Lenah Flaig

»UNFASSBAR« places a performative wind laboratory in a public urban setting.

»UNFASSBAR« (German for intangible, inconceivable, inapprehensible, incomprehensible) shines a light on the fragile balance between order and chaos in complex systems and processes.

The project draws its inspiration from the physical phenomenon of wind, which can set things in motion in a “magical” manner and blows with a force that can have either a constructive or destructive effect.

»STORIES FOR ASTOR« is an interdisciplinary performance installation for Astor Piazzolla's 100th birthday.

The anniversary project combines music, dance and light art.
It offers a three-dimensional contemporary perspective on the Argentine composer's Tango Nuevo.

»Trompe‑l’œil« – a performative research on masking and unveiling.

The artist collective DIPHTHONG (Nikos Konstantakis & Stephanie Felber) kidnaps the audience in a walk-in performance installation in intermediate worlds of reality and identity.

How to work in a healthy,long-term and sustainable way and be more considerate of my own needs?

This guideline is a reflection tool for professional freelance dancers.

Where there are advantages for some, there are always disadvantages for others. An imbalance that, from time to time, is tantamount to accepting a criminal act. CRIMINAL PLEASURES makes crime consumable by ironically questioning the high culture of our time and entering the genre of "true crime".

Who is the victim? Who is the perpetrator? Or has the question long been moot?
The actresses are in search of the really big misfortune and in the end only find themselves.

A production by flies&tales somewhere at the interface of performance, dance, text and music.

3 month research on generating electronic sounds, examining the resulting quality of movement and researching the political level in dance funded by Fonds Darstellende Künste

How differently can time be perceived?

60:60 is a performative video work with 12 tvs. Lenah Flaig filmed herself in 60 different surroundings, moving in slow motion for one hour. 60 hours become 60 minutes. What if an hour was only 60 seconds?

»Expecting light« asks why we keep looking for a secret.

Why do we act as if we were dealing with the truth. Why do we need the secret all the more, the more comprehensible and »scientific« a world is, which nevertheless does not want to be properly understood by anyone.

Who can still distinguish between trial and error?

We are in a struggle against what is pulling us down: gravity, time, the certainty of not being able to fly and the responsibility to always catch ourselves.

Nobody is the hero.
Nobody is saved.

»One must still know how to disappear« (un)veils the disappearance into the visible.

Two women, a voice and the harmless game of life: an anonymous, fictional person, that manifests itself as a nebulous voice, influences the dancers and their actions on stage. The two women approach an abstract philosophical interrogation and go to their physical limits until there is no voice left.

What is left behind, if a person disappears and where does the urge to say something before you go come from?

This is a piece about leaving behind, disappearing, entangling and forgetting.