Ida Mariboe Nielsen

In her own daily life of living as an artist by day and working as a cleaner along with other side jobs in the evening, all working conditions are highly practical and manual: happening on the floor, cleaning the floor, dancing on the floor. In On the Floor, the act of cleaning becomes a choreography and a ritual of attention and transformation. The floor becomes both altar and stage where gestures of labour are reimagined as gestures of devotion, resistance and renewal. The performer wears a dress made from cleaning materials combined with elements of a wedding dress to blend everyday work with ceremony and celebration. Through this work, she aims to explore the entanglement of care and maintenance while reclaiming manual labour as a site of poetic, political and aesthetic attention. Highlighting the everyday rituals of care and renewal.

Kara Paul-Can Atlama

Undaunted, a deity who rejects binary genders is swimming laps in the Badeschiff swimming pool. Once she has had enough of the water, she rises from the waves to offer herself up to the gaze of her guests. For the next hour, she is a living statue, giving a shape to the fantasies that slumber deep inside her onlookers. To that end, she adopts poses in which people have depicted her throughout history. She is exposed to the gaze and becomes a projection screen while her guests have to confront the physicality of the deity who is claiming the space that is hers.

The performance is part of a series of works that emerged from a treatment of Ovid’s Metamorphoses and his version of the myth of Hermaphroditus, a multi-gendered deity. Since Antiquity, this figure has time and again be reloaded and reinterpreted with the moral values of the time.

Mahdi Bakhshi

‘I feel doomed, and I sense the same in you; we have all been done by our screens. So let's chill and scroll. It offers a fleeting comfort, a quiet proof that I at least tried looking for a better life. But I am asleep. I don't know when I drifted off – maybe nine years ago. I need you to doomscroll through my nightmare, maybe it pulls me out of it. Gather every drop of dopamine you harvest from watching me and use it to break the cycle. Be my alarm. Wake me up at 7:30 AM.’

This performance treats micro-dopamine hits as our new gods and social media algorithms as their high priests, feeding users a constant stream of content to ensure their endless devotion. By staging an experimental, collective doomscroll with the audience, the piece navigates the fragmented storytelling in this medium. Ultimately, the experience aims to glitch the behavioural routines of the post-digital human, disrupting our passive relationship with the feed.

Reza Shirvan

The Long Sunset is a thirty-minute performance in which a group of people try to extend the sunset. On a path along Donaukanal that can usually be covered in three minutes, the participants move in a row at extremely slow speed so that it takes thirty minutes to cover the distance and the duration of the sunset shifts with their rhythm. The work is conceived as a collective experience. Everyone can participate and experience the moment of the sunset in a different, shared measure of time. Slowing down creates a temporary space that realigns perception, body and environment.

Ymo 09

Who’s Afraid of Eshu’s Phallus? confronts juxtaposing perspectives by way of a performance that investigates sexuality, masculinity and social roles that are imposed upon men and at the same time reproduced by them. By questioning dominant patriarchal narratives, the work opens a space for new conversations about gender and power.

Connecting dance, song and ritual gestures, the piece refers to Afro-Brazilian religious traditions – in particular candomblé, a religion that reveres Eshu as a deity of fertility, transformation and ancestral energy.

The interaction of sacred and profane movement embodies a dynamic balance between masculine and feminine forces and creates a visual as well as sound environment to invite the audience into a reflective and sensual experience. The work destabilises conventional gender norms and encourages the audience to imagine more fluid and fair possibilities for embodiment and society.

OR A MYTH AS A NARRATIVE ABOUT POSSIBILITIES
Barbara Oberhofer

The choreographed performance TOGETHER allows for encounters that have different outcomes, depending on the participants as they make their contributions.

Individuality plays a major part in modern life – and yet we look for commonalities. This artistic work is based on instructions that provide more and more freedom to find a common path.

In essence, it is all experiment – like life, with playful joy.

NOT TO BE CONFUSED WITH AUTONOMY
Mehrta Shirzadian und Uroš Paunković
Live camera: Sebastian Samek

\[…\] fights by using its tail as a whip against other conspecifics. It can **AUTONOMIZE** its tail but this is met with a social cost – tail loss decreases social standing and mating ability \[…\] reduced social status following caudal **AUTONOMY** \[…\] experiences reduced mating success \[…\] smaller eggs or no eggs at all are produced after the tail is lost \[…\] takes on a new club-like shape providing the male with a better fighting weapon, such that **AUTONOMY** and regeneration work together to increase the \[…\] ability to survive and reproduce.

At what point does giving consent become the surrender of autonomy? The refusal to surrender either to a natural predator or to dispassionate individualistic tendencies of contemporary society produces a wound, a traumatic gap that must be overcome through a new set of relations. References to Peter Greenaway's film *A Zed and Two Noughts* are included in the form of a dialogue with its characters.