1. what is your name?
2. what are you doing here?
3. do you mind if I speak english?
4. why is it so silent?
5. do you believe in artistic processes?
6. what is the red line between all that?
7. do you agree that all this is like a postmodern novel?
8. what is a postmodern novel?
9. what is important, if you drive a car through a curve?
10. what is important, if you create a performance?
11. are you sure?
12. are you ready or do you need more information?
13. what more information do you need?
14. do we understand each other?
15. do you feel, that this is really a collaboration?
16. what is important, when you talk to a cop?
17. what is important, when you feel falling through time?
18. what is important if you make a diner for a lot of persons?
19. did you read all the lines?
20. do you consider the theories of sigmund freud helpful for this?
21. what is important if you prepare an exhibition?
22. do you prefer faces or buildings?
23. what is important, when you have to tell your partner, that you tried to kill somebody, but you failed?
24. what is important if you are in an interrogation?
25. what is important if you climb on a ladder?
26. would you prefer to have music?
27. are you satisfied with your working conditions?
28. are you feeling heavy?
29. are you sometimes thinking about your mother, when you work?
30. what is important if you meet a lion?
31. why did you not eat here?
32. how is it going?
33. what do you think about this little things, that you use to massage the skin of your head?
34. do you consider alcohol or other drugs helpful when you do art?
35. what is important, when you meet a human being?
36. what is important, when you steal a bike?
37. would you rather catch a thief or be caught be a policeman?
38. would rather pose questions or make statements?
39. what is important when you visit an exhibition?
40. how did you come here?
41. which is your favorite picture?
42. can i offer you something?
43. why do you drink?
44. what is important, if your home gets burnt bye terrorist bombs?
45. would you prefer, if the light would be more dim?
46. how would you like to end this performance?
47. what is important when you meet audience?
48. would you prefer being alone?
49. what is the point of going to touristic places and see the landscape?
50. where did you spend the night?
51. do you like the title?
52. what is your favorite movie title?
53. which music would you chose now?
54. do you think that it is a good strategy to just start and see, if you get somewhere?
55. what about irony?
56. are you curious?
57. what do you think about the smoke-ban in public spaces?
58. is this a public space?
59. would you prefer living in a fancy hotel or in a cheap apartment with your lover?
60. who is the protagonist?
61. what is the worst thing, that could happen to us?
62. what is important when you face the biggest mystery in universe?
63. what is the english word for “ERKENNTNIS” ?
64. what is important if you visit an exhibition?
65. do you have a special tool, that you could apply here?
66. do you often make lists of things, that you need?
67. who is going to die first?
68. do you think that they watch french movies in greece?
69. why do you want to buy a house?
70. why did you want to kill someone?
71. would you like a piece of cake?
72. when was the last time when you saw a scissors?
73. what is missing?
74. why didn’t you see the sign?
75. why did you change the pictures?
76. what is the protagonist’s worst paranoia?
77. how are you going to solve the problems in africa?
78. should we read more Foucault? why?
79. do you think, that it is more a circus-show or a television-series with a lot of episodes?
80. what would you like to be the last thought of the visitor, before going home?
81. what is this strange smell?
82. are you tired?
83. why?
84. what happens, when you leave the bathroom?
85. what would you do, if you were on a big stage right now, and there were 400 people watching you?
86. do you think we should change the world?
87. why did you stay at home?
88. how do you know that it is enough?
89. why did you leave the dog in the car?
90. do you remember the picture with the child and the mother and the animals?
91. why would you like to be a terrorist?
92. are you happy?
93. what about the children?
94. when you are 70, will you still try to look sexy?
95. what is important, when you are on a tiny boat heading to europe?
96. what is important, when you are being observed by artists?
97. would you prefer being the boss of a drug-trafficking syndicate instead of being here now?
98. do you feel powerful?
99. do you like dancing? how do you look, when you ‘re dancing?
100. do you prefer night or day?
101. do you like happy ends?
102. why were you out on the streets all alone?
103. do artistic processes have an effect on pregnancy?
104. are you still trying to find hidden connections?
105. are you familiar with the concept of inside-jobs?
106. are you still feeling confident?
107. what is important, when you are in a bathroom?
108. what is important, when you wake up?
109. what is important, when you are doing a heart-surgery?
110. do you need to work in order to have your psychological stability? why (not?)?
111. what about Charly Parker?
112. do you know how to operate a cassette tape recorder?
113. do you mind me watching above your shoulder, while you work?
114. do you think, that man and women can shower together, without any sexual connotation?
115. what is the connection between the two lovers, that apparently tried to kill somebody, and the man, who wanted to steal a car?
116. if you had to chose, which picture would you like to have in your sleeping-room?
117. do you remember all the names and professions of all the people who work on this right now?
118. why did we listen to bad music?
119. why did we watch the pictures?
120. when did you have your last orgasm?
121. what is your relation towards menstruation?
122. did you ever talk to someone, who fought in WORLDWAR II?
123. do you still listen to David Bowie?
124. is there something else, that you would like to say now?
125. do you think, that you and I have the same thing in mind?
126. can I help you?
127. what happened to the old car?
128. who was in that car?
129. did you ever really have a car accident?
130. do you like mushrooms?
131. why do I die?
132. why do people come to exhibitions?
133. which secret do you keep?
134. what is not on the pictures?
135. what should be the next question?
136. why?
137. do you think, that art hurts?
138. why did you end up here?
139. is the story only in your head?
140. what are you working on right now?
141. how much time do you need?
142. why do people work for “medicines sans frontieres” (ärzte ohne grenzen)?
143. how many protagonists are there in this story?
144. which music would you suggest for the final scene, when all the people die?
145. what is the difference between humans and animals?
146. what is the message?
147. do you remember the picture with the people in the cantina?
148. do you remember the picture with the empty living-room?
149. are you scared of social decline? (loss of social status)?
150. why?
151. what is important, when you face death penalty?
152. do you think that the world is more like a performance or like an exhibition? why?
153. is that an intimate situation?
154. do you still believe in performance?
155. why are you attracted to pictures?
156. why do you always watch the same pictures?
157. why do you only use 10% of your brain?
158. why did you watch that picture of MOZART?
159. why do you eat fish?
160. why did you drink so much?
161. would you prefer lose your nose or to lose your arms?
162. would you like to be rich?
163. do you like yellow traffic lights?
164. do pictures change their meaning, if you just watch them long enough?
165. is there a main topic?
166. what is the english term for schlagwort?????
167. why don’t you go home?
168. did you watch all the pictures?
169. how do you feel?
170. do you find relations to recent european history?
171. did you watch all the pictures?
172. do you prefer working in the afternoon or in the morning?
173. do you think, that there is a right answer?
174. what is the protagonist’s worst nightmare?
175. do you consider watching an exhibition as work?
176. what expectations did you have?
177. why did you watch the picture of mozart again?
178. are you familiar with the concept of postmodernism?
179. what is the funniest thing that you could see in this room?
180. what is the saddest thing in this room?
181. do you have a political message?
182. what is the protagonist’s strongest desire?
183. why do people feel attracted to apocalyptic sceneries?
184. could you suggest a nice word instead of “stupid”?
185. did you ever use a gun?
186. are you inspired?
187. how much time do you need to watch all the pictures?
188. which is your favorite place in this exhibition?
189. what was your first idea when you saw the picture with the pope?
190. what is the distance between the picture with the lion and the picture with woman in the bathtub in meters?
191. did you trust the people from tonto- comics?
192. what is your strategy to look busy?
193. why do you always watch the same pictures?
194. what do you think about the concept of marriage?
195. do you like the world?
196. what can you say about the picture with gerhard Schröder?
197. could you give me brief summary of all the pictures?
198. do you more like the photos or the drawings?
199. would you like to dance?
200. why do people have sex?
201. why do people have children?
202. would it look different if we were in another city (like Paris)?

