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In November Poland will host a significant representation of Austrian artists of the contemporary dance scene. They will participate in the 17th International Dance Theatres’ Festival in Lublin, 2nd International Contemporary Dance Festival “Warsaw Dance Days” and the performance art programme #niejesteśmiobojętny[#you are not indifferent to me] in Poznań. All of the presentations are held in partnership with the Austrian Cultural Forum. The works to be shown in Poland are very diverse. Among them there is an interactive choreography made in collaboration with software (Klaus Obermaier/Ars Electronica Futurelab), a young choreographer’s piece bringing together dynamic language of movement and sounds with video projections (Bianca Anne Braunesberger), Ulrika Hager’s work produced for the Warsaw Dance Theatre and seeking connections between the bohème of the turn of the 19th and 20th century and the counter-culture of the second half of the 20th century, or the latest project of the SUPERAMAS collective entitled Theatreand devoted to the view of the world brought on by the politics of illusion.

More info about the performances:

Klaus Obermaier

An interactive dance and media performance

17th International Dance Theatres’ Festival in Lublin

Thursday, 7.11.2013, 6 pm

Friday, 8.11.2013, 8 pm

Culture Centre of Lublin, Widowiskowa Hall, ul. Peowiaków 12, Lublin

Tickets are up for sale from 4 November at the centre’s box office.

An interactive dance and media performance conceived and directed by Klaus Obermaier, in collaboration with the Ars Electronica Futurelab, featuring Desirée Kongerød and Rob Tannion.

Two main areas of research, the interactive digital system as performance partner and the creation of an immersive kinetic space, form the artistic framework for APPARITION.

What choreography emerges when software is your partner?

When virtual and actual image space share the same physics?

Where everything that moves on the stage is both interactive and independent?

And any form, dancing or still, can be transformed into a kinetic projection surface?

concept, artistic direction, music and visuals: Klaus Obermaier
Choreography, performance: Robert Tannion, Desirée Kongerød

Interactive design and technical development: Ars Electronica Futurelab: Peter Brandl, Jing He, Christopher Lindinger, Hirokazu Kato – Osaka University

Dramaturgical support: Scott deLahunta
Commissioned by:Ars Electronica Festival, Linz/Austria, South Bank Centre London, Great Britain, Singapore Arts Festival, Supported by European Commission-culture 2000
Body projection technology by buero+staubach Berlin, with André Bernhardt

duration: 60 min


Bianca Anne BraunesbergerSolo (w)

Friday, 08.11.2013, 7 pm

Mazovia Centre for Culture and Arts, ul. Elektoralna 12, Warsaw

Dynamic language of movements and sounds, video screenings introduce the audience into a world where fantasy and reality seem one. Being together and being connected makes us strong. Falling low is possible only when we try to live on our own. Getting up again after the fall is a challenge though. To get up we need to feel one huge whole again which gives us strength and trust. Are you there? You may fall ‘this low’ if you cut off from the whole and go ‘solo’.

Bianca Anne Braunesberger (AT)is the author of the concept, choreographer and costume designer for the piece. She is an independent dancer, choreographer and costume designer. Born in 1987, she graduated from the Iwanson School of Contemporary Dance (DE) and developed her dance skills under the CobosMika Dance Company (ES) during the summer courses Palamos Summer Dance. She also took part in a master class with the Forsythe Company (Hamburg) and Toula Limnaios (Berlin). In 2012, together with musician Stefan Zotter, she set up Tauschfühlung. She designs costumes for her pieces herself. She is fascinated with hip hop, and has danced as solo artist for Ulrike Stelzer and Elke Sackel.

Ewa Wilisowska (PL)is a dancer and teacher. She completed the Ballet School in Bytom, Poland, and participated in the pilot edition of the Performance Arts School affiliated to the Silesian Dance Theatre. She graduated in dance pedagogy and stage dance from the Anton Bruckner Privat University in Linz (AT). In 2011 she was awarded a year-long scholarship by the Austrian Ministry of Culture and Arts to develop her professional experience studying under foreign dancers. She has learnt her dance skills collaborating with the CobosMika Dance Company (ES). She has danced for Peter Mika, Iratxe Ansa, Jordi Cortes, Rose Breuss, Willy Dorner, Editta Braun Company, Georg Blaschke, Jianan Qu, Annika Lutschin, Martin Dvorak.

