Can Must Know (2019)

In the performative intervention Können Müssen Wissen – Can Must Know, fundamental parameters of artistic practice in general, and of performance art in particular, are formulated and subjected to critical questioning. Art as a thing, as a biographical encounter and the site of a shared, physical experience is at the centre of this confrontation, which is […]

Timon (2019)

Timon is a performative essay on patriarchy and its effects on male emotions. It is based on Shakespeare’s drama Timon of Athens, in which the protagonist, deeply disappointed and speechless, shuts himself away from the world after his carefully nursed network of all-male political and business friendships has failed. The performance asks how our perception of masculinity […]

42 (2019)

To date, no one really knows what information, what knowledge a body stores in the course of its development. So how can we think of this body – the whole body, not just the brain – as an „archive“? Last summer Anne Juren, explored tongues, speech and sexual organs in her series Private Anatomy Lessons […]

The Point (2018)

The Point activates different images of the body in using different language approaches. The first layers of the session will be about describing body parts or using specific anatomical terms. This enables the spectator to find connections between different parts of the body, as for instance between the left shoulder blade and the right hip joint, […]

41 (2018)

The formal and content analysis of the relationship between movement and language is at the heart of Anne Juren’s artistic practice. Juren’s choreographies take the form of experimental sessions with guests. The spoken word generates a creative space that transfers the choreography directly into the bodies and the imagination of the spectators. In this piece, […]

Consumption As A Cause Of Coming Into Being (2017)

The title Consumption As A Cause Of Coming Into Being is a reference to an essay entitled Destruction as the Cause of Coming into Being published in 1912 by Sabina Naftulowna Spielrein. In her essay, Spielrein, one of the first female psychoanalysts, describes the death wish as an integral part of the libido, while the libido, as she states, […]

Mash Up (2014)

This group show of various performances transfers the principles of ready-mades and objet trouvé developed in the visual arts, into the live arts. In this case, the „found objects“ are existing choreographic works that are interlinked with one another temporally and spatially in a single, new piece. In collaboration with Roland Rauschmeier Milli Bitterli, Philipp […]

Pornography (2014)

The book Pornografia was completed by the Polish writer Witold Gombrowicz in Argentina in 1958. Despite its provocative title, the novel disappoints the voyeuristic reader as it does not offer what it indicates. Instead, the author exposes processes of language, power and manipulation which are entangled in, and eclipsed by, the very mechanisms of voyeurism in language. […]

Happy End (2013)

A choreography to an installation to a novel: the works of Vienna-based choreographer Anne Juren always promise a multi-faceted encounter of different art forms. In Happy End, based on the last major installation by visual artist Martin Kippenberger – The Happy End of Franz Kafka’s Amerika (1994) – she explores themes such as longing and failure and […]

Lost & Found (2012)

In this show Anne Juren embarks on a journey through her memories: past and forgotten things will be activated – from the first children’s dances via her dance training up to current choreographic works, memories combine with newly invented ones, her own with contemporary aspects. The stage fills with memories, images and texts through which […]