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AUSLAND
Where do we draw the line between experimentation and transgression? And what limits are we prepared to violate for our personal freedom, especially when the world as we know it can be difficult to trust. AUSLAND examines our urge and search for alternate realities, in a performance where human and non-human players are toying with themes intrinsic to our times. Digital touch, deep fakes, and machine attachment become presets of a labyrinth that is layered in humour and darkness.
In a series of new creations, working across the mediums of movement, song, film, gaming, and objects, Van Dinther examines a world which is overloaded with offers. The audience navigates freely through an immersive and durational installation. Departing from Van Dinther’s previous works, which tackle themes such as kinship, mortality and spirituality, this work plunges further into the dichotomies of fantasy; exposing how play can turn serious at any moment. AUSLAND depicts distinct yet interwoven microcosms characterised by self-destruction, voyeurism, and subversion, where emotional resilience and mental and moral clarity are challenged.
Credits
Choreography: Jefta van Dinther | Created and performed by: Juan Pablo Cámara, Louise Dahl, emeka ene, Mette Nadja Hansen, Leah Katz, Gyung Moo Kim, Leah Marojević, Roger Sala Reyner and Jefta van Dinther | Music composition: Billy Bultheel | Costume and set design: Cristina Nyffeler | Lighting design: Jonatan Winbo | Voice coach: Mette Nadja Hansen and Doreen Kutzke | Dramaturgical Advice: Maja Zimmermann | Outside Eye: Thiago Granato | Voice-over: Chrysa Parkinsson | Costume assistant: Lenna Stam | Photography: Carl Thorborg | Art Direction: Martin Falck | Film: Jubal Battisti | Press photography: Jubal Battisti and Monika Rittershaus
Technical direction: Fabian Bleisch and Andrea Parolin | Light: Fabian Bleisch | Sound: Marius Kirch and Andrea Parolin | Management: Sven Neumann | Distribution: Sarah De Ganck, ART HAPPENS | Production management: Uta Engel and Romy Hansford-Gerber | Financial management: transmissions GmbH (DE) and Interim kultur AB (SE)
AUSLAND is a production by Jefta van Dinther | Co-production: Tanz im August Berlin / HAU Hebbel am Ufer and Dansens Hus Stockholm | Funded by: Hauptstadtkulturfonds Berlin | With the kind support of Kraftwerk Berlin and the Tresor Foundation | In cooperation with Berlin Atonal
Jefta van Dinther is funded by: TANZPAKT Stadt-Land-Bund with the support of the German Federal Government Commissioner for Culture and the Media, the Berlin Senate Department for Culture and Social Cohesion, and Swedish Arts Council.
The film Dark Field Analysis by Jefta van Dinther and Max Vitali, performed by Juan Pablo Cámara and Roger Sala Reyner, is co-produced by HAU Hebbel Am Ufer Berlin and Dansens Hus Stockholm. Supported by the NATIONAL PERFORMANCE NETWORK - STEPPING OUT, funded by the Minister of State for Culture and Media within the framework of the initiative NEUSTART KULTUR. Assistance Program for Dance.
Recourses
Press images
Press Photography ©Jubal Battisti and ©Monika Rittershaus
Videos
Texts
2024.09.24
Elisa Frasson, Dance Context Webzine
Memories, Bodies, and Senses
In another performative and immersive installation, Ausland by Jefta van Dinther, nine dancers inhabit the ground floor of the Kraftwerk for almost three hours, a giant, concrete industrial monument. “In a search for alternate realities”, the three hours of performance are filled with group movement explorations between somatic movement practice and a sensual celebration, solos with a Segway and robot vacuum cleaner, video installations, and songs in different scenes and zones. This dramaturgy requires the audience to move in the space, while Billy Bultheel's music maintains a constant state of delicate listening and alertness that is required of both performers and audience. Therefore, while the performance is to be enjoyed freely, in reality it is pleasantly difficult to let go and even to leave certain scenes that are filled with an intriguing intensity.
