From their earliest works – Fremdkörper (2003) and Diese Körper, diese Spielverderber (2004) – onward, Liquid Loft breaks the notion that the presence of the body within performance can in any way be more immediate than, for instance, a verbal utterance or media image. As such, Liquid Loft is skeptical of the idea of naturalness onstage and instead examines the cultural subtexts and choreographic means that are used to create this impression.

Inspired by science fiction and cyborg theory, Liquid Loft’s early works reflect the experience of our changing perception and bodies, which is brought about by visual media and the everyday use of technology. The choreography shifts perspectives, isolates gestural and linguistic patterns from their everyday contexts and tries to integrate the outside view of the body into its movement vocabulary. A central aspect of the work is the use of acoustic dislocation.

These acoustic environments create new ways of thinking about dance movement and the spaces in which it happens. They shift and change the individual sonic field of the performers, separating the voice from the body, only to return it again but in a modified form. Thus, the dancers are given new, surprising possibilities to recombine their original material.

With this method of deconstruction and reconstruction, which applies to both the movement vocabulary as well as the perspectives of bodily perception, Liquid Loft continued to explore new fields of choreographic action. My Private Bodyshop and Kind of Heroes (2005) reflect the changing use of language in the context of cultural globalization. Running Sushi (2006) created “alien” systems out of clichéd perceptions of social and human conditions, such as the aesthetic of Japanese Manga and “superflat” design. The three part Posing Project - The Art of Wow, The Art of Seduction, The Art of Garfunkel (2007-2008) investigates an arsenal of gestures, images and deceptions and their social conditions in a circulation of desire.

Wintersonne (2008), Austria’s contribution to the World Exhibition in Zaragoza, Spain, shows the seemingly familiar from a strange, new perspective which ironically pokes fun at stereotypes of national self-representation in a global context. Lovely Liquid Lounge and Das China Projekt, a collaboration with the Jin Xing Dance Theatre, analyzes the social attribution of gender within the medium of dance, and examines how exoticism is used to manufacture desire within European culture. A fascination with the exceptional as well as physical “strangeness/otherness" was also a starting point of interest for the collaboration with the dancers of Les Ballets de Monte-Carlo (Sacre: The Rite Thing, 2010). With Talking Head (2010) Liquid Loft worked again with its own dancers, trying to conceive language as sculpture and dance, which moves along the thin line between the very real desire of identification and self-exposure in our "unreal" but everyday SkypeTwitterFacebook world.

Starting in 2011 Liquid Loft collaborated together with French visual artist Michel Blazy to create the Perfect Garden Series, a string of live-performances and installations dealing with themes such as artificial paradises, baroque decadence and transience. The performance piece WELLNESS (2011) was developed specifically for the Palmenhaus, an extraordinary location in Vienna’s Burggarten. It was followed by Mush:Room (2012), an installative performance, centered around a stage set consisting of a cube of iridescent viscous threads (Blazy). Deep Dish (2013) formed the third part of the series: its installative arrangement conjures a sumptuous dinner of organic materials; transforming, much like the surreal novel Locus Solus by Raymond Roussel, into a journey towards visual parallel worlds. Liquid Loft’s approach of using live video onstage to create micro - and macrocosms, as they first did in Deep Dish and refer to as “live choreographic film", expands the notion of choreography and the theatrical space itself. It is a reaction to our almost completely medialized everyday lives, with their instant production of self-images and experienced realness.

The integration of the camera as an element of the choreography was further refined and intensified in the Imploding Inevitable Portraits- Series (2014-2016). Inspired by the earlier films of Andy Warhol (such as Flesh, Trash, Heat or Chelsea Girls) and the New York Factory, Liquid Loft created Shiny Shiny…, False Colored Eyes (in co-operation with Burgtheater Vienna and ImPulsTanz Vienna Int. Dance Festival) and Candy’s Camouflage.

With the use of the voice being a central theme for Liquid Loft, Foreign Tongues (2017/2018) follows yet again a new approach to language. From over 100 voice recordings from different geographical regions of Europe, a “Babylonian Library” was created. Slangs, dialects and regional languages spoken by native speakers were used as a source for various productions such as the stage piece Foreign Tongues (Toulouse), the site-specific creations of Foreign Tongues (Street Cluster), a co-production with the IN SITU Network and La Strada Graz, Church of Ignorance, a creation originally for donaufestival Krems, and the stage-on-stage version Bablyon (Slang), presented at ImPulsTanz Vienna Int. Festival. Using a flexible sound system, the performers interpret language through movement on the basis of phonetics and rhythm and interweave the urban soundscape with the timbres of the different geographical regions.

Equipped with a vast knowledge of working with different urban sites and landscapes in Foreign Tongues, for their current creation, Liquid Loft is working with the vast range of possibilities of architectural shapes and forms inspired by the ideas of Bauhaus for the newest creation, Models of Reality (2018/19).



Liquid Loft’s affinity for contemporary positions in visual arts has led to an expansion of their productions towards film (so far Liquid Loft has created 5 films based on their stage pieces together with experimental filmmaker Mara Mattuschka) and installation (collaborations with visual artists Aldo Giannotti, Günter Brus, Erwin Wurm and Michel Blazy, a.o.). This extension of choreographic methods towards media and creations that exist outside the conventional stage set permits dance to continually rediscover itself and be viewed from another "foreign" angle. With the Living Room Products, Liquid Loft has created a format which links choreography with other art forms and different artistic practices. The Living Room Products were created to allow experimentation between genres (music, film, visual arts) with the intention of initiating an exchange between artists in an informal studio atmosphere.

In the field of contemporary music, the collaboration with the musicians of Phace Ensemble for contemporary Music, composer Arturo Fuentes and visual artist Günter Brus (Grace Note, 2012), is yet another example of Liquid Loft’s interdisciplinary and collaborative approach.The various international ensembles with whom Liquid Loft have collaborated include: Dialogue Dance Russia (Groza, 2012), Staatstheater Kassel (Lego Love, 2013), Contemporary Ballet Moscow (Frozen Laugh, 2014). For Balletto di Roma, Liquid Loft devised a new interpretation of Giselle (2016). Most recently, Chris Haring and Andreas Berger created the performance Deranged with the Balé da Cidade de Sao Paolo (2018).