“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.



30.03.2019            Residency Showing at im_flieger with imagetanz Vienna

05.06.2019            Tanzhaus Zürich (Premiere)

06.-07.06.2019     Tanzhaus Zürich

09.11.2019              Swissnex San Francisco

03.2020                  imagetanz Festival brut, Vienna



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



“SAUNA”, 2018

SAUNA is a meta-fictional reflection about identity, cohabitation and survival stragegies. Told from the perspective of an unborn child inside a womb it questions the reliability of narration, juggles with knowledge and facts that are largely obscure and thus suggests a new metaphorical Virtual Reality.

The obsessive personality of the prenatal storyteller is driven by an unconditional claim for self-determination  while at the same time being  tied to this other body via the umbilical cord, a symbol of pure dependence and connection. Contemplating dystopian future scenarios, witnessing the trivia of everyday conversations or indulging in excentric navel-gazing, the tale evolves around the contradictions and promiscuity that shape our lifestyle: the either radically intimate or radically superficial.


Artistic direction, performance: Malika Fankha
Assistance: Maureen Kaegi
Stage: Jakob Neulinger, Noushin Redjaian
Sound: Dark Euphoria feat. Alexander Kasses
Photo: Maria Ritsch
Costume: Goran Bugaric
Hair & Makeup: Cosmo Cleverson
Coproduction: WUK performing arts
Production support: Huggy Bears, SUPERAMAS
Residency partners: ImPulsTanz Vienna (A), Campo Ghent (BE), Life Long Burning (EU), Cullberg Ballet Stockholm (SE), Dampfzentrale Bern (CH)


view trailer





co-produced by Malika Fankha, SUPERAMAS, imagetanz Festival

premiered March 19th, 2017, brut Vienna

How come – despite society’s greater openness and diversity – gender stereotypes are so reluctant to change? The straight, white, middle-class male with a textile phallus around his neck is still ruling the world, most language uses the masculine form as a default.. Even in some queer circles it is common to rely on classical role models and clichés to position oneself in the colorful field of non-conformist individuals.

In her subjective reenactment of SUPERAMAS’ show „Superamas Local“ (1999), MF deals with the material created by a male body, its male thoughts and actions and works with an expanded notion of identity by blurring, transforming, twisting and ignoring predefined condidtions and inherited ideas. The narrative evolves around a manufactured auto-fictional persona whose driving force is shapeshifting seamlessly between personal history, metaphysical theories and customized utopia of everyday life in a capitalist western culture.


Artistic direction, performance: Malika Fankha
Sound: Dark Euphoria feat. Alexander Kasses
Photo: Tim Tom
Costume: Sabine Aberle
Coproduction: Brut Vienna, imagetanz festival
Production support: Huggy Bears, SUPERAMAS


View Trailer





produced by Malika Fankha & Tanzquartier Vienna

premiered June 17th and 18th 2016, TQW Studios

Bildschirmfoto 2016-09-02 um 17.18.33

„I speak like anyone else: for clarity’s sake. Sometimes the thought demands a sentence, or a paragraph, and sometimes it calls for something else; a poem, a picture, a movement.“ – Paul Chan, artist

In a montage of polyphonic short stories and anecdotes, Fankha’s fictionalized self talks about the unbearable lightness of being a self-ironic representation of her own generation, about the awkwardness of human behaviour and the grotesque nature of the mondane. The use of acuminated imagery as a poetic means of narration, the breaking of literary templates and the satirical, comical travesty give rise to a language that juggles with effects, that explores the friction between the meaning of a word and its materiality, texture and physicality.

The elements text, sound and movement are in a constant dialogue negotiating the natural and the artificial, the profane and the exaggerated. Linear structures of narration are interrupted and broken, common notions and values are shifted, questioned and reinvented, emotional boundaries pushed to the level of discomfort. All that manifests itself in the performing body, in its permeability and vulnerability as a multidimensional play with parallel universes and synesthetic perception.

“A word. I say a word. I repeat the word. I repeat it until it has lost its meaning. Until it is just a sound. It sounds like… another word. I repeat it until it becomes this other word. Until I forgot what the first word was. Until the word has taken control over the body. Until the body swallows the sound and there is just the echo of a word. And another word emerges. And another word. A part of a word. An idea of a word.”


Text, sound, choreography, performance: Malika Fankha
Scenography: Jakob Neulinger, Noushin Redjaian
Movement Coaching: Asher O’Gorman
Sounddesign: Alexander Kasses
Video: Maureen Kaegi
Costume: Sabine Aberle
Coproduction: Tanzquartier Vienna

View trailer






„O.W.L. – the words are not what they seem“, 2014


produced by Malika Fankha, supported by im_flieger

premiered June 22nd, 2014, im_flieger Schokoladenfabrik, Vienna


O.W.L. explores the body of the word: it highlights its plasticity and texture, reveals its musicality. Words are chosen because of their melody, their shape and the sensory reaction they evoke in both the speaker and the listener. By reconfiguring the relationship between the meaning of a word and its materiality, Fankha aims to enlarge the perceived limits of intentional speech on the one hand and “pointless”, non-functional vocalization on the other hand.


