Composition and concept: Stefan Prins; choreography and concept: Daniel Linehan; choreography and dance: Hiatus; music: Klangforum Wien; musical direction: Bas Wiegers; dramaturgy: Alain Franco; stage design: 88888; video: Damien Petitot; lighting design: Ralf Nonn; costumes: Frédérick Denis; sound design: Florian Bogner and Peter Böhm

With: Hiatus (dance): Gorka Gurrutxaga Arruti, Renan Martins, Anne Pajunen, Victor Pérez Armero, Alexander Standard, Louise Tanoto, Katie Vickers and Klangforum Wien (music): Olivier Vivarés (clarinet), Gerald Preinfalk (saxophone), Anders Nyqvist (trumpet), Ivo Nilsson (trombone), Florian Müller (piano), Krassimir Sterev (accordion), Lukas Schiske (percussion), Yaron Deutsch (e-guitar), Dimitrios Polisoidis (viola), Uli Fussenegger (doublebass)

Working in close collaboration, composer Stefan Prins and choreographer Daniel Linehan create a hybrid music-dance performance concerned with the themes and paradoxes contained in the idea of "private matters". What becomes of the value of privacy in a world of increasing surveillance and increasing public oversharing on social media platforms? And what becomes of our participation in public life, as it starts to include more virtual connections, so that geographic proximity plays an ever smaller role in our idea of a community? What is the meaning of intimacy in this constellation? Is the world really becoming more transparent, or isn't there always something private/hidden/internal that can't be fully exposed to the public's eyes and ears? Third Space triggers these questions
In collaboration with 7 dancers of Linehan's dance company Hiatus, 10 musicians of Klangforum Wien and conductor Bas Wiegers, Linehan and Prins create a "third space" that cannot easily be categorized according to conventional binaries. This space is not entirely real and not entirely virtual, but instead it occupies a territory in between the two. Blurring the distinction between music and dance, they consider bodies, spatial configurations and gestures of the conductor and musicians as part of the choreography, and the sounds made by dancers' movements as part of the musical composition.Structured like a loop that happens twice, Third Space plays with the audience's perspective and perception. In each iteration, the audience will be privy to an entirely different set of information through the mediation of broadcasted video, audio, and live performance. Issues of the power of the mediated image arise. Who or what is in control? Who or what is driving the performance?