All Im_flieger SUPPORTS artists 2026.
Photo: Paola Lesslhumer
Upon request and subject to availability, Im_flieger provides selected artists with workspace – including technical equipment – free of charge or at a low cost as well as optional artistic, technical, and logistical coaching.
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violet glace // Flóra Boros (HU/AT)
9 dates in January 2026 // Research, rehearsal // Premiere: January 29, 2026, WUK
Flóra Boros choreographs a space that is intentionally ambiguous — a room where sensuality does not demand explanation or erotic readability. This solo unfolds like a slow-burn asexual romance and invites the audience to experience a gaze that lingers without devouring. Drawing inspiration from flashy 90’s and 00’s pop music videos, sultry dance routines emerge, only to be stripped down and recontextualized, allowing the body to move, sweat, and exist without being an object of desire. Boros desexualizes choreographies one hair flip at a time, eroding lustful gestures through repetition. Questioning how we stare, sexualize and objectify, violet glace brings asexual representation to the forefront. And the background. And all the subtly sensuous spaces in between.
KLУNP [ˈklunp] // Sveta Schwin (RU/AT)
13 dates, January – April 2026 // Research
As KLУNP, Sveta Schwin encounters an Other that emerges from her actions. The self: origin and echo. Paper is the seam between doing and understanding. In milky white, the familiar tilts into the strange, becoming possibility. In the astonished gaze, the self transcends itself. A performance about invention and recognition, about the porous line between inside and outside — and about how much of the world a body can bear.
State Funded Piece of Meat // Jackson Carroll (CA/AT)
10 dates, February/March 2026 // Research
State Funded Piece of Meat was meant to be a satirical look at Austria’s immigration politics told through a solo dance performance with stand-up comedy. That would have been a very poignant performance piece! I’m not sure what the piece is at this point. The process has been unpredictable and is very much ongoing, subverting its own cause while somehow managing to maintain contact with its original intention. Through the lens of my own personal experiences with Austria’s immigration office MA 35, and by exploring meeting points between dance, semantics, and comedy, these become portals to share in the experience of being a “foreign” body in Austria. State Funded Piece of Meat still struggles to deal with the absurdity of immigration politics as well as general feelings of alienation and “strange”ness.
mirrors, a football and the back of my hand // Marlene Aigner (AT), Coralie Neumann (Bénard) (FR/AT), Bibi Bauer (DE)
13 dates, March – August 2026 // Research
Our research deals with dissecting the layers of experience, influence, and societal expectations that shape the transition from youth to adulthood. How have we learned to relate to each other, what do we have in common while growing up differently, and how do we want to relate to each other? Through acts of sharing we want to shed light onto past dynamics and create healthier relationships with ourselves and each other. Alongside, we are questioning how terminology influences this process, particularly in the context of being socialized as women*.
PUSH/ing on language // Misleading Subjects – Sara Kaaman (SE), Alexis Steeves (US/ES), Laressa Dickey (US/SE)
6 dates, April 2026 // Research
Misleading Subjects is a triad of performing artists who share an interest in how language meets the body in publication and performance. We are thinking of performance as a kind of publication. In our residence at Im_flieger, we plan to do collective artistic research for a future performance work in tentatively titled PUSH/ing on language. The artistic research will be based on our collaborative experiments around language, printing/publication, somatic practice, and live performance of dancing. Particular attention is paid to scales of sincerity, rigor, and the absurd.
80.000 Therapists // Fabian Faltin (AT), Daphna Horenczyk (IL/AT)
11 dates, April to June 2026 // Research
What happens when therapeutic practises encounter contemporary warfare? Daphna and Fabian allow their therapeutic conversations to escalate into open combat, while de-escalating physical conflicts into polite and harmonious dialogue. Reinterpreting Im_flieger’s subterranean caverns as a safe bunker space, they short-circuit the battlefield with the therapeutic domain, bringing new and unexpected meanings to both.
Phoenix.Sun // Kasia Wolińska (PL/DE/AT)
12 dates, July 2026 // Research, rehearsal
Phoenix.Sun is a solo choreography by Kasia Wolińska, developed in collaboration with musical composer and sound artist Heinali, video artist Denis Kozerawski, and dramaturge Jette Büchsenschütz, with its premiere planned for Tanz im August Festival (Berlin) in 2026. It is born from the urge to set fires – choreography becoming a meditation on, and proposition for, a world in flames, a sacrificial rite of mourning and birthing. In Phoenix.Sun, the dancing body rides cycles of emergence and disintegration, woven together with the movement of sound and image.
