Time to raise your voices

First off, I would like to thank Elisabeth Bakamba Tambwe and Tanzquartier Wien for inviting me to write a “paper” on Salon Souterrain - Echoes of Numbers I. As a faithful believer in Marx’s theory, I must clarify for the readers where I speak from. I must assert that I do know Elizabeth, that I am a friend of hers and that I even have participated in

one Salon Souterrain in the past. Some might think, “So, what’s the biggie?”. But others (as we know, our scene can be picky) might go “Philippe is not legit then at writing a critique!” Well, I say, “Fuck that!” And why am I saying this? Simply because this format calls for the utmost respect. Not only does Salon Souterrain give us the chance to see truly original and seldom-seen artists in Vienna, but it also presents a real challenge for the producers, the artists and the viewers. To prove it, I could go back to the reasons why this past Salon was cancelled and had to be relocated to a new palace, even though all restrictions had been respected – but still, some aspects of this gathering were not to the liking of the personnel in charge, it seems. Was it the line-up? Was it too diverse? Too queer? Were the people not sufficiently into bubbles and instead drinking too many “low-class” beers instead? Was the seating not comfy enough for an audience used to more classy seats and views? I do not know. My intel here is a bit limited. I just heard people talking and speculating, and here I am snitching. But again – it is worth it!

Engaging with such a format is always a new beginning. I keep being surprised by the artistic contributions. I will not list them all here – just know that they were all absolutely mesmerising (of course). The point is that each and every work had its own pace, timing, dynamic, and agenda. Trying to bring them together under the same motto would be a waste of time and really not necessary. The pleasure lies exactly there. At times, I got really annoyed, wondering, “What the hell?” Most of the time, I was challenged – by the works themselves but also by the way they were sitting in the program. As a dramaturge, I would have done it differently, of course! Yes – but I did not. And here comes my point: the beauty of these Salons is to wind up in a place, you had not foreseen for yourself. Regardless of their content, all the artistic works voiced a manifesto. Call the artists P.O.C., queer, cis, using video art, dance, performance, art cuisine, fashion ... we eventually do not care anymore. A subtle and thought-through alliance of genres comes towards you as open arms. And believe me: I do not fish for a “hippy” environment when I go see a show – not my culture. Still, through Elizabeth’s presence and her program, one can perceive the care put into it. Care for the art and care for the public.

In short: it seems easier these days to hang some contemporary paintings by old Viennese abusers on a wall than to embrace the beautiful – and sometimes scary – complexity of our times. I can only say “thank you” to Elizabeth for pushing things forward and for keeping bothering unready people – as we all can be sometimes.

Philippe Riéra worked for over 20 years with Superamas in the field of performance and collaborated with visual artists such as Markus Schinwald, Claude Wampler, Isaac Julien, and Aldo Giannotti. He has taught at institutions including the Bruckner University Linz, SEAD Salzburg, ImPulsTanz, as well as various international training programs, and served as coach of the ImPulsTanz ATLAS program from 2014 to 2018. In 2016, he co-founded the program HUGGY BEARS together with Caroline Madl and has since mentored more than 30 projects. From 2020 to 2022, he was a member of the ACT OUT jury. He is the artistic director of Bears in the Park, an artist-friendly platform supporting the emerging scene in Vienna through various initiatives, including mentoring, artist support, and a residency program.