Wer viel erlebt hat, hat viel zu erzählen. Und die, die noch am Anfang ihrer Geschichte stehen, suchen oft nach Orientierung. Gerade jetzt, in diesem speziellen Moment, in dem die Unsicherheit, mit der wir immer leben, so offensichtlich und spürbar ist, kann es inspirierend sein zu hören, was andere erlebt haben, wie sie ihr Leben gestalten haben. Aber gerade jetzt, wo wir noch stärker voneinander isoliert sind als zuvor schon, bekommen wir auch oft nicht viel voneinander mit.Wie kommen wir an unseren Erfahrungsschatz ran und wie können wir andere einladen, ihn mit uns zu teilen? Welche neuen Perspektiven tun sich auf? Und wie können wir unsere Körper und Bewegung dabei nutzen, wenn wir uns erinnern und unsere Erinnerungen teilen?
Wir suchen Menschen über 60, die Lust haben, mit uns gemeinsam kurze filmische Selbstportraits zu entwickeln – getragen von den eigenen Erzählungen und übersetzt in Bewegung. Wir, das sind Julia Riera (Choreografin) und Magdalena Hutter (Dokumentarfilm-Regisseurin und Kamerafrau).

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MIRA10_Ikone ist ein eigens für das diesjährige tanz.tausch festival entwickeltes neues, digitales Format. Ein Solo der Performerin Odile Foehl – oder doch schon ein Duett mit der Kamera? Auf jeden Fall ein Experiment mit der Kamera – ein choreografierter Live-Mitschnitt für Zuschauer*innen.

Die Choreographin Julia Riera visualisiert in diesem ersten Teil der Produktion MIRA 10_Ikonen den weiblichen Blick in der Kunst ebenso wie den Blick von Frauen auf Frauen. Inspiriert von den beeindruckenden Arbeiten weiblicher Fotografinnen wie Danna Singer, Sally Mann und Elle Pérez visualisiert MIRA diesen weiblichen Blick im digitalen Live Stream.

Das Solo ist der erste Teil der für September 2021 geplanten abendfüllenden Choreographie MIRA 10_Ikonen und gleichzeitig ein digitales Testformat des dann geplanten Livestreamings.

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Die neunte Produktion der Kölner Tanzcompagnie MIRA widmet sich emotionalen Verbindungen, sensiblen Trennungen, sichtbaren und unsichtbaren Grenzen.
Gerade in den heutigen Zeiten in denen Grenzen und Trennungen überlebenswichtig sind, stellt sich die Frage nach der emotionalen und sozialen Kraft von Beziehungen, die durch Grenzen geprägt werden noch einmal ganz neu.

4 TänzerInnen beschäftigen sich in MIRA 9_was uns trennt & bindet mit Zuständen, in denen sie über ihre eigenen Grenzen gehen, um neue Bindungen aufzubauen.
MIRA 9 spinnt ein Netz von Fäden zwischen Individuen und legt Beziehungsnetzwerke frei, die unser soziales System in allen Lebensbereichen prägen.
Wie müssen Grenzen in Beziehungen, Netzwerken und Begegnungen gestaltet sein, damit sie nicht nur einengen, sondern Stabilität geben?

Wo und wie genau verlaufen Grenzen in Beziehungen, Netzwerken, Begegnungen – wie müssen sie sein, um Halt zu finden?
In MIRA 9 werden Fäden in ein Netz von Individuen gesponnen, ein Beziehungsnetzwerk freigelegt, das unser System prägt. Wie lassen sie sich enger spinnen?

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Die Tanzcompagnie MIRA schafft in dieser Produktion einen Raum, der danach Ausschau hält, ob es eine Essenz gibt, die bestehen kann, bestehen muss. Wenn ja, wie sieht sie aus? Was verschwindet dabei, was transformiert sich, was bleibt?
In enger Zusammenarbeit mit den PerformerInnen setzt sich MIRA mit der Werteverschiebung und dem Wertewandel im Heute auseinander.

Die gesamte Produktion bis zur Premiere und die Publikumsstimmen nach der Premiere hat MIRA festgehalten.

Zum MIRA 8 Blog

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as if you stood by the shore of the lake … as if you felt the richness of the melodious sound in the silent moment … as if the past translated itself into the present to presently be past …

(Quote from „Home“ by Christian Schüle)

We got on the move and were forced to be on the tramp – through exterior and interior spaces.