am dienstag, dem 25.10.2011, taucht die zweite liga beim abschlussevent des großartigen elevate-festivals auf.
bei tripledecker meets elevate im forum stadtpark (ab 18:00) bespielen wir ab 23:00 den saloon mit der ausdauernden performance-installation “straße der enthusiasten”. es wird schön warm, dekadent und traurig.

von 7.10. – 9.10.
Theater am Lend
info und tickets hier

. …Geschichten erzählen, in denen sich alle wiederfinden können, auch thomas pynchon, alex, andy summers. die Gebote immer und immer wieder lesen. Wir sollten uns soweit integrieren wie notwendig. Wir sollten in Frieden auseinandergehen können. Wir sollten aufstehen und eine gemeinsame Bewegung vollziehen. Wir sollten Raum lassen, damit die anderen Zeit haben zu verstehen. Wir sollten die Zeitung lesen. Wir sollten aufhören zu denken, dass es wehtun muss. Wir sollten nicht warten, bis es zu spät ist. Wir sollten auf das Wasser aufpassen. Wir sollten zärtlich und einfühlsam sein. Wir sollten erkennbar bleiben. Wir sollten uns darauf vorbereiten. Wir sollten arbeiten, essen und schlafen. Wir sollten nicht anfangen, paranoid zu werden, weil wir die ganze Zeit beobachtet werden.

