interwoven with one another and explore indications of structural, emotional and choreographic body conditioning. With Screens Ian Kaler has developed a series of brief portraits that explore the biographical as praxis and projection and together with the participants goes into a set-up that becomes the frame and has those involved appear as projection surfaces – Screens.

In this performance the body relates to the image in the same way as the word trope in rhetoric, which describes the divergence between what is said and what is meant. The originally functional body of working people is transferred to a sensory-meaningless but imagined body. The transfer changes the material. Where the object formed the body, a body arises that informs the space. The gestures taken out of their context and transferred to a theatre space are a homage to the workers in the manufacture of things. A choreographic composition made from the transfer of the archival to the present.
CHOREOGRAPHY: Paul Wenninger
PERFORMANCE: Doro Altenburger, Anna Bárbara Bonatto, María Casares Gonzáles, Elsa Mourlam, Sami Similä
COSTUMES: house of the very island´s, Karin Krapfenbauer / Markus Hausleitner
LIGHT: Reto Schubiger
MOVIES: Paul Wenninger
VIDEO TECHNICIAN: Michael Loizenbauer
THANKS TO: CBS Sails Christian Binder GmbH, Adam Smith; ÖSWAG WERFT LINZ AG Nfg. GmbH & Co KG, Ing. Reinhard Suppan; Frauscher Bootswerft GmbH & Co KG, Florian Helmberger; Technikteam vom Tanzquartier Wien

Justiceforall is a dance shared and cared for by three men and coordinated by a woman. We simultaneously exercise three skills during our time spent together: our copying of existing Art Brut paintings, our writing poetry, sometimes concrete, sometimes somatic, and our writing dance as poetry, each of these activities receiving the same attention and care. But what do we really see?
Justiceforall witnesses to a shared interest in artistic practices that challenge established cultural values: in art that doesn’t take as a base for action its inscription in Art History. Or said yet differently, where the romantic notion of isolation from trends and mainstream artistry acts as a space for creativity.
Justiceforall can also be seen as a series of tributes to: Art Brut, Concrete Poetry, Conlon Nancarrow*,  Albert Huybrecht** and to the somatic poems of CAConrad.
We love drawings from Josef Bachler from 1973, we copy them, dedicate a dance to them, draw them on our shirt, cherish them until they’re part of our cavernous and raucous pool of possibilities, until they’re part of us. WHooF!
*An American-born Mexican-naturalized experimental composer who left his country in 1940, escaping political harassment due to his leftist political views.
**An almost unknown Belgian composer from the early 20th century
PERFORMERS: Beno Novak, Elton Petri, Alessio Scandale
MUSIC: Poème Électronique, Edgar Varèse 8’08, Chanson (text from V. Hugo), Albert Huybrecht 2’35, Study for Player Piano No. 3d, Conlon Nancarrow 2'20
THANKS TO: the whole team of Tanzquartier Wien, Fuxherz, Maria Hoeger and the artists from Gugging Museum
With SCREENS Ian Kaler continues his series of (video) portraits, this time in the form of a group-piece for six dancers, a group of graduates from Austrian dance schools.
In the first part of the piece, references to early works appear that now find a new focus in the further development with the performers.  A double projection frames the group in a purple space reminiscent of a blue box. Through a simple set up, subtle portraits develop and slowly grow in intensity.
In the second part of the piece we encounter the group live. Here the protagonists appear as silouettes against the purple backdrop. Together with Rostron’s soundtrack, the group slowly builds intensity through shifts, their breathing and a subtle swelling in movement.
PERFORMANCE: Nathalie Baert, Inês Carijo, Nefeli Kadinopoulou Asteriou, Elina Pohjonen, Izabela Soldaty and Mufutau Yusuf
CAMERA: Imogen Heath
EDITING: Ian Kaler und Imogen Heath
SETTING: Stephanie Rauch
LIGHT: Reto Schubiger
PROJECT MANAGEMENT: das Schaufenster
PRODUCTION: Verein Ian Kaler
CO-PRODUCTION: Tanzquartier Wien


