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history

From their earliest works – Fremdkörper (2003) and Diese Körper, diese Spielverderber (2004) – onwards, Liquid Loft break with the notion, that the presence of the body within the performance could be in any way more immediate than, for example, a verbal utterance or a media-image. Liquid Loft therefore mistrusts any idea of naturalness onstage, and instead examines the cultural subtexts and choreographic means that create this impression.
Photos: Michael Loizenbauer, Chris Haring, Aldo Gianotti

Inspired by Science Fiction or Cyborg-Theory, Liquid Loft’s early works reflect the experience of the changes in our perception as well as our bodies, which are brought about by visual media and the everyday use of technology. The choreography shifts perspectives, isolates gestural- and linguistic patterns from their accustomed contexts and tries to integrate the outside view on the body into its movement. The employment of a method of acoustic dislocation is central here.

These acoustic environments create new ways of thinking and new rooms for movement in dance. They shift and change the individual sonic field, separate the voice from the body, only to return it modified, thus giving the dancers new, surprising possibilities to recombine their original material.

With their method of deconstruction and reconstruction, which includes both, the material of dance-movements as well as the perspectives of bodily perception, Liquid Loft continued to explore new fields of choreographic action. My Private Bodyshop and Kind of Heroes (2005) reflect the changing use of language in a context of cultural globalization. Cliché perceptions of social and human conditions, such as the Japanese Manga aesthetic and “superflat” design in Running Sushi (2006) were taken up as existing „alien“ systems. The three parts of the Posing Project - The Art of Wow, The Art of Seduction, The Art of Garfunkel (2007/08) investigate the arsenal of gestures, images and deceptions and their social conditions in a circulation of desire. Wintersonne (2008), Austria’s contribution to the World Exhibition in Zaragoza shows the seemingly known from a strange, new view, poking ironically at stereotypes of national self-representation in the global context. Lovely Liquid Lounge and Das China Projekt, a collaboration with the Jin Xing Dance Theatre, analyzes the social attribution of gender in the medium of dance, and examines the image of the exotic in the manufacture of desire within the European culture. The fascination for the exceptional and for the "strangeness"/ "otherness" in terms of the body was also the reason for a collaboration with the dancers of Les Ballets de Monte-Carlo (Sacre: The Rite Thing, 2010). With Talking Head (2010) Liquid Loft went back to work with their own crew, trying to conceive language as a sculpture and as a dance and moving along the thin line between the real desire of identification and the self-exposure in an "unreal" but every-day SkypeTwitterFacebook world.

From 2011 onwards the Perfect Garden Series was created together with visual artist Michel Blazy (FR), a string of live-performances and installations dealing with artificial paradises, baroque decadence and transience. The performance piece WELLNESS (2011) was developed specifically for the location of the Palmenhaus in Vienna’s Burggarten. It was followed by Mush:Room (2012), an installative performance, centred around a cube (Blazy) of iridescent viscous threads. Deep Dish (2013) formed the third part of the series: installationally arranged as a sumptuous dinner of organic materials (Blazy), the piece transforms itself, in a similar vein to the surreal novel Locus Solus, into a journey towards visual parallel worlds.

The approach to include the micro- and macrocosm through the use of video, as was first used in Deep Dish – referred to as “Live choreographic film” by Liquid Loft – extends the idea of choreography and the theatrical space themselves as a reaction to our almost completely medialized everyday lives with their instant production of self-images and experienced realness. The integration of the camera as an element of the choreography was further refined and intensified in the Imploding Inevitable Portraits-series (2014-2016). Inspired by the films of Andy Warhol and the New York Factory Liquid Loft created the pieces Shiny Shiny… and False Colored Eyes (in co-operation with Burgtheater Vienna and ImPulsTanz Vienna Int. Dance Festival). The affinity towards current positions in visual arts have lead to an expansion towards film (together with Mara Mattuschka) and installation (a.o. with Aldo Giannotti). This expansion of the choreographic working methods
towards media and works beyond the normal stage-set permit dance to discover itself over and over again, viewed from another, "foreign" angle, such as in Living Room Products, a series of installations dealing with choreography. The Living Room Products were created to allow experiments between different genres (music, film, visual arts) and with the intention to keep up an exchange between artists in an informal living room atmosphere.

In the field of contemporary music Liquid Loft have constantly been working with the musicians of Phace Ensemble for contemporary Music and composer Arturo Fuentes (Grace Note, 2012). Among the international ensembles with whom Liquid Loft have co-developed stage plays are, inter alia, Dialogue Dance Russia (Groza, 2012), Staatstheater Kassel (Lego Love, 2013), Ballet Moscow (Frozen Laugh, 2014). Currently Liquid Loft is working on a new interpretation of Giselle with the Balletto di Roma (2016).