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Dominik Anton Feistmantl
Researcher I Performer I Choreographer
Production Management and MBSR Teaching
ABOUT
Dominik Anton Feistmantl lives in Athens and Berlin. Born in Austria in 1992, he studied Contemporary Dance at the Academy of Arts in Amsterdam and is currently finishing his master’s degree in Critical Dance Studies at the Freie Universität Berlin where he focused on non-ocidental, decolonial, queer and feminist research which anthropological methods and movement as well as oral histories as main mediums to empower transformation and cultivate world-making. He worked allover Europe and was part of two research residencies in Bangalore, India, with Abhilash Ningappa, and Nayarit, Mexico with Julia Barrios de la Mora. He has collaborated with choreographer Loïc Perela from 2017-2020, which has been crucial for his understanding of choreographic practices as well as the ongoing collaboration with Mexican artist Julia Barrios de la Mora since their first creation in 2016.
RESUME
2023 & 2024
FORBIDDEN FRUIT BY DOMINIK FEISTMANTL / DEVA SCHUBERT / JULIA BARRIOS
NHAKA BY NORA CHIPAUMIRE
FUTURE PELVIS BY DOMINIK FEISTMANTL
UR.ANUS BY DOMINIK FEISTMANTL
2021 & 2022
POLY BY LOIC PERELA
PSYCHE BY HAGIT YAKIRA
TRANS BY DOMINIK FEISTMANTL AND FERNANDO BALSERA
2019 & 2020
NO ACCESS BY THARAN REFVEM
VOICE BY LOIC PERALA
GAME BY TOMAS DANIELIS
2017 & 2018
A MOMENT OF PAUSE BY DOMINIK FEISTMANTL
CONSEQUENCES BY ELIO GERVASI
COMO LAS OLAS BY JUDITH SANCHEZ RUIZ
SACRED SCARS BY BLENARD AZIZAJ
2015 & 2016
CODIEFIED MANDARINS BY DOMINIK FEISTMANTL AND JULIA BARRIOS DE LA MORA
WHAT ANIMAL IS? BY ELIO GERVASI
3TIMES JOAN BY DOMINIK FEISTMANTL
WORKS
FUTURE PELVIS
2023, Akademie der Künste, Berlin
The archive performance “future pelvis” is part of an ongoing research that is unpacking the pelvis from stored cultural content, religious taboos, as well as oppression by the prejudices and fears of the Global North through the dance practice of perreo, also known as twerking.
The ass and anus have been hypersexualized, racialized and discriminated against, loaded with unhappiness, guilt, shame, disgust and alienation.
Can we initiate a shift, taking the lead from Global South experiences, and find reorientation for the anus and the buttocks? Perhaps even celebrating them and taking back control of our narratives?
TRANS
2021, Bauhaus Reuse, Berlin
“TRANS is a celebration of the senses
and our own vulnerability. It displays
the inter-connections of light, sound
and body, away from hierarchical patterns. The pulsating bodies maneuver through delicate changes of energy with great subtleness and invite us to a journey of transformation. A rhythm takes hold of everything and opens the space
to the experience of shared sensations”
A MOMENT OF PAUSE
2017, Price Award Ceremony at ORF Studios, Dornbirn
In "a momen of pause" I'm diving for gaps that allow a queer approach as a lively mutating organism to foster a desiring radical openness with differentiating multiplicity that brings forth an agential dis/continuity unfolding in promiscuously inventive spatiotempomateriality where celebration and ritual work as a means of display.
2016, Connective Bains Brussels, Kosmos Theater Bregenz, ITs Festival Amsterdam, ArtEZ Arnhem
“We interact repetitively with objects on a daily basis without questioning too much the way we learned to use them. But repetition shouldn’t narrow down our curiosity to develop and change the way we interact with objects. How can we, in a performative context, use repetition as a tool to allow a change of those components? Does perspective itself play an initial role in that process since it is essential how we perceive and understand the world in order to change it. Using sound and movement in this context of a performative happening we are amplifying the established conventions to reinvestigate the known.
3TIMESJOAN
2015, KUB Bregenz, Austria
Is a solo created based on the exhibition of Joan Mitchell and investigates a state of matter between solid and liquid, a condition of existing in more than one form at the same time. By decentralising the role of the performer through giving sound and light a performative function and having the audience distributed in the space the public is invited to question their own senses.
