The moving space construction ‘kinetic space’ built especially for the black box of brut nordwest informed the rehearsal process and all physical, choreographic, and dramaturgical procedures from the beginning. Designed to manipulate the space, they cause a kind of overall movement of spatial change from dark narrowness to soundless, black vastness. Audience members are invited to immerse themselves in the spatial events.

black attempts to intensify the space and stage medium of the black box as a place of perception and performative representation. Two parameters served as starting points for the piece: the experience of darkness and narrowness that speleologists make on their forensic ventures into rough subterranean systems; and the metaphor of the black space. In black, the darkness of the cave signifies the unknown, the not-yet-illuminated. Are weightlessness and disorientation, but also silence and the deprivation of sensory impressions perceived as freedom or as a threatening lack of stability?

Georg Blaschke lives in Vienna and works as a freelance choreographer, art creator, and dance performer. He teaches contemporary dance training at festivals, schools of higher learning, and academies of dance and acting. The somatic practices associated with his respective projects is always part of his specific teaching method. Current productions in particular are informed by the evolutionary history of the human and animal body and the ways it is represented in visual art. Most of them are devised as interventions especially for non-conventional performance spaces. For some years, Georg Blaschke has been creating interventions around Seestadt Aspern with a special focus on the location as an archaeological site. Blaschke’s choreographic language emerges from the close interaction between movement research and set, lighting, costume, and sound designs. Current projects include black, Risse, Extinct Choreography, Gras.
www.georgblaschke.com

Daniel Zimmermann’s works belong to the fields of visual art and performance. They are often highly site- and situation-specific and they tackle the significance of meaning and longevity of human actions using the art forms performance, installation, and film. Zimmermann’s pieces have been created and shown in numerous museums, galleries, as well as in public spaces. In 2020, Kunsthaus Pasquart/Centre d’Art Pasquart in Biel dedicated a solo exhibition to him. Until 2019, Zimmermann was the artistic director of the interdisciplinary performance group nadaproductions he had co-founded with choreographer Amanda Piña, of the performance and art space nadaLokal, and of the Bundesministerium für Bewegungsangelegenheiten (BMfB, ‘Federal Ministry of Movement-related Affairs’). Their works were presented at such venues as Tanzquartier Wien, ImPulsTanz festival, the European Dance Plattorm, Gessnerallee in Zurich, Beursschouwburg and Kunstenfestivaldesarts in Brussels, deSingel in Antwerp, the Royal Festival Hall of London, NAVE, and the Santiago a Mil festival in Chile.

Daniel Zimmermann’s projects also include films that were screened at prestigious international film festivals. His short films DOWNHILL SKIING (2007) and STICK CLIMBING (2010) received awards and became festival favourites. The feature film WALDEN (2018) was awarded the Jury Prize at the International Film Festival in Karlovy Vary and the Emerging Swiss Talent Award at the Zurich Film Festival and was presented at the Sundance Film Festival, in Rotterdam, Göteborg, Helsinki, and at the Lincoln Center in New York. He is currently collaborating with choreographers and performers such as Robert Stejin, Dana Michel, Lilach Livne, and Linda Samaraweerova and working on his new feature film project DER WURF.
www.danielzimmermann.org