Dancers:Bianca Anne Braunesberger (AT), Ewa Wilisowska (PL) |Chorography, concept, costumes: Bianca Anne Braunesberger,Music: Stefan Zotter


Ulrike HagerPink Noise

Saturday, 09.11.2012, 7 pm

Mazovia Centre for Culture and Arts, ul. Elektoralna 12, Warsaw

Do the bohème of the turn of the 19th and 20th century and punk counter-culture have anything in common? Both praise the romantic and voluntary feeling of disintegration and rejection of the established social order. Austrian choreographer Urlike Hager will try to answer this question during her 21-day residency in Warsaw studying Vatslav Nijinsky’s fin de siècle choreography The Afternoon of A Faun, which triggered a scandal in 1921. In 2012 its title was used as a name for a fragrance, advertised with the slogan “Go ahead and make your own scandal”.

DIY – do it yourself …

… Pink noise!

Ulrike Hager (A)| Born in 1975, she is a dancer, choreographer and dance teacher. She studied contemporary dance and dance pedagogy at the IDA Institute of Bruckneruniversity in Linz (A). She also graduated from the Artschool – Department of New Dance Development SNDO in Amsterdam (NL). She used to dance in the Editta Braun Company (Salzburg). Hager is a member of the board of RedSapata Tanzfabrik Linz. She founded and now coordinates Tanzhafenfestivalin Linz. Her artistic practice focuses on dance, photography and film.



Saturday, 16.11.2013, 8 pm

Zamek Culture Centre in Poznań / Wielka Hall

5th edition of the programme #nie jesteś mi obojętny:#ZmianaPerspektywy [#you are not indifferent to me: #ChangeOfPerspective]

When considering techniques of disseminating ideas, we often make an analogy between the invention of book-printing in the fifteenth century and the emergence of the Internet toward the end of the twentieth century. The technical quantum leap is the feature shared by the Renaissance and our day and age. Similar analogies exist between other feats of human creativity and developments: in a certain sense, the computer-generated 3-D images lead us back to the invention of perspective by the Italian painters of the fifteenth century.

The birth of perspective in painting is not all disconnected from political considerations. As art historians have pointed out, the first stage in the construction of perspective is not the definition of the vanishing point but the definition of the frame, and painters give us a “framed” and “orderly” view of the world.
So, what can we say about the view of the world brought to us by an onslaught of digital images which we are confronted with every day? Nothing much has changed since the day and age of the Renaissance, it is still an enormously political thing. The powers-that-be have well understood that, and they have invested massively in the theatre of new technologies to stage some illusions of politics through the politics of illusion.

THEATRE, the latest SUPERAMAS project, is about the representation of a world structured by the politics of illusion. In this context, various extended reality techniques, such as 3-D images, avatars and mapping, are used.

These techniques will enable us to re-enact distinctive or anecdotal scenes from the international political arena. You will remember the French veto against war in Iraq in the UN General Assembly, and surely, you have not forgotten how Silvio Berlusconi kept Angela Merkel waiting for a long time at the NATO summit.
The stage will also become a site of improbable encounters. What would Marshall Tito have said if Silvio Berlusconi had kept him waiting? Real persons, fictitious persons and avatars will meet. Important decisions will be taken. A war might be in the offing. The stage might become a theatre of operations.
What SUPERAMAS is interested in here is the interaction between reality and fiction and the way it is at work in reports on current politics. The point is to rediscover the reality of comedy or drama behind the illusion of the political.

When the private life of public figures is in the focus of the politics of illusion, when the Crown Prince’s wedding or the First Lady’s pregnancy become societal issues, fiction has long relegated reality to the background. But then again, did not the Renaissance painters also give their madonnas the traits of the prostitutes who were their models?

SUPERAMAS will play true and false stories, navigate between reality and virtuality, always seeking to keep politics and the image of politics apart. Or mix it even more. The inter-actors will, however, be given an opportunity to see clearly: the toolbox will be opened before their very eyes. And we hope that their attention will be directed at the frame as much as at the vanishing point.

Curator:Marcin Maćkiewicz

Organiser:Zamek Culture Centre in Poznań

Partners:Austrian Cultural Forum, Institute of Music and Dance in Warsaw,

Media partners:Gazeta Wyborcza, TOK FM, empik, Didaskalia,,, WTK,, Radio Merkury, Rafio Afera, IKS,

Supported financially by Ministry of Culture and National Heritage;;

(Based on materials provided by the Austrian Cultural Forum)

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