Five friends meet while in search of their own self.

At Thuley.

MIRA7_Thuley is a production with five dancers of different cultural background and different ages. Three of them are adult, professional dancers while the other two are young people from Afghanistan. What they have in common is their difference and their excitement for a dance experiment of contrasts.

MIRA develops multi-layered productions of high sensitivity and intense imagery. The inside and outside are brought into direct dialogue, what goes under the skin becomes visible and what is not tangible becomes noticeable. Experimentally and sensitively MIRA explores boundaries – imaginary or spatial – between genres, personal or interpersonal.

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In the interactive dance performance MIRA 6_89° MIRA combines inner and outer with visible and emotional spaces in an installation made of fragmented plastic body parts. Plastic covers – shrink-wrapped for eternity -show imprints of fleeting movements, of a fading moment.
Connected to sensors and micro controllers that are triggered by the live performer and dancer Dong UK Kim, a mesh of artificial body shells is created. Through this interaction between the objects and the performer the dancer acts as a musician at the same time, he operates the musical happening with the existing controller.
The plastic object represents places of memory, connection doors and memory shells between the immediate moment, the “Now” and different time frames, before, after and inbetween.
MIRA 6_89° combines object art, live performance and sound installation as well as sensory processes in a interdisciplinary dare and experience space. How do we communicate within this created space concept? How can an exchange, a collaboration between performer and audience be formed through this technology?

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The objects of this installation are based on an idea of Julia Franken and Julia Riera during their research phase „Plastic Surgery” 2016 – funded by the SK Cultural Foundation.

We were alble to do this research thanks to the SK Cultural Foundation.

We worked at the intersection of video/object art and performance and have come a big step forward in doing so. 
Technically we have stepped into the field of interaction by working with sensors and the necessary software. Our basic material was heated formable plastic for the design of the objects. 
The result is an interactive installation with fragmented body parts made of plastic that float in the space like imprints of a fleeting movement, a fading moment.  
These floating body parts are connected to sensors that can be triggered by different signals. These signals are then translated into video and sound signals that become visible and audible for the viewer. 
We are planning to develop this work over the next few years.

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Falling down and getting up again – a recurring cycle

In their latest work MIRA looks for the causes that make us get up and what it physically means to get ourselves to carry out this act.  Are we being made to get up or is it an inner force that sets us in motion? What obstacles are there in the moment of getting up? A sensitive act of balance dancers confront themselves with over and over again. For how long does the getting up- figure resist the influencing energies? 
The suspense build ups of this work link to the dynamic of the movement that subjects to the never-ending and ever changing getting up and falling down-cycle. To lie down at a certain point, to sit, to remain there – when, how and with which motivation and from which force does the human being rise again?

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Since 2014 MIRA is working with young people. Thanks to the funding of Chance Dance in 2015 und 2016 we were able to work with the Dortmunder U-Center for Arts and Creativity and the Filmwerkstatt located there. That is how Docdance was founded. Within 2-3 months the young people plan and complete dance films in this workshop. This means that they learn both the dancing and cinematic expressions. With this workshop we want to pass on the collaboration that defines MIRA.

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Thematically WISH is an examination of the pursuit of happiness. How does this happiness look like and what is the key to it? For the first time ever we tried to work with prerecorded footage in this performance that contentwise and visually presented a fictitious castle in the air. Based on this idea we developed the spacial concept for the stage performance that followed later on. We built a three-dimensional cinematic room from 4 projection surfaces in which Julia Riera`s solo performance took place and the audience was allowed to move around as well inside of it.

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The desire to produce a work at the KOLUMBA Museum existed for a long time.
As it happens our subject “shadow” matched perfectly with the exhibition concept at that time and so we were given the opportunity to develop our piece in the premises of the museum.
The echo of the past, the traces of history – the shadows – are still present and noticeable through the history of this place.
This in combination with the works of art was a huge source of inspiration for our performative and cinematic ideas.
We created a performative course the audience could follow through the different rooms of Kolumba.

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This work is about the subject of identity in the crowd. What makes us individuals? How much are we determined by our genes?
The artist Claudia Konold created a stage design consisting of 113 shirts for this piece that served as a projection surface for the video installation and at the same time as a playing surface for the performers.

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