2024.08.18
Frank Schmid, Rbb Radio
In complete intimacy, sometimes completely naked, they explore the boundaries of performance, mindfulness, sexuality, and violence. A bombastic, heartrending, and emotionally charged performance parcour. Wonderfully precise executed by Jefta van Dinther, making visible the small nuances of difference between power and helplessness. A strong performance in a fascinating place, absolutely impressive.
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In völliger Intimität, teils völlig nackt, loten sie die Grenzen aus von Performance, zu Achtsamkeit, Sexualität und Gewalt. Bombastischer, pathetischer, emotional hoch aufgeladener Performance Parcour. Hervorragend präzise gemacht von Jefta van Dinther, denn zwischen Macht und Ohnmacht liegen nur kleine Nuancen. Ein starkes Stück an einem faszinierenden Ort, absolut beeindruckend.
2024.08.18
Frank Schmid, Radio Drei
The boundary-pusher Van Dinther has once again sought out the limits, this time the boundaries of mindfulness, eroticism, sexuality, and violence. Transgressions have always been a theme for Van Dinther, manifests in his extremely physical style, putting both the performers and the audience in a trance-like state. Once again, Jefta van Dinther has choreographed extreme states - longing and ecstasy in slow motion within a sacred setting, visually and acoustically overwhelming.
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Der Grenzgänger van Dinther hat wieder mal die Grenzen gesucht, dieses Mal die Grenzen von Achtsamkeit, Erotik, Sexualität und Gewalt. Entgrenzungen waren schon immer ein Thema bei van Dinther mit seinem extrem physischen Stil, mit der die Performer und auch die Zuschauer in trance-artige Zustände versetzt.
Jefta van Dinther hat wieder mal Extremzustände choreographiert, Sehnsucht und Ekstase in Zeitlupe in einem sakralen Setting. Visuell und akustisch überwältigend.
2024.09.18
Sandra Luzina, Tagesspiegel
The nine performers form a knot of bodies, pressing against each other - both being moved and passing on impulses, sometimes applying great pressure. The scene moves between devotion and manipulation. AUSLAND plays with ambiguities, the desire for transgression and self-defeat is palpable. Current issues such as escapism are negotiated in a physical way. Dark-wave sounds blend with dark fantasies. AUSLAND is about the longing to slip into another body and various forms of boundary dissolution.
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Die neun Performer bilden ein Körperknäuel, drängen sich aneinander, werden bewegt und geben die Impulse weiter, wenden dabei auch schonmal großen Druck an. Zwischen Hingabe und Manipulation bewegt sich die Szene. Ausland spielt mit Ambivalenzen, die Lust an Transgression und Selbstüberwindung ist durchaus spürbar.
Hier werden aktuelle Themen wie Realitätsflucht auf sehr physische Weise verhandelt. Dark Wave-Klänge verbinden sich mit dunklen Fantasien. Es geht um die Sehnsucht, einmal in einen anderen Körper zu schlüpfen, und um verschiedene Formen der Entgrenzung.
2024.08.19
TAZ, Katharina Bettina Müller
Van Dinther’s performance reflects various escapes from the real world and transitions into a virtual one. The intertwined bodies on the mattresses allude to a hedonistic club scene, not averse to sexual contacts; but the interaction between them is much more caring, motherly, and embracing. Instead of a dance into ecstasy, there are movements of great slowness, the flow of time itself seems to stretch when a group of dancers screws forward centimeter by centimeter on the floor. This performance, where one could wander around at one's own pace between the various stations, was indeed an abduction into other worlds - threatening, playful, and ambiguous.
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Sein Stück reflektiert verschiedene Fluchten aus der realen Welt und Übergänge in eine virtuelle. Auf eine hedonistische Clubszene, sexuellen Kontakten nicht abgeneigt, spielen die vielen ineinander verknäulten Körper auf den Matratzen an; aber dann ist der Umgang miteinander doch viel mehr ein sorgender, mütterlicher, umfangender.
Statt dem Tanz in die Ekstase gibt es Bewegungen in großer Verlangsamung, der Fluss der Zeit selbst scheint sich zu dehnen, wenn eine Gruppe von Tänzern sich Zentimeter um Zentimeter vorwärts schraubt. Diese Performance, bei der man im eigenen Tempo zwischen den verschiedenen Stationen herumwandern konnte, war durchaus eine Entführung in andere Welten, bedrohlich, spielerisch, ambivalent.