The project draws inspiration from the pyro-works of Polish artist Władysław Hasior, appeasing the ghosts of burning birds he saw falling from war-torn skies. It unfolds through the compositional and religious visions of German mystic Hildegard von Bingen, who, under the inspiration of the Spirit, incanted viriditas – a moist fire redeeming and kindling new life, a burning heart of self-sacrifice and rebirth. The choreography rises from the ashes of those annihilated and born in flames, it is a solar dreaming, inviting the audience to look into the blaze – an invocation of beauty and terror, and a spark of transformation.
Co-production: Tanz im August / HAU Hebbel am Ufer, Studio Hrdinů, Czech-German Future Fund, Culture Moves Europe, Adam Mickiewicz Institute, Festiwal Ciało/Umysł Warsaw, Polish Institute Berlin
Partners: Im_flieger, Bears in the Park, Lokomotiva, Stanica, Polka Dot Foundation, Gdański Archipelag Kultury
(Artists are added on an ongoing basis)
Alexis Steeves (US/EE) is a dance artist based between New York City and Tallinn, Estonia. She pursues live solo performance and praxis. Her questions are inspired by a substrata of long-term, interdisciplinary dialogues with visual and performing arts collaborations. Most notably, Dages Juvelier Keates, NYC based collective HAM and celebrated choreographer Rosalind Crisp (AUS, EU). Steeves’ artistic research concerns relational ethics and emergent practices in co-creative art making. Her present focus is companioning (dramaturgically or otherwise) dance makers in rehearsal and production – currently Valentina Parravicini and Misleading Subjects (Balto-Scandic collaboration). Concurrently, Steeves has conducted a parallel career as a professional bodyworker since 2003. Her study and development of touch skills, relational dynamics and embodied language profoundly informs her artistic work. She has taught contemporary dance, performance and composition at the Tallinn University, Estonia since 2008 – current (both as full time and guest artist). Steeves achieved a MFA in New Performative Practices at the Stockholm University of the Arts (2023) as a scholarship recipient and holds a BA from Bard College (2001,USA). Her artistic work has been presented in Estonia, Germany, Spain, Sweden, the USA and UK.
Bibi Bauer (DE) is a freelance dance artist. Moving in different fields of dance expands her perspectives from various angles, enriching each other: Being a contemporary dancer and performer, a pedagogue, working as a video editor, and supporting community and trauma-transformational theatre productions as a choreographic assistant in Bosnia. She has developed a deep joy and curiosity for improvising and the interconnections between the moving practice and life itself.
Coralie Neumann (Bénard) (FR/AT) is a Vienna based artist. Currently working as a dancer in Liquid Loft under the artistic direction of Chris Haring. In her own work she seeks to create pieces that resonate on an emotional level, capturing the complexity of human nature, its social issues and its relationships. Her choreographies explore the raw and vulnerable aspects of humanity, inviting the audience and dancer(s) to connect on a deeper level.
Daphna Horenczyk (IL/AT) is a performer, choreographer, accompanying creative processes, teacher and mother. She grew up in Tel Aviv and currently lives in Vienna, Austria. In her artistic work, she deals with the gap between experience and representation and uses irony as a critical tool for social phenomena. Her latest work Diorama: stories and Passage premiered in Vienna with the support of the City of Vienna and the Austrian Federal Chancellery. In addition, she performed in the works of choreographers such as Adrienn Hod (Hodworks), Anna Konjetzky, Ceren Oran, Amanda Piña, and Ariel Cohen. Daphna studied dance and choreography in the Sadna at Kibbutz Gaaton (IL) and SEAD (AT). www.daphnahorenczyk.com
Fabian Faltin (AT) is known for his performances, novels and as a gardener. His major works have been shown at Festival der Regionen, London National Theatre, brut, WUK, Beijing Fringe, Bears in the Park, and many more. He teaches writing and public speaking at Bruckner University Linz, and is currently running a speaker’s agency for Bad Ischl Salzkammergut 2024 – European Capital of Culture. www.fabianfaltin.com
Flóra Boros (HU/AT) is an independent performing artist and choreographer based in Vienna and Budapest. Her works have been presented at venues such as Kaaitheater, WUK, Muffathalle, Theater Akzent and Schwere Reiter as well as various festivals. With her first solo performance CINDY, she received the START scholarship from the Austrian Ministry of Culture in 2022, as well as the ATLAS scholarship at ImPulsTanz festival. She completed her studies at the Music and Arts University of Vienna in 2021, with her thesis winning a scholarship from the City of Vienna, serving as theoretical research for CINDY. Her current artistic practice explores intimacy, liberation from a queer perspective, and the directing of the gaze to question how the body conveys embodied narratives beyond normative structures.