WIE WIR ES TUN SOLLTEN ist ein raum, in dem die regeln der performance zur religion erhoben werden. die worte werden fleisch und wohnen unter uns, wobei sie uns manchmal nerven, wenn sie sich nicht integrieren wollen. die körper beginnen zu glauben, dass sie sich zusammen setzen müssen um sich in der glaubensgemeinschaft wieder zu finden.

von
Juliana Atuesta, Lena Gätjens, Vera Hagemann, Barbara Kramer, Christina Lederhaas, Klaus Meßner, Johannes Schrettle.
Musik: Thomas Rottleuthner
künstlerische Mitarbeit: Nils Rottgardt

    (C) Fabian Dankl

AM:

7.9. 17 Uhr
8.9. 17 Uhr Best-Off Termin!
9.9. 17 Uhr
10.9. 11 Uhr Best-Off – Ersatztermin (falls der Ersatztermin nicht zum Einsatz kommt, ganz normaler Spieltermin)
11.9. 15 Uhr Ersatztermin für 7.9. u. 9.9. (falls der Ersatztermin nicht zum Einsatz kommt, ganz normaler Spieltermin)

Treffpunkt: Eingang Forum Stadtpark, Stadtpark 1, 8010 Graz

begrenzte TeilnehmerInnenzahl! Verbindliche Vorreservierung erforderlich. Info und Reservierung für alle Termine unter 0660 14 66 429 oder c_lederhaas@yahoo.co.uk

Eintrittspreise: 10 Euro / 8 Euro
Eintrittspreise Best-Off-Termin (8.9.):
10 Euro / 5 Euro / Hunger auf Kunst und Kulturpass

Ticketausgabe ab 30 Minuten vor der Vorstellung. Dauer der Performance ca. 50 Minuten.

WHERE IS DANCE IN TOWN ist ein Fußmarsch gemeinsam mit einem geladenen Publikum durch unterschiedliche Gesichter der Stadt. Vier Performerinnen stellen sich den Alltagsbewegungen, die außerhalb der Tanzbars, der Parties, der Kurse, der Bühnen in Graz auftreten.

what is dance for me? where is dance for me in the town i live in? when do i wish to dance but do not?

mit: Nadine Puschnigg/Barbara Kramer, Vera Hagemann, Christina Lederhaas, Stefania Kregel

Wir bitten um Mitnahme ihres eigenen Regenschutzes. Falls es während der Performance ein bisschen regnet, werden wir weiterhin stattfinden. Bei Vollzeit-Regen Terminverschiebung. Die Durchschnittsgeschwindigkeit der mobilen Performance beträgt ca. 1,5 km/h.

Der Besuch der mobilen Performance erfolgt auf eigene Gefahr, Performerinnen wie auch ZuseherInnen sind in der Stadt stets zu Fuß unterwegs und bewegen sich mit dem Fließverkehr laut STVO.

Zweite liga für kunst und kultur freut sich auf euer Kommen!

Mit Dank an Forum Stadtpark Graz sowie das Best-Off Styria Festival.

von
juliana atuesta + zweite liga für kunst und kultur

2.6., 3.6., 9.6.
20:30
Forum Stadtpark, Keller
0316 82 77 34 12

“it’s the details, that hurt most”
zweite liga für kunst und kultur (www.zweiteliga.wordpress.com)
Konzept & Entwicklung: Vera Hagemann, Johannes Schrettle
Performance: Vera Hagemann

wie wäre das denn, wenn man das, was man normalerweise zuhause tut, dann draußen macht, ohne dass es die öffentlichkeit merkt (zum beispiel auf einer demo)? möglicherweise sehr schön, ich habe mir dann gedacht, dass sie wahrscheinlich mittlerweile nur noch auf demos geht, um es dort zu tun.
Thanks to: www.marg.at
Dauer: ca. 45 min.