2024.08.20
Andre Sokolowski, Kultur extra
Jefta van Dinther's almost three-hour gesamtkunstwerk AUSLAND is by far the most fascinating performance I’ve ever seen and heard in all the years I’ve reported on Tanz im August. And I’m still standing here, even after sleeping on it, as if under the influence of drugs.
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Jefta van Dinthers fast dreistündiges Gesamtkunstwerk AUSLAND ist das mit Abstand Faszinierendste, was ich die vielen Jahre, die ich schon über Tanz im August berichte, jemals sah und hörte (!). Und ich steh' hiervon noch immer, und obwohl ich eine Nacht darüber schlief, wie unter Drogen.
Work
AUSLAND
Where do we draw the line between experimentation and transgression? And what limits are we prepared to violate for our personal freedom, especially when the world as we know it can be difficult to trust. AUSLAND examines our urge and search for alternate realities, in a performance where human and non-human players are toying with themes intrinsic to our times. Digital touch, deep fakes, and machine attachment become presets of a labyrinth that is layered in humour and darkness.
In a series of new creations, working across the mediums of movement, song, film, gaming, and objects, Van Dinther examines a world which is overloaded with offers. The audience navigates freely through an immersive and durational installation. Departing from Van Dinther’s previous works, which tackle themes such as kinship, mortality and spirituality, this work plunges further into the dichotomies of fantasy; exposing how play can turn serious at any moment. AUSLAND depicts distinct yet interwoven microcosms characterised by self-destruction, voyeurism, and subversion, where emotional resilience and mental and moral clarity are challenged.
Credits
Choreography: Jefta van Dinther | Created and performed by: Juan Pablo Cámara, Louise Dahl, emeka ene, Mette Nadja Hansen, Leah Katz, Gyung Moo Kim, Leah Marojević, Roger Sala Reyner and Jefta van Dinther | Music composition: Billy Bultheel | Costume and set design: Cristina Nyffeler | Lighting design: Jonatan Winbo | Voice coach: Mette Nadja Hansen and Doreen Kutzke | Dramaturgical Advice: Maja Zimmermann | Outside Eye: Thiago Granato | Voice-over: Chrysa Parkinsson | Costume assistant: Lenna Stam | Photography: Carl Thorborg | Art Direction: Martin Falck | Film: Jubal Battisti | Press photography: Jubal Battisti and Monika Rittershaus
Technical direction: Fabian Bleisch and Andrea Parolin | Light: Fabian Bleisch | Sound: Marius Kirch and Andrea Parolin | Management: Sven Neumann | Distribution: Sarah De Ganck, ART HAPPENS | Production management: Uta Engel and Romy Hansford-Gerber | Financial management: transmissions GmbH (DE) and Interim kultur AB (SE)
AUSLAND is a production by Jefta van Dinther | Co-production: Tanz im August Berlin / HAU Hebbel am Ufer and Dansens Hus Stockholm | Funded by: Hauptstadtkulturfonds Berlin | With the kind support of Kraftwerk Berlin and the Tresor Foundation | In cooperation with Berlin Atonal
Jefta van Dinther is funded by: TANZPAKT Stadt-Land-Bund with the support of the German Federal Government Commissioner for Culture and the Media, the Berlin Senate Department for Culture and Social Cohesion, and Swedish Arts Council.
The film Dark Field Analysis by Jefta van Dinther and Max Vitali, performed by Juan Pablo Cámara and Roger Sala Reyner, is co-produced by HAU Hebbel Am Ufer Berlin and Dansens Hus Stockholm. Supported by the NATIONAL PERFORMANCE NETWORK - STEPPING OUT, funded by the Minister of State for Culture and Media within the framework of the initiative NEUSTART KULTUR. Assistance Program for Dance.
Recourses
Images
Press Photography ©Jubal Battisti and ©Monika Rittershaus
Videos
