Performance Festival – Common Past Common Future


Common Past – Common Future 

Performance Festival: 28. – 30.6.2018 @Schleifmühlgasse 12-14

Ana Garcia Pineda, Laura Rambelli, Cristina Calderoni, Maria Grün, Dragos Hanciu, Stefano Bernardi, Bojana Stamenkovic, Petra Kapš (alias OR poiesis), Caroline Pradal, Takwa Barnosa, ESCHATA, Tony Renaissance, Astrid Sodomka, Tiberius Stanciu, Cornelia Dorfer, David Lieser


Wir fokussieren mit dem performativen Projekt „Gemeinsame Vergangenheit – Gemeinsame Zukunft“  eine grenzenlose gemeinsame Zukunft und den kontinuierlichen Austausch von Künstler.innen aus Italien, Serbien, Kroatien, Spanien, Catalan, Frankreich und Wien. Zum ersten Mal haben wir die Kuratorin  Aqua Barnosa aus Tripolis / Libyen zu Gast, die uns WARAQ Art Foundation, ihre vor 2 Jahren gegründete NGO für Künstler.innen aus Tripolis, vorstellt.
Wir laden Künstler.innen aus diesen Ländern nach Wien ein, um gemeinsam mit uns ein Performance Festival auf der Schleifmühlgasse, während des Freihausviertelfestes, zu veranstalten. An diesem Wochenende verbringen wir Zeit miteinander, die Veranstaltungen sind niederschwellig, das Publikum wird Teil der Inszenierung sein.


With the performative project “Common Past – Common Future” we focus on a boundless common future and the continuous exchange of artists from Italy, Serbia, Croatia, Spain, Catalan, France and Vienna. For the first time, we have hosted curator Aqua Barnosa from Tripoli, Libya, who introduced us to WARAQ Art Foundation, their NGO founded 2 years ago in Tripoli. We invite artists from these countries to Vienna to organize a performance festival together with us on the Schleifmühlgasse during the Freihausviertel Festival. This weekend, we spend time together, the events are low threshold, the audience will be part of the production.



Donnerstag 28.6.2018

Ab 17 Uhr KunstFlohmarkt

18 Uhr Heimat / Freiheit Cristina Calderoni 

20 Uhr Plazenta / Laura Rambelli

16-18 Uhr Caroline Pradal



Freitag 29.6.2018

15 Uhr Kochbeginn LammSuppe / Tiberius Stanciu

Ab 17 Uhr KunstFlohmarkt

17 Uhr THE BLUES / Ana Garcia Pineda

18 Uhr Hometown Book Presentation Dragos Hanciu

19 Uhr Doors to Paradise, part two, by OR poiesis/ Petra Kapš (alias OR poiesis)

Still Standing Performance

Friday, June 29 2018, 19:00-20:00
geocode of the performance: 48°12’25.9”N 16°22’57.5”E
location of the performance /  of Wienfluss river, below MAK – Österreichisches Museum für angewandte Kunst, Vienna

21 Uhr BIS – Mobile Audio-Lichteinheit für einen Performer / Stefano Bernardi Italy

18-21 Uhr Takwa Barnosa

16-18 Uhr Caroline Pradal

18 -21 Uhr Cornelia Dorfer “Borders. Wo ist die Grenze?”


Samstag 30.6.2018

10-13 Uhr Kinderworkshop  mit Astrid Sodomka & Maria Grün

Ab 17 Uhr KunstFlohmarkt


20 Uhr Tony Renaissance KONZERT



Dragos Hanciu, Hometown, 2017 / Book Presentation

Over borders, home is Eastern Europe. Waves of red-yellow-blue, the country of whose nostalgia is layered, of whose millennials have hyper-fast internet, plenty of acquaintances over borders and firm plans to go abroad as well. Home is one of those places where migration is a choice, but not a privilege. And Hometowns, the tiny cities, once diamonds of a peculiar Socialism, suffer now from depopulation or are falling apart sooner than authorities come to their rescue. In Hometowns, sooner or later as passengers, people return.

Hometown is a visual research about migration, identity, homesickness, and about what happens to the places where we grew up while we make a life someplace else. The book itself beholds scars of distance being assembled mostly on Skype, between 4 European capitals. This is the visual story of the Romanian photographer DragoÈ™ Hanciu and other tens of thousands of people who annually migrate from their homelands with no prospects to go back. DragoÈ™, now a pass-byer, has been silently wandering around his hometown for the last 6 years; he observes from distance and takes photos of places that hold something from the past & serve as postcards in the future.

The atmosphere from the photographs gives us the impression of a silent sleepwalk in a surreal, contradictory post-industrial landscape mixed with the architecture of a 7th-century-old city. The images are embedded with the lo-fi kind of texture which gives memories an oxymoronic sense of materiality. The photographs are inhabited by an ineradicable feeling of familiarity, because they represent other small, depopulated Hometowns.

There is a soft layer of dust, like a filter of time that you can’t wipe off these images. A dog, an old woman, a young one, a fence, a good friend, a light at the end of a street are leaving your eyes at a dialectal ease. Is that where you grew up?

