new work 2021

AWOL

© TimTom

Watch teaser

In her new production AWOL (Absent Without Leave) Malika Fankha explores the synergies between humans and natures’s mystical creatures. Elves, trolls and all kinds of hybrid forms of living might resemble the human shape yet manage to evade the notion of normativity. Due to their queer and volatile essence they challenge our thinking in stereotypes and dualities and embody the concept of identity as a malleable force. The work questions the hierarchy of corporealities in the physical, spiritual and virtual realms and advocates new ways of coexistence and kindred among species. In Awolonia, a place better than reality, residents are mercurially utopian, they keep secrets, shift shapes, change names, and appear in myriad disguises. They uncover and liberate their desires and torments, transgress boundaries, they slip into and out of dangerous and vulnerable places in an ongoing craving for connection, haunting the liminal spaces between imagined and artificially constructed borders.

 

SHOWS/RESIDENCIES

15.06. – 20.06.2020: Residency at Brunnenpassage Wien (A)

01.09. – 01.10.2020: Residency at SoArt Millstättersee (A)

15.10. – 02.11.2020: Residency at BUDA Kortrijk (BE)

30.11. – 20.12.2020: Residency at Tanzhaus Zürich (CH)

11.02. – 16.02.2021: Premiere and shows at brut Wien (A)

30.04. – 02.05.2021: Shows at Tanzhaus Zürich (CH)

 

CREDITS

Artistic direction, performance: Malika Fankha
Costume: Goran Bugaric
Makeup: Valerie Reding & Cleverson Ronaldo Cosmo
Objects: Ana Rajcevic
Lights: Marek Lamprecht & David Baumgartner
Sound: Dark Euphoria feat. Mirza Kebo
Video: Timotheus Tomicek & Jannik Schleicher
Dramaturgical Advice: Anna Mendelssohn, Denice Bourbon
Choreographic Assistance: Asher O’Gorman
Production: mollusca productions
Dramaturgical Production Advice: Marc Streit
Coproduction: FANKS, Tanzhaus Zürich, brut Wien
Residency partners: SoArt Millstättersee (A), BUDA Kortrijk (BE), Tanzhaus Zürich (CH), Huggy Bears (A), “The Artists Are Present” Brunnenpassage Wien (A)

AWOL is supported by Stadt Zürich Kultur, Kanton Zürich, Stadt Wien Kultur MA 7, BMKOES, Prohelvetia, Austrian Cultural Forum Brussels, ACT OUT (initiated by IG Freie Theater, supported by BMEIA) and Embassy of Switzerland in Austria

December 20th at MATERIAL ZÜRICH

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singing songs and telling stories about elves and cyborgs.

what to expect: melodrama, esoteric tripping and 21st century trivia. come!!!

entrance = free!

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18:00 Scratch Your Face Away! curated by Anissa Nussbaumer

19:00 Performative Reading/Concert by Malika Fankha/Dark Euphoria

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© Franzi Kreis

Aside

Oxy Moron goes San Francisco

Nov 9th, 2019

© Maureen Kaegi

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We are very excited to be part of Beyond The Body – an interdisciplinary event organized by Swissnex San Francisco, November 9th, 2019 6:30 – 10:00 pm

Come around if you are somewhere in the bay. Free ticket code: liveforever

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En résidence…

LMFAO

                                                                          © Malika Fankha

 

 

A new FANKS production is in the making and will enter its first work phase during a residency at Studio Thor in Brussels in October 2019.

 

∆ ∆ ∆ Public showings of LMFAO coming up ∆ ∆ ∆

 

18-10-19 Studio Thor Brussels

19-12-19 Material, Zurich

30-03-20 zurich moves

12-04-20 BUDA Kortrijk

 

 

 

 

new creation 2019:

“OXY MORON – A CYBORG UTOPIA”

 

“Resistance is no longer sufficient. We need to turn things upside down, create new contradictions and illegibility.“ – Ch. Schlingensief

 

Oxy Moron is a play of multiple selves and their constant, seamless shape-shift between fiction and reality, magic and science, present and future. Using the modern day cyborg as a metaphorical narrative that unites both human appearance and machine-like behaviour, the work juggles with stereotypes and challenges different concepts of a perceived norm. Identities, corporealities and social status pass through a precarious transformation between self-empowerment, self-enhancement, self-optimization and self-deformation questioning the significance of the physical and the human in a digital age.

 

SHOWS

30.03.2019            Showing at Im_flieger with imagetanz

05.06.2019            Tanzhaus Zürich (Premiere)

06.-07.06.2019     Tanzhaus Zürich

09.11.2019             Swissnex San Francisco

03.2020                  imagetanz Festival brut, Vienna

 

CREDITS

Artistic direction, performance: Malika Fankha
Makeup/Costume/Stage: Valérie Reding
Technical Direction/Lights: David Baumgartner
Sound: Dark Euphoria feat. AC/BOY
Outside Eyes: Anna Mendelssohn & Simone Aughterlony
Photo: Valérie Reding
Production: FANKS, Sophie Schmeiser, Eva Holzinger
Coproduction: Tanzhaus Zürich, Brut Wien imagetanz Festival
Residency partners: Workspacebrussels/Kaaitheater (BE), Campo Ghent (BE), Tanzhaus Zürich (CH), im_flieger Vienna (A), Counterpulse San Francisco (USA)

Oxy Moron is supported by Stadt Zürich Kultur, Stadt Wien Kultur MA 7, Bundeskanzleramt Österreich, Nestlé Fondation pour l’Art and the Swiss Embassy in Vienna

Sept 21st, 2018

Oxy Moron is taking shape…

New season, new production! Stoked to announce the upcoming collaboration with performer & makeup artist Valérie Reding and an unbeatable team at Tanzhaus Zürich and WUK performing arts Vienna. Here is a tiny sneak peek from our first session…

Also, we would like to thank our residency partners for supporting us throughout the process: im_flieger, Vienna, Tanzhaus Zürich, Campo Ghent, Counterpulse San Francisco, Workspace Brussels & Kaaitheater Brussels, Sibiu Casa do Pombal, Portugal

© Valérie Reding (styling, video)

Oxy Moron

 

New creation in the making: Upcoming residencies at Sibiu Casa Do Pombal (April 22nd to 30th, 2018) and Kaaitheater Brussels (May 6th to 31st) hosted by workspacebrussels. Stay tuned.

 

© Malika Fankha

 

“Ours is indeed an age of extremity. For we live under continual threat of two equally fearful destinies: unremitting banality and inconceivable terror.” Susan Sontag, The Imagination Of Disaster

Using the modern day cyborg (“A Cyborg Manifesto”, Donna Haraway) as a metaphorical narrative, the work evolves around different notions of human/humanoid/superhuman existence in an age of rapid technological advancement and corporate capitalism. What does it mean to be a physical body in a digital age? Does our mortality just make us vulnerable or does it evoke a precarious optimism in us because it opens up room for ultimate failure? Is our addictive behavior eventually going to lead to our own species’ extinction?