Alix Eynaudi was trained as a ballet dancer in the Opéra of Paris. She  worked in various ballet companies before entering PARTS when the school first opened. In 1996, Alix joined Anne-Teresa De Keersmaeker’s company Rosas where she worked for 7 years.
Since 2005 Alix has been creating her own pieces: Crystalll, in collaboration with Alice Chauchat (2005), Supernaturel (2007), Long Long Short Long Short (2009), in collaboration with Agata Maszkiewicz. In 2011, she leads, together with Kris Verdonck, a research on the benefits of sleep and rest, which will turn into Exit (2011), a solo in which she puts the audience to sleep. In 2012, she creates Monique, a dance duet with Mark Lorimer, which finds its inspiration in bondage. In 2015 she premieres a group piece, Edelweiss, a danced rebus that oscilliates between abstract and figurative art. She is currently developing 2 projects for 2017, one will be a collaboration with Alice Chauchat, Anne Juren, and Mårten Spanberg, Nature’s Nature, and the other a piece for four performers, Chesterfield, leather & poetry.
Besides creating her own work, Alix makes a point of continuing to develop projects with other artists, both as a collaborator and a performer. She took part in pieces by a.e.: Superamas, Kris Verdonck, Anne Juren, Boris Charmatz, Noé Soulier, Jennifer Lacey.
Alix’s artistic practice also involves teaching workshops PARTS, Brussels, ImPulsTanz, Vienna, Reykjavik, Panetta Movement Centre, New York, Skolen for Moderne Dans / The Danish National School of Contemporary Dance and SEAD, Salzburg.


Ian Kaler studied Transmedia Art in Vienna and graduated from the pilot course in Contemporary Dance, Context and Choreography at the inter-university centre for dance at the Berlin University of the Arts. Since 2010 Kaler has been developing a physical and creative practice as choreographic series in exchange with various different artists. The first series of works, Insignificant Others, consists of the “raw” praxis-performance Untitled Stills (2010) and (learning to look sideways), developed during 2011/2012. In the subsequent series On Orientations (2013) the installative solo performance On Orientations | one place after and a second part, On Orientations | Untimely Encounters, were developed. The video installation Orientations | Shifting the burden – a collaboration with the video artist Anne Quirynen – was shown in the Patrick Ebensperger Gallery in August 2014 as part of the 8th Tanznacht Berlin. In  2014/2015 Kaler developed a series of group works – Contingencies – which were shown in different versions (for studio, museum and theatre) with changing cast and different numbers of performers. In 2014 together with students of the BA course for dance at the DOCH Stockholm Kaler developed the situation, an adaptation of (learning to look sideways) for seven dancers. Currently, Kaler is working on a new series with the working title o.T.. o.T. | (the emotionality of the jaw) – the first work in the new series was premiered in February 2015 in Hall G of the Tanzquartier Wien. (the emotionality of the jaw) is Kaler’s first collaboration with Aquarian Jugs, the new alias of the musician Jam Rostron, aka Planningtorock. The premiere of the second work in the series– o.T. | (gateways to movement) – was seen in July 2015 as part of the ImPulsTanz – Vienna International Dance Festival.


Paul Wenninger was born in 1966 in Vienna, is a freelance dancer and author, creates choreographic works and is a film-maker with a focus on pixelation and animation. Since 1999 he has been the artistic director of the Kabinett ad Co., a working platform for artists from the most diverse arts trends in order to realise interdisciplinary projects with a focus on the body. He has worked with various choreographers and companies, among others in France with the Cie. Catherine Diverrès at the Centre Chorégraphique National de Rennes et Bretagne. His works have been shown and won prizes internationally.

(c) Paul Wenninger(c) Imogen Heath

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in context of the graduate-project CALIBRATE
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