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  • About
  • Contact
  • Works
    • Studies on Fantasmical Anatomies (2021)
    • 42 (2019)
    • Timon (2019)
    • 41 (2018)
    • Deadpan Dynamites (2017)
    • Consumption As A Cause Of Coming Into Being (2017)
    • The Point (2018)
    • Culture De La Danse – Crise De La Forme (2015)
    • Wet Dreams Of A Brain Testicle (2015)
    • Pornography (2014)
    • Can Must Know (2019)
    • Happy End (2013)
    • Lost & Found (2012)
    • Tableaux Vivants (2011)
    • Magical (2010)
    • Maria Theresia entdeckt die zeitgenössische Kunst (2010)
    • Look Look (2007)
    • Komposition (2006)
    • Code Series (2005)
    • J’aime (2004)
    • if then (2003)
    • A? (2003)
    • Oslo (2001)
Menu
  • About
  • Contact
  • Works
    • Studies on Fantasmical Anatomies (2021)
    • 42 (2019)
    • Timon (2019)
    • 41 (2018)
    • Deadpan Dynamites (2017)
    • Consumption As A Cause Of Coming Into Being (2017)
    • The Point (2018)
    • Culture De La Danse – Crise De La Forme (2015)
    • Wet Dreams Of A Brain Testicle (2015)
    • Pornography (2014)
    • Can Must Know (2019)
    • Happy End (2013)
    • Lost & Found (2012)
    • Tableaux Vivants (2011)
    • Magical (2010)
    • Maria Theresia entdeckt die zeitgenössische Kunst (2010)
    • Look Look (2007)
    • Komposition (2006)
    • Code Series (2005)
    • J’aime (2004)
    • if then (2003)
    • A? (2003)
    • Oslo (2001)

The Point (2018)

The Point activates different images of the body in using different language approaches. The first layers

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A? (2003)

The first question you can ask yourself when you see dance is this: What did

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Can Must Know (2019)

In the performative intervention Können Müssen Wissen – Can Must Know, fundamental parameters of artistic practice

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41 (2018)

The formal and content analysis of the relationship between movement and language is at the

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Happy End (2013)

A choreography to an installation to a novel: the works of Vienna-based choreographer Anne Juren

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Look Look (2007)

This duo is a choreographic transcription of the creative process at play in the world

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Oslo (2001)

The Solo Oslo is in itself a choreographic anagram and the first collaboration between Juren and Rauschmeier.

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Culture De La Danse – Crise De La Forme (2015)

The artist´s book Culture de la Danse – Crise de la Forme deals with the individuation of

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Code Series (2005)

Code Series addresses aspects of different modalities in the production of movement, i.e. time and space,

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J’aime (2004)

J’aime explores the joy inherent in dancing, being observed while dancing, and observing dance. This high-energy

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Mash Up (2014)

This group show of various performances transfers the principles of ready-mades and objet trouvé developed

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Komposition (2006)

Komposition is a choreographic work that provides subtle insights into the cooperation of the dancers Marianne

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Magical (2010)

Choreographer Anne Juren and director Annie Dorsen collaborate on Magical, a solo dance piece performed by

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Pornography (2014)

The book Pornografia was completed by the Polish writer Witold Gombrowicz in Argentina in 1958. Despite its

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if then (2003)

In cooperation with the French dancer and choreographer Sebastien Cormier, Anne Juren developed a dance

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Deadpan Dynamites (2017)

On stage two gentlemen, not too young and not too skinny. Their attempt to present

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Timon (2019)

Timon is a performative essay on patriarchy and its effects on male emotions. It is based

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Studies on Fantasmical Anatomies (2021)

Studies on Fantasmical Anatomies is an ongoing transdisciplinary artistic research, which encompasses the spectrum of experiences

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Maria Theresia entdeckt die zeitgenössische Kunst (2010)

A group of Viennese based artists thought that it was ridiculous that Marie Therese sit

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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

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Wet Dreams Of A Brain Testicle (2015)

The performance Wet Dreams of a Brain Testicle, based on Pasi Mäkelä’s dream diaries, places the

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Tableaux Vivants (2011)

In Tableaux Vivants the art forms interweave and allow hybrid relations to develop between the paintings, sculptures

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Lost & Found (2012)

In this show Anne Juren embarks on a journey through her memories: past and forgotten

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42 (2019)

To date, no one really knows what information, what knowledge a body stores in the

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