Canon for four dancers
Premiere May 16th 2019 | Sprechwerk Hamburg / Ballhaus Ost Berlin
Through a staggered performance of the same solo, four dancers follow the instruction to imitate – a canon – and layer by layer they enter a tight network of interlinking.
In a landscape of superimposed movements, Tableau shows the canon in a physical interpretation. By duplicating and overlapping a solo, it searches for the cohesion between individual movements and for the expansion and distortion of the original material.
Together with the experimental multi-instrumentalist Aidan Baker and the scenographer Takaya Kobayashi, a moment arises that uses the old, musical form of the canon as a portrayal of the modern mania of permanent connection. Much like a moving Tableau Vivant, the work invites an immersion in the rhythm of repetitive fragments while simultaneously questioning their exposure.
Premiere SEPT 2019 Kunstverein Harburger Bahnhof
In a hybrid format between dance, performance and installation, five performers together with Google’s language based assistant „Google Home“ as an equal performer, are exploring one of the most important global transformation processes: the interaction of humans and artificial intelligence.
Within a world in transition to a data economy, the newly released „Google Home“ device, similar to science-fiction movies, allows for continuous conversation with Google’s servers. The language-based assistant can be assigned tasks permanently, while collecting behavioral data of its users from all spheres of life.
OK, GOOGLE designs a scenario of the near future. On the frontier of real and virtual reality, the performers seek an intensifying and confrontational dialogue with the artificial but present digital actor. In reference to the rituals of ancient theater, the artists question the coming coexistence with the most intelligent being of the future at the time of its creation. Utopian projections for the deconstruction of gender and body images emerge, as well as thought experiments on cyborgs and the imagination of loss of control in the post-human era. Can a truly empathetic moment arise between a human and artificial intelligence? How do our perceptions, emotions and our physicality change through a technoid everyday practice? And will the self-learning machine be the better human being of tomorrow?
English/German with no subtitles
EMPIRE OF OIL 1-3
Premiere & Performances 23. – 27. May 2018 / Ballhaus Ost
The COSTA COMPAGNIE researched with a 360°-camera in Norway and Iraq and now presents, as the conclusion of their trilogy around the globally crucial topic of oil, all three parts together in a row: An immersive 360°-documentary (part 1), a medially dense text-performance (part 2) and a profound choreography (part 3), accompanied by a virtual-reality-installation. Does the powerful resource entail the potential for a social welfare utopia like Norway or does it lead to a never-ending war, as in Iraq? Are there certain aesthetics to the oil-rich underground – the hidden? And will we survive the oil-age? The artist group leads the visitors through the complementary parts and media and creates an extraordinary art experience between abstraction and documentation.
The first, cinematic part A Research in 360°passes the word to the interview partners onsite and investigates the connection between the global economy, climate change and conflict in a unique, cyclorama video space, displaying footage from Stavanger, Bergen, Erbil, Kirkuk and Mosul. The second, performative-analytical and musical part The Underground Frontier moves into a sensory medial reflection of the opposing countries and ends with a imaginary trip with the visitors. In the third part An Infinite Ending two dancers enter the cyclorama stage and, in a borderless choreographic work about speed, search for an ending.
CONTINUE I – Tongue
Liew \ Viehstädt
Premiere 09.02.2018, DPAC Theatre, Kuala Lumpur, Malaysia
CONTINUE is a series of three dance pieces, which are produced in Malaysia (Kuala Lumpur, Penang) and Germany (Hamburg, Berlin). The work is about continuously repeating patterns in nature and human behavior. In three parts, the work tries to extrapolate one of the most typical, enjoyable and problematic patterns of human being: communication -> relationship -> touch.
CONTINUE works with each of those topics and tries to find it’s unique abstraction into movement and dance.
The first part TONGUE is dealing with the different intentions of the spoken word in relation to movement. The second part TRIANGLE is investigating the many impalpable and constantly repeated ways of inter-human relationships, while the third part TOUCH is finally taking a look at the fundamental meaning of physical contact for merging things, societies and humans.