Jackson Carroll (CA/AT) is a Canadian dance artist currently based in Vienna. After an extensive career as a dancer for classical institutions internationally, most recently the Vienna State Ballet, Jackson has now shifted his focus elsewhere. He is a frequent collaborator of Chris Haring at Liquid Loft, as well as teaching regularly at TanzQuartier Wien. He also worked as choreographer for David Schalko’s “Braunschlag 1986”. In addition to his dance practice, Jackson occasionally performs stand-up comedy and produces DIY films under the pseudonym Anus Varda.
Kasia Wolińska (PL/DE/AT) is a choreographer, dancer, and writer, born in Gdańsk, and based between Berlin and Vienna. Her choreographic works have been presented internationally at venues such as Radialsystem, Hebbel am Ufer (Berlin), Dansehallerne (Copenhagen), Museum of Modern Art, Nowy Theatre (Warsaw) or Judson Church (New York). As a dancer and choreographer she collaborated with Sergiu Matis, Lina Gomez, Rosalind Crisp or Anton Vidokle. Since 2023, she’s been conducting a multidisciplinary research project “Papieżyca (The High Priestess)”. Since 2018 Kasia has been running the blog Dance is a Weapon. Her texts were published in e.g., e-flux, Palletten, Dialog, and in books Danceolitics or Choreography Autonomies. Currently she is a part of transnational systering collective. www.danceisaweapon.com www.kasiawolinska.weebly.com
Laressa Dickey (US/SE) is a dance artist, writer, and bodyworker based in Stockholm whose recent projects explore the politics of care, the effects of state violence on the human body, and space junk. Her work spans disciplines and modalities. She’s the author of the poetry books Syncopations and Twang. Together with Andrea Steves, she published Radio Graveyard Orbit, a speculative book about space junk. With Magdalena Freudenschuss, she authored the feminist texts re:assembling emotional labor (2019). For Bergen Assembly, she and Ali Gharavi created How to Pass Time With No Reference, a multi-media installation about their experiences inside/outside Turkish prison. Her work has been exhibited in several institutions, including Württembergischer Kunstverein (Stuttgart), Bergen Assembly (Bergen), Center for Book Arts (New York City), Nasjonalt Medisink Museum at Norsk Teknisk Museum (Oslo), and her poetry books have been taught at University College Dublin, University of Maine (US), and Simpson College (US). A longtime student of somatic practices, her artistic research has been supported by the Kone Foundation; she researches the dancer’s use of language and the writer’s use to/for dance. She’s a member of the performative collaborations WITHING and MISLEADING SUBJECTS and teaches Writing Alongside Artistic Practice at Stockholm University of the Arts (SKH). She holds an MFA in Creative Writing from the University of Minnesota and an MFA in Choreography (New Performative Practices) from SKH.
Marlene Aigner (AT) is a dancer and performer living in Vienna. She received her bachelor’s degree in contemporary dance from the Anton Bruckner University in Linz in 2023. During her studies she participated in an Erasmus exchange at the Folkwang University of the Arts in Essen. Over the past years she has gained various experiences as a freelancer working for Doris Uhlich, Jan Lauwers and Ceren Oran. At the moment her personal and artistic interests revolve around the relationality of human and more-than-human bodies, the political potential of physical touch and the possibility of becoming beyond identity through movement-based practices of care and vulnerability.
Sara Kaaman (SE) is a graphic designer and artist exploring how publishing meets performance, and how language meets human and more-than-human bodies. Her ways of working include writing, printmaking, drawing and publishing by paper and and voice. Working from embodied and feminist approaches to publishing, she examines it as transformative and liberatory action, shaping meaning through materiality, embodiment and collective processes. She is a longtime co-editor of Girls Like Us, a queer-feminist magazine that merges art, politics, and pleasure, and co-organizes Munnen (The Mouth), a cultural project space in a Stockholm suburb dedicated to publishing in an expanded field. She is a member of MMS, a research collective tracing labour histories of womxn in graphic design, which in 2020 published the book Natural Enemies of Books – A Messy History of Women in Printing and Typography. She holds a BA in Graphic Design from Gerrit Rietveld Academie in Amsterdam, and an MFA in Choreography (New Performative Practices) from Stockholm University of the Arts. Her work has been exhibited in numerous institutions, including Art in General (New York), Haus der Kunst (Münich), Index – The Swedish Contemporary Art Foundation (Stockholm), Istanbul Biennale (Istanbul), Göteborgs Konsthall (Gothenburg) and Västerås Konstmuseum (Västerås).
Sveta Schwin (RU/AT) born in Siberia in 1984, living in Vienna since 2007. Studied performing arts in Bremen and theater, film, and media studies as well as philosophy in Vienna. Schwin writes and directs plays for children, teenagers, and adults (Dschungel Wien, Konzerthaus, Theater Spielraum, Kabelwerk, among others) and works as a light designer, primarily on dance and performance productions. She creates her own light objects and installations. www.svetaschwin.at