“Requirements”
juliana atuesta & zweite liga für kunst und kultur
Konzept: Juliana Atuesta, Johannes Schrettle
Performance: Juliana Atuesta (www.julianaatuesta.com)

Measure to determine how many orgasms you will have in this
performance, think about them, and do not get distracted by casual thoughts such
as food, family or religion.
Dauer: ca. 33 min.

die zweite liga ist mit der MS schaumbad in pula und performt im öffentlichen raum.

in unserem beitrag “particles of partnership” geht es um eine subjektive bestandsaufnahme. vera hagemann und klaus meßner bieten künstlerische stadtführungen zu den projekten von welcome back an und zeichnen eine neue stadtkarte von pula, in denen künstlerische orte, rote fäden künstlerischer strategien und ausgangspunkte von partnerschaften rekonstruiert werden.

für alle aufführungstermine bitte runterscrollen!

die presse über WHERE IS DANCE IN TOWN “Eingriff geglückt”:

„(…) eine Operation im öffentlichen Raum. (…) die zweite liga für kunst und kultur ergeht im Fußmarsch Alltagsbewegungen und erhebt diese zu Tanz abseits von Headbangerbands, Stripteasestangen, Taxitänzersprüchen oder Ballettröckchen. Es passiert: eine wundersame Vermehrung der Zuseher. Ein kleines Mädchen rollt den Rücken-an-Rücken-Damen mit ihrem Laufrad nach, ein Obdachloser stoppt. Verwirrung, Erstaunen, Lächeln. Am sonst stummen Karmeliterplatz bleiben plötzlich Menschen stehen – einfach so. (…) Am Ende bleibt: ein wohliges Gefühl, ein schärferer Blick – für die Stadt und die Menschen, die sich darin bewegen. Eingriff geglückt.“

Kleine Zeitung, Julia Schafferhofer

„Der Alltag als Kunst und die Kunst des Alltags treffen auf diesem Spaziergang furios aneinander und steigern sich bis zu dem Punkt, an dem alles im Treiben der Stadt verläuft.“

Christoph Hartner, Kronen Zeitung

„(…) Die Stimmen überlagern einander, werden übertönt vom Lärm der Kinder, Passanten mischen sich unter das „Publikum“, die Welt, kann man sagen, mischt sich da recht zwanglos unter die Kunst. (…) Ihre Spannung bezieht die Arbeit dabei aus den ständigen Perspektivenwechseln. Der Tänzerinnen wie der Passanten, des Publikums. (…) Und zwischendurch meint man zu erahnen, wie sich eine Stadt, eine Welt anfühlte, in der derlei Perspektivenwechsel ganz normal wären. Fühlt sich gut an, luftig und leicht.“

Thomas Wolkinger, der Falter

15.4., 20:30
Forum Stadtpark (Keller)
0316 82 77 34 12

 
Wie wir es tun werden (mit dingen) 1.0
(it’s the detail that hurts most) – FIRST TRYOUT

ein abend über den richtigen gebrauch der dinge (evtl. anschließend verkauf)

“….irgendwann kommt dann vielleicht die zeit, wo man was anderes einbeziehen will, was anderes als sich selbst. und da ist nichts unanständiges. ich mache es mit zuschauern. aber ich will niemanden diskriminieren.man kann das auch mit punkbands oder kellnerinnen oder verwandten machen. es gibt unterschiedlichste anordnungen. aber gewisse dinge versteht man einfach nur, wenn man zuschauer ist. “

von und mit
vera hagemann
mitarbeit:
johannes schretttle

(zweite liga für kunst und kultur)

***

 
REQUIREMENTS

juliana atuesta + zweite liga für kunst und kultur

How should we make love? How should we make sex? How should we talk about it? Orgasms, erections and tears are being learned, step-by-step, letter-by-letter. A black box is transformed in a scholarly scenery where we you have to learn how to touch each other,how to tell them where to put their hands and how to install a coffee machine. This piece is for those who have never installed a coffee machine in a black box.

(unterstützt von Rondo – KSG)

und als special guest:

***

39

Gregor Kamnikar

If you want a happy ending, that depends, of course, on where you stop your story.” Orson Welles

in den monaten vor seinem 40. geburtstag unternimmt gregor kamnikar den versuch, sich in 39 performances an 39 verschiedenen orten von der künstlerfigur gregor kamnikar zu verabschieden, die mit diesem tag ausgelöscht wird.

When everything comes out right, death occurs.
At 39 two persons that matter for this project died: Frederic Chopin in Bernhard Riemann.
Music by Frederic Chopin is explicit citing of a man that died at 39.
Gregor dances to Chopin’s nocturnes; the night music that creates the atmosphere of night and is inspred by the night, nighttime, a time when we feel closer to death.[...]
(Gregor Kamnikar)

(c)fabian dankel