LEMONISM Vol.1 – Museum Version (Archive)

“ A rhizomatic performance series goes on”

With LEMONISM x JAPONISM | SYMBOLISM | MINIMALISM | ACTIONISM Akemi Takeya‘s rhizomatic solo-series goes into a new round: for ImPulsTanz 2016 she enters her lemon circle one more time and develops two completely new performances for the lower atrium of Leopold Museum. Furthermore she presents LEMONISM x ACTIONISM which premiered last year at ImPulsTanz. In a three-day long Gesamtkunstwerk Takeya paraphrases, counteracts and deconstructs ideas and strategies from different historical “isms” in art and transfers them into her very own universe of “Lemonism”. In 72 positions she focuses on the body as a tangible self. It is a trial of finding a new perspective to present the body which is unfolding alongside the tokens #00 until #71. This tokens are linked to different parts of the human body as well as connected to an “ism”. In an associate way both traces are brought together revealing poetic and unforeseen relations between the body and the “isms” of our world. Flesh of fruit and humans, ritual and ecstasy meet 20th century art! A journey through different periods of art that is not bound to any chronology. The choreographer Akemi Takeya turns into a different character according to the particular “ism”, takes over specific movement patterns and methods in order to approach the particular art movement. In the art space of the Leopold Museum, in her lemon circle, that is representing the whole universe in the shape of a mandala, times and spaces are put into relation. Japanese culture meets expressions of the soul, Butoh meets a game of the unconscious, geometrical abstraction meets ecstatic rituals, a (live) video installation meets the concrete body, fine art meets contemporary dance.

Vol.2 – Museum version (Complete) >>
Theater version >>
Special version >>
Vol.1 – Museum Version (Archive) >>
LEMONISM X ACTIONISM: General infos >>

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Alike a mirror image she takes over the movements of the 1780 developed Kurokami (“Black Hair”), in which a courtesan mourns after her ex-lover. She copies Tatsumi Hijikata, the inventor of Butoh, the “Dance of the Revolt”. This “Dance of Darkness” from the 1960s/70s rebelled against traditional forms of Japanese dance and theatre and resisted at the same time the import of modern Western dance…Read more >>


The features of the 1960s art movement aiming for reduction and clear, geometrical forms become the aesthetic guiding theme for Akemi Takeya‘s performative investigation. She becomes a geometrical sculpture herself while her body is imprinted point by point, becoming abstract and fragmented…Read more >>


…Ecstasy, dream, obscurity and mystery, riddles and metaphors – this features that characterise symbolism are transferred by Akemi Takeya into a dreamlike game that obeys the laws of coincidence and unpredictability. A translation of possible and impossible ideas….Read more >>


In her examination of the radical Austrian art movement Akemi Takeya exposes herself to a recurrent ritual: the flesh of the lemon becomes her own flesh, it becomes a metaphor of a transformation, in which the nude performer cuts into again and again…Read more >>