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apperception
2003, 15 minutes; 3 or 6 dancers
music: Peter Garland
“extremely introspective”
Jack Anderson, The New York Times
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artificial
2005, 25 minutes; 6 dancers
original soundscore: Brooks Williams
"visually arresting"
Allison Tracy, Berkshire Eagle
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beneath
2002, 12 minutes; 6 dancers
music: phonophani, Johannes Wieland
"watch these disparate
emotional states"
Jack Anderson, The New York Times
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corrosion
2004, 15 minutes; 6 dancers
original music: Espen Sommer Eide
"the topsy-turvy world of human relationships with all its betrayals was expressed"
Anna Kisselgoff, The New York Times
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filtrate
2004, 27 minutes; 7 dancers
sound design: David T. Pinkard; music: Erik Satie
"the choreography sears the brain"
Deborah Jowitt, The Village Voice
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in
2001, 10 minutes; 4 dancers
music: phonophani
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membrane
2004, 27 minutes; 8 dancers
original music: Scott Killian
"Adamantly abstract on its surface, the work is haunted by subtle currents of emotion"
Tobi Tobias, ArtsJournal
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mnemonic
2001, 10 minutes; 2 dancers
music: Vladislav Delay
"... a finely choreographed duet that served to introduce much of Mr. Wieland's movement vocabulary"
Brian McCormick, Gay City News
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mohn
2003, 4 minutes; 1 dancer
music: phonophani
"He executed quiet power, managing to signal technical prowess with great economy"
Susan Yung, The Dance Insider
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newyou
2008, 90 minutes; 5 dancers, 40 performers
music: Barry White, phonophani, Bert Kaempfert
(amongst others)
"Wieland examines events that throb with covert passion and
violence - cleansing, dissecting, and re-stitching them
together as deftly as a surgeon wielding scalpel and
needle."
Deborah Jowitt, The New
York Times |
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parietal region
2002, 13 minutes; 3 or 5 dancers
music: phonophani
"repetition of movement and
repetition of memory resonated with affect."
Richard C. Skidomore, The Martha's Vineyard Times
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progressive
coma
2006, 80 minutes; 6 dancers
music: Bert Kaempfert, Vladislav Delay, George
Gershwin (amongst others)
"There are agile, handsome dancers; a clever use of video;
and lots of sexy and provocative and mysterious incidents"
John Rockwell, The New York Times |
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retina
2002, 5 minutes; 1 dancer
music: Vladislav Delay
"The evening's reward came from Retina
- one point of his foot and I was sold."
Brian McCormick, Gay City News
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reverse
2004, 5 minutes; 2 dancers
music: Johann Sebastian Bach
“a duet of intrigue and connection”
Molly Holm, TheaterScene.net
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sediment
2005, 15 minutes, 8 dancers
music: Johann Sebastian Bach
"Mr. Wieland has an un-obvious musicality that allows the fragmented dance to work strangely well with the lush, musical outpourings."
Roslyn Sulcas, The New York
Times, November 2005
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shift
2002, 13 minutes; 2 dancers
music: Michael Gordon
"... a star turn of virtuoso high-energy dancing"
Jennifer Dunning, The New York Times
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struction
2002, 13 minutes; 5 dancers
music: Vladislav Delay
"an energetic, physical
work"
Connell McGrath, New Berkshire.com
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tomorrow
2001, 10 minutes; 3 dancers
music: Richard Strauss
set by Johannes Wieland
"[a] spectacular exploration of relationships"
Anna Kisselgoff, The New York Times
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trio
2002, 10 minutes; 3 dancers
music: George Gershwin
"[a] laugh-out-loud comedy"
Allison Tracy, The Berkshire Eagle
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(untitled)
2000, 6 minutes; 1 dancer
music: Pan sonic [as Panasonic]
"visceral … evocative and human in its expression of angst."
Brian McCormick, Gay City News
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vertical
2003, 23 minutes; 8 dancers
original music: Scott Killian
"the choreographer’s concerns—about space, about feeling—expand and flower"
Tobi Tobias, The Village Voice
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