Production Details / Press Releases
Rethinking linguistic conventions with the body in focus – this is the task Adam Linder has taken on in “Auto Ficto Reflexo”. Advantageously, he has appropriated the codified language of cultural production and mediation for his own choreographic purposes. Interviews with artists, cultural policy rhetoric or critique become rhythmic-conceptual generators of movement in this duet that is staged through levels like a game. Together with his co-choreographer and performer Justin Kennedy and the music producer Adam Gunther, Linder’s choreographic form is located between movement, language and sound effecting. Inspiration is taken from social dance styles such as gliding, waving or the paddy-cake, which are forms that evolve body-to-body. These influences are inherently connected to current social and technological conditions: flow, fragmentation and repetition are all pathways for communication. Although Linder – originally from Australia and now living in Berlin – takes his conceptual approach seriously, he also cultivates a relaxed irony and ‘flirts cheekily and subversively with the parameters and marketing strategies of bourgeois theatre practice’, as Klaus Witzeling wrote in the specialist journal tanz.
Adam Linder’s choreographic practice consists of works made for the theatre and “Choreographic Services”, which can be hired per hour and are not bound to a particular context. Stage works by Linder have premiered at Les Subsistances in Lyon (Vexed Vista 2015), HAU Hebbel am Ufer in Berlin (Parade 2013), Kampnagel Hamburg (“Cult to the Built on What” 2013) and Silberkuppe Berlin (“Ma Ma Ma Materials” 2012). Further presentations of these works have included Dampfzentrale Bern (2014), American Realness in New York City (2014), Rencontres Chorégraphiques in Seine St Denis (2014), Kunstverein Nürnberg (2013), Sophiensaele Berlin (2013) and Liste Performance Projects in Basel (2013). “Choreographic Service No. 1: Some Cleaning” (2013) has been hired by Palais de Tokyo in Paris (2015), Wattis Institute in San Francisco (2015), Kunsthalle Basel (2014) and Museum of Arts and Design in New York City (2014). “Choreographic Service No. 2: Some Proximity” (2014) was presented in LIVE as part of Frieze Fair London and subsequently hired by Palais de Tokyo (2015), MOCA in Los Angeles (2015) and Museum of Modern Art in Warsaw (2015). Additionally, the film adaptation of “Parade”, directed by Shahryar Nashat, premiered at the 8th Berlin Biennale and screened at ICA in London, Hammer Museum in LA and Palais de Tokyo in Paris. In the past Linder performed with Michael Clark, Meg Stuart/ Damaged Goods and The Royal Ballet. And trained to be a dancer at The Royal Ballet School in London. “Choreographic Service No 3: Some Riding” has been commissioned by the ICA, London and will have a solo presentation from 8–13 Sep 2015.
Cast & Credits
Concept: Adam Linder
Choreography, dance: Adam Linder, Justin Kennedy
Sound: Adam Gunther
Stage: Shahryar Nashat
Lights: Samuli Laine
Costume: Iva Wili
Management: Andrea Niederbuchner
Coproduction: Dance in August / HAU Hebbel am Ufer and Rencontres choréographiques internationales de Seine-Saint-Denis.
Kindly supported: Brian Getnick and PAMresidencies, Los Angeles.
Supported by the Capital Culture Fund.
Tanz im August 2015
Artistic director: Virve Sutinen
Production management: Sven Neumann
Artistic collaboration & project management: Andrea Niederbuchner
Tanz im August is a festival by HAU Hebbel am Ufer, funded by the the Capital Culture Fund and the Governing Mayor of Berlin – Senate Chancellery – Cultural Affairs.
Supported by Aventis Foundation.
HAU Hebbel am Ufer (HAU1)
Tickets: +49 (0)30 259 004 27
The video documentation is produced by Kulturprojekte Berlin GmbH on behalf of the Senate Department for Culture and Europe. The purpose of this contract is to document productions in the field of contemporary dance in Berlin. The master recordings are archived by the University Library of the Berlin University of Arts. Copies of the recordings on DVD are available for viewing exclusively in the reference collections of the following archives (at media desks in these institutions):