Supported by Goethe Institute, DPAC, INXO Arts Fund, Toccata Studio, Passion Ma Artistry & City Ballet Academy
Liew \ Viehstädt
Sept. 14th 2019, Lichthof Theater Hamburg, 20:15h | Tickets >
Premiere 2017, LOFFT Leipzig, P-Bodies Festival
Tour Malaysia 2017/18 Johor Bahru, George Town
With a lot of humor and some dark magic, the german-malaysian Duo creating a Mermaid. The two dancers explore the implications of this „hybrid creature“ concerning movement, narration and gender.
GEBRAUCHSANWEISUNG ZUM VERSCHWINDEN
Choreography: Chikako Kaido
Premiere 2016, Weltkunstzimmer Düsseldorf
Tour 2017, Japan, Tokyo
In „Gebrauchsanweisung zum Verschwinden“ („Manual to Disappear“) the Düsseldorf choregrapher Chikakao Kaido and her multidisciplinary team explores the motif of dissapearing.
Choreography: Anna Konjetzky
Wah-Wah ist ein Beobachtungsraum, ein Gedankenraum, dessen Offenheit und Transparenz das Potential innewohnt Gemeinschaft entstehen zu lassen in einer euphorischen, ansteckenden, nie endenden Bewegung. Komprimierte Energie lässt an ihren Rändern alles in Bewegung geraten, um es schließlich zu verschlucken, mit sich zu verschmelzen und eine noch höhere Dichte zu erzeugen – Schicht um Schicht, Loop um Loop wird aufgetragen.
Anna Konjetzky >
PHYSICAL MATTERS / TABLEAU
Choreography: Jascha Viehstädt
Premiere 2015, P1 Kampnagel Hamburg
a study for a fictional, physical, real, non-existing body
CONVERSION / AFTER AFGHANISTAN
Premiere 2015, Theater und Orchester Heidelberg
„Everyday we leave the house, we are aware that we may die.“
The COSTA COMPAGNIE conducted research in the Hindu Kush for three weeks at the end of ISAF’s mission and spoke with Afghan activists, journalists, scientists and students, as well as with German and American soldiers and diplomats about their experiences within the region’s complex situation. CONVERSION translates the multiple voices and contradictions of the material into a powerful performance that blends contemporary dance, research-based theater, soundscapes and multimedia installation to create a new form of the messenger’s report, while pursuing questions such as: How did the ISAF-mission affect the situation in Afghanistan? And by which interdisciplinary means can we approach war
Choreography: Chikako Kaido
Premiered in 2015, Welkunstzimmer Düsseldorf
Premiere 2014, Pumpenhaus Münster
Balz Isler, Signe Koefoed, Louis Mejía, Jascha Viehstädt
Premiere 2015, Kampnagel Hamburg
In their first joint stage work, the four dance-, and media artists from Hamburg and Berlin deals with the complex terminology of space and time and translate these into social phenomena such as fear, freedom and oppression. They look to the aesthetics of horror and show an installation / situation of media harassment.
10-Day Exhibition, Opening 22. May 2014, Cuxhavener Kunstverein
WE WILL SHOOT OBJECTS INTO SPACE!
BRING BELOVED OBJECTS (max. Weight 850 grams)!
WARM GREETINGS TO ALL!
Premiere 2013, Uferstudios Berlin
As the hero of our very own reality, we are in search of the true fiction in dance and end up in a fairytale about the new, old war of humankind: Flesh vs. Stone.
Fukushima, my love
Premiere 2012, Fleetstreet Theatre Hamburg
1.5 years after the threefold disaster, one member of the COSTA COMPAGNIE traveled to Fukushima Prefecture and throughout Japan. He returned with a backpack full of interviews, sounds and video images. In FUKUSHIMA, MY LOVE the company pursues the question whether it is possible to reduce the spatial, temporal and cultural distance to the events of the disaster that also resulted in Germany’s departure from nuclear power. Based on 35 interviews and Japanese myths, three dancers, two actors, one musician and one video-artist artistically approached the incomprehensible in a performative essay, while asking: What is the human in the face of disaster?