Ana Garcia-Pineda, The blues, 2017 / Performance

Performance, 15′ + Installation, painting on ceramic, clay, corn, balloons, half full glasses and a bunch of blue stuff, variable measures.
The blues is a scenario that is activated by storytelling.
The blues is a journey through biology, religion, etymology… where I share personal memories related to the history of my family and the place I come from.
The blues is about shades, colours, love and pain.
The blues is a stage activated by storytelling.
Storytelling has been used to transmit knowledge, entertain and settle ethical, moral and cultural values. This format meets my objective: to offer an inclusive, sharp and fun reflection on our world(s) and how we relate to each other.

“When I was a child, I was told that I could paint the sea and the sky using blue. But water doesn’t paint in blue. At night, the sky is black, the sea is black. Black is always black, even during daytime.”


Laura Rambelli,  PLACENTA MAKER 2018 / Performance

With my second daughter Alma I experimented the Lotus method for giving birth, where the umbilical cord mustn’t cut but keep tied to the placenta and to the baby. That method prevents one of the first trauma of the human being: a violent cut from his first house: the placenta. The baby keeps tied to his “old little house” until he decides to leave it, that’s happens in 2-3 days till 9 days and is a sweet and not traumatic and personal decision of the baby.
Placenta or something good: in some cultures Placenta is called the “mother’s cake” and if we think of our birthday cake that every year celebrates our birth is round like a placenta. The Placenta is something that mom and dad have done for the baby, the mother gives nourishment to both (placenta and baby). The Placenta is the link between pleasure and nourishment, an aspect that unfortunately in life is often neglected, even if we have the sensation of living fully when life gives us pleasure.
The remedies made with the Placenta have special therapeutic powers that can cure the mother and her child for a lifetime. Until now, most people could not keep their placenta.
The research and the practice of new rituals that link human being to nature feed my artistic activity. For this reason during my performance, I will realize for the guests a symbolic, special and personal placenta to recreate the magic bond that only the placenta can give.

We are what we feed on ..

Laura Rambelli


Takwa Barnosa, Across Borders, WARAQ

In the midst of the political movement and numerical changes in the social statues witnessed in Libya during the past few years, there were signs of establishing a contemporary art movement with an independent entity has surfaced lately, as a daring attempts to fill the gap in the local art scene which was a result of the ongoing armed struggle and the unstable governments control in the country.
Waraq art foundation has been considered one of the most significant attempts since it officially opened in Tripoli 2016, through full faith that Libyan art deserves to appear in the global art scene especially in the middle east and north Africa area, through organizing several exhibitions, workshops, and different art and cultural projects with consistent tenacious work to enrich the artistic and visual content, as well as to expand the horizon of the local artist by creating opportunities to contribute in the art and cultural exchange.

Stefano Bernardi BIS / Performance

Der Versuch, den Zustand der Zweisamkeit durch miteinander agierende Körper zu beschreiben. Harmonie und Kontraste, die sich in einer Beziehung zwischen zwei Menschen ergeben, Annäherung, Berührungen, Reibung bis zur Zerstörung/Vernichtung; Durch das Licht-Schattenspiel und den Klang, die
Verwandlung der Ballons in eine neue Form, erzählen.



“Borders – wo ist die Grenze?”
In 4 Workshopterminen entwickelten und realisierten 15 kunstinteressierte Jugendliche (16-18 Jahre) aus ganz Wien gemeinsam ein Projekt, deren abschließende Präsentation in der Galerie 12-14  im Rahmen des Common Past Common Future – Performancefestivals bzw. des Freihausviertelfestes stattfindet. Künstlerische Leitung: Cornelia Dorfer



Astrid Sodomka & Maria Grün

“Frischer Wind fürs Freihausviertel”

Im Rahmen des Workshops werden wir zeichnen, schneiden, malen, bauen und planen. Gemeinsam überlegen wir: Was fehlt im Freihausviertel? Vielleicht ein rundes Haus? Ein Fluss mit Staudamm? Was fällt dir ein?

Ein fantasievoller Umgang mit Ideen und Sichtweisen der Kinder, die im Freihausviertel wohnen, spielen, in die Schule gehen und ihre Freizeit verbringen!

Teilnahme ab 6 Jahren

Tony Renaissance / Concert

Durch Aspekte queerer utopischer Visionen erzeugt Tony Renaissance vielschichtige Sounds und Lyrics und imaginiert alternative Realitäten durch die transformative und verbindende Kraft von Sound und Bildern.

Tony Renaissance’s dunkle Synthesiser Sounds, schwere Beats und ätherische, chorische Vocals schaffen kathartische elektronische Landschaften, die Sehnsüchte, Angstzustände, Verletzlichkeit, Melancholie, mystische Self-Care Rituale, radikale Softness und Widerstände manifestieren.

Through aspects of queer utopian visions Tony Renaissance creates sounds and lyrics to imagine alternative realities through the transformative and connective power of sound and images.

Tony Renaissance’s dark synthesiser sounds, heavy beats and ethereal, bending choral vocals create cathartic electronic landscapes, manifesting desires, anxieties, vulnerability, melancholy, mystical rituals of self-care, radical softness and resistances.

Gloria Damijan / Günther Albrecht  ESCHATA / Concert

Man hört Schaben, Rascheln, Pochen, Rauschen, Klingeln, Knacksen, Zischen, Brutzeln – das Duo Gloria Damijan / Günther Albrecht bewegt sich in Ihrem Projekt „Eschata” bei niederer Lautstärke durch frei improvisierte Geräuschlandschaften, in denen manchmal sogar Musik durchzuschimmern scheint.


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