Internationales Interaktionslabor

Medienforschungsschwerpunkte im Jahr 2018 / Research Areas for the year 2018




the 2018 summer workshop includes a series of small experiments working
plein air with camera and drawings, movement and writings - -
one area of investigation will be the assemblage of ephemeral materials
and the concept of transformation (of material states or phase states)

becoming tree, film by Johannes Birringer (c) 2017

A further inspiration is drawn from landscapes and the potential of various theatrical metamorphoses of notions of landscape/experience and being in the world

Artistic test case for this study is Cloud Gate Dance Theatre's new work, Formosa.


Formosa, by Cloud Gate Dance Theatre of Taiwan, chor.: Lin Hwai-min, 2018 (c) Photo: Liu Chen-hsiang
Recitation: Chiang Hsun // Music: Kaija Saariaho, Liang Chun-mei, Sangpuy Katatepan Mavaliyw // Lighting Design: Lulu W.L. LEE // Costume Design:
Apu JAN // Projection Design: Chou Tung-yen and Very Mainstream Studio// Videography: Chang Hao-jan (Howell)


We write down all the impressions we felt listening/watching and experiencing this dance.
How it worked itself into our grasp of seasons: movement and space, atmosphere, lighting and choreography.
chant and voice, music and silence. projection of characters, motion of characters. color of characters.color of costumes and formations of movers in space (solos, duets, trios,choral/ensemble configurations, especially in the opening season and in last third during the martial arts-wrestling-fighting scenes).



Sika deer used to run wild here
Everything raced with the moonlight
But after the day dawned
The moonlight took away the Pingpu people
The clouded leopard ran into the mountains
Higher and higher
Until it went higher than
The moon and the sun


(Excerpt from “Tall Grass Tassels” by Hwang Chun-Ming)


What strikes the audience in particular may be the unusual use of Chinese characters as moving projections – calligraphy and then the breath from their physical dance work (Cloud) connecting kinaesthetcally with the viewer and listener breath. what is the connection here? how do vocabularies interact and relate? writing to moving, sound to graphic projection, color and light to space and spatiality? how does writing become clouds?

does the digital projection (3d surround, back ground and floor, line line line line opening wider and expanding image scope) become like a sculpture or painting that is backgrounded or does it fill and flood the stage, does it move/move forward (the projection in the last segments floods from back scrim onto the white dance floor, and the final scene/season in fact transforms, in the projection, from the character/language into representational real image of water-waves of the ocean.


Whisper Room, with Zhi Xu (c) 2018 Johannes Birringer


how do waves change the breath

how does Whisper Room (recent dance-film sonic experiment between Zhi Xu, A-Kin (Drew Egan) and Johannes Birringer) open or close, change the space?

How does sound change body and motion or space?


Finally, one spring day
Our children will read the following news:
Migratory birds are returning north
Drivers traveling along the Tamsui River
May not blow their horns

(Excerpt from “Hope” by LIU Ka-shiang)


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Was ist Interaktions-Kunst? Ein Manifest.

10 Years of Interaktionslabor:

Vanessa Michielon interview with Johannes Birringer



Allgemeine Beschreibung des Labors/ General Description of the Lab
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