Departures and Arrivals



o.T [untitled]
Rita Natalio

Ian Kaler studied “Transmedial Art” at the University of Applied Arts, Vienna and graduated from the BA Pilotprogramm “Contemporary Dance, Context, Choreography” at the Inter-University Center for Dance, the University of the Arts, Berlin. Since 2010 he develops his physical and creative practice in choreographic series in exchange with different artists through different (visual) media. Between 2014 and 2017, he has created the choreographic series "o.T." (german acronym for “untitled”), in direct collaboration with the electronic musical polymath Jam Rostron also know as Planning to rock.

“o.T." is composed of three pieces. The first piece “o.T. |(Emotionality of the jaw)” is a solo by Kaler, even if the stage is shared with Planning to rock and the percussionist Houeida Hedfi. In the second piece, “o.T. |(Gateways to movement)”, Kaler develops a duet with choreographer Philip Gehmacher with whom he had already worked in two big projects. Finally, in the third series “o.T.I (Incipient futures)”, Kaler collaborates with Stéphane Peeps Moun, someone with a different background in dance (house, hiphop, afro, jazz, step dancing), bringing a more clear reference of pop music to the scene. 

The "o.T." project has been supported by our partner HAU. The third series, “o.T.I (Incipient futures)”, is now being presented next february at Zodiak/Helsinki (9th, 10th and 11th february). 

The trilogy “o.T.", relies in the alliance between movement, pulse/rhythm, and a certain emotionality. This alliance can produce, in terms of movement, some associations with the heritage of minimalism, where dramatic/emotional change can be produced by small variation in structure or tone. Beyond the formal aspects of Kaler’s work, we were particularly triggered by the way his practice enhances a subtle deconstruction of our understanding of “sensuality”. On stage, emotionality and intensity become forms of activating sensuality, more than an explicit horny-porny-sexual approach. This happens because flow, pulse and desire are interconnected to produce a continuous movement principle that can vary and show its different facets, all along it conveys a repetition of certain movement patterns. By undulating instead of pumping, by preferring the movements of the torso to the movement of the hips, the live structure of these three choreographic series marries sensuality in a non-structural form, thus introducing delicate and fresh restarts at each stop. The value of live practice opens a sensual space instead of a head space (like it happens often in minimal forms).