Live art, intervention, site-specific performance, one-to-one performance, social art, community art, participatory performance, immersive theater, urban gaming. Although all of these terms function as a technical term in a certain scene, a certain form of “theater”, and partly lead to very different results, what all these endeavors have in common is intensive reflection on the relationship between audience and actors. Reflection in the sense of: Let’s all go for a walk together on the fourth wall! Hotel Obscura has given itself the label of live art, meaning processes, strategies that enable an interaction between audience and actors starting each time from a concrete space. This is more than just a performance for a small audience and also more than mere interaction. A framework is to be created each time, the outcome is not yet determined. This sounds like a social experiment and self-experience, and in the best case it also has something to do with ideas about responsibility.
Hotel Obscura does not attempt anything genuinely new. Or anything that has not already been tried somewhere else. Namely turning theater-theater into really captivating theater, in other words social encounters full of inescapability and intimacy. Yet Hotel Obscura is nevertheless an extraordinary project. People come together here, not only from the most diverse countries, but also with the most diverse conceptual preconditions and discuss the possibilities of intimacy. The project is also unique purely in the dimension of the events. Most of all, though, it is probably the case that the different scenes behind the different labels sometimes have very little to do with one another. Yet the audience goes along with it. Gerald Harringer – DIE FABRIKANTEN, who has been following the concept of live art in Austria for probably 25 years, is of the opinion that the audience has largely become a more mature, more self-confident audience. That has something to do with democratization processes in art as well as in the media. And this has political implications. So in the completely private, intimate, the completely political, public is found. (Text by Theresa Luise Gindlstrasser)
Club Real (DE/AT), Alix Denambride (FR), SILK Fluegge (AT), Deborah Hazler (AT), Patrik Huber (AT), Martha Laschkolnig und Markus Zett (AT) , Brian Lobel (GB), Veronika Merklein (DE/AT), Mandy Romero (GB), Mario Sinnhofer (AT), Chris Swoon (AT), Elise Terranova (AU), Time´s Up (AT), Katerina Kokkinos-Kennedy (AU), Katharina Wawrik (AT), Your Cousin PIA (AT), Rea Zekkou (GR).