© Malika Fankha, filmstills

When separated from its semantics, a spoken word becomes a bodily product, a mere sound in space. When we repeat a word excessively or we stretch its syllables endlessly, it stops making sense. It detaches from its logical context, it loses its purpose as a communication tool but not necessarily its meaning. From there appears the possibility of transformation: new words emerge, a new system is built which enables a sensory rather than a conceptual understanding of reality.

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performances: November 2014, Science Salon Verein 08, February 2015 Artist’s Kitchen, Vienna, curated by Sibylle Omlin.





„Occupy the museum“, 2013


Photo © Mélisande Rouger, ImPulsTanz

“Sting, the Doors and the dolls” was part of a performance parcour at Weltmuseum in the course of ImPulsTanz Festival 2013. It looks at ways to approach the individual’s boundaries and limitations appearing unconsciously from the inside or intentionally defined by the outside. It is a fight with either too many restrictions or too much freedom, both imposed by the person’s environment. Values and principles are being dismissed, reinvented or forgotten. There is the constant desire to touch the unreachable, to discover the forbidden, the possibly precious, wannabe precious, the faked, the naked, the wishful truth, the superficial truth, the lie and to break rules to become visible and alive, to expose oneself to the utmost in a context full of restraints.

Fankha works with the performativity of language and sound – live, spoken, recorded, distorted, filtered, layered, rhythmically altered or taken out of its common context. She puts herself in a display cabin, uses the pointed focus on her mini stage as a place to expose herself in various ways to the visitors: by sharing her inner world, her unheard voices, by transforming her body, playing with prototypes that manifest themselves in a even more exaggerated form in the pious silence of a museum.


Premiere: August 2013, ImPulsTanz Festival Vienna, coproduced by Weltmuseum Wien,

curated by Michael Stolhofer and Ong Ken Sen





„Add me! Post me! Like me!“, 2011


Photo © Johannes Franz

excerpt of review by Heinz Wegner, Kurier. 28.11.2011


A red couch, 2 huge TV screens, a birdcage – this is how the décor presents itself before a young woman appears unexpectedly from under a thick blanket. She’s wearing a nightgown, her eyes are covered with a sleeping mask. Somehow it seems she doesn’t leave her home a lot and as she reveals herself more and more to the spectators, we learn that she projects her desires and dreams mostly in virtual utopia. The second scene brings us to a rural household someplace in the Swiss Alps where Fankha plays a charming caricature of a modest countryman whose wife secretly makes some extra cash with sex chats (…). The section is followed by a filmshoot of an overexcited reality show exhibitionist who shares details about her life that are riding the edge between self-irony and painful honesty. Throughout the 40 minutes long piece, Fankha’s colleague Asher O’Gorman keeps on appearing as an entertaining slapstick-like tiger who gets in the way of each character’s desperate strive for achievement who tweet, chat, skype, post and share to a level of complete self-abandonment and exhaustion – an utterly (self)ironic approach to those “infinite abysses” of the WWW. (…)

Premiere November 2011, Theater Drachengasse, supported by     .



C  O  L  L  A  B  O  R  A  T  I  O  N  S




Photo © Maureen Kaegi


„Still Life Without a Magnolia“ is a shared choreographic practice between visual artist Maureen Kaegi and performer Malika Fankha in the context of an art exhibition. It reevaluates the threshold and friction between an objectified perception on the one hand and the ephemeral experience of real-time performance on the other hand. Kaegi’s work uses elements of non-figurative painting and drawing which is juxtaposed by Fankha’s subtle physical interventions and transient choreographic fragments in space. The excessive use of lines and geometrical shapes in Kaegi’s work is reminiscent of digital prints and refers to current movements in transmedial art while Fankha’s vocabulary plays with the alienation of posthuman physicalities. Both artists approach their work in a process-oriented and self-reflexive way, renegotiating the overemphasis on technique and handcraft.

Premiere: September 2014, Galerie Mark Müller Zurich, further performances: June 2015, Galerie Vinzenz Sala, Paris, February 2016, Kunsthalle Winterthur, April 2016, Paul Klee Zentrum Bern (in the course of „Bewegte Bilder“, coproduced by Dampfzentrale Bern)







Photo © Laurent Ziegler

it drops / you drop / dead / it slips / out of your hands / it splits / my world from yours. – text excerpt © Malika Fankha, 2014


»Verortungen« is a collaboration with the photographer Laurent Ziegler. It deals with the relationship of the individual towards spatial patterns, with the localization of physical and sensual perceptions as imprints on a map, integrated into our experience of the outer landscape. The endless space of emptiness shifts by subtle ruptures, a confrontation with the living matter. Scars appear where two unequal forces collide and leave an exposed damage visible to the outside.


A selection of photographic work is accompanied by text and sound sculptures by Malika Fankha. A live performance was created for the opening and closing event of the exhibitions in Vienna and Sofia.


»Verortungen« was on display at Bildraum 01 Gallery Vienna (opening performance in the course of ImPulsTanz 2015); Paris Photo Los Angeles, Austrian Cultural Forum Washington DC, Synthesis Gallery Sofia (opening performance organized by Austrian Embassy Bulgaria) and Boris Hristov Plovdiv, (Bulgaria).

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