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To attend the concert »OOO-Intime« you need a ticket.
Please enter your 8-digit login code in the field below and confirm it by clicking on »Anmelden«.

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We recommend that you listen to the concert with headphones!

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Liping Ting: OOO-Intime

Liping Ting: OOO-Intime

Humans are not the center, following ZhuangZi Philosphy, but part of the Universe, where all beings, inter-connected, equally co-exist.

As A. Artaud pleaded, the Humans are worse built, and it is time to confront their crisis, to reveal the authenticity of their existences in the Universe.

Today’s, a turbulent world uncertain, moving between the post pandemic and the new cold war, the creativity and the freedom of creativity become the essential key to resist to any toxic human activity.

Isn’t it time for the Poetry (Poïesis) to emerge, inspire to act, to love this earth on edge?

From Eliot’s »Waste Land« to Lu Xun’s »Wild Grass «; from Artaud’s »Pour en finir avec le judgement dedieu« to my own’s poems »Human?!«, »MadMam«, »GoldenBouddhaSilent«, »BeWater«, »Islandlessisland«; springing from the height of these poetry, I would like to extend a boundless passionate human landscape of visceral artistry.

An open-mind collaboration with Mosaik ensemble conducts my open score conception of Poetry-Music, mirroring a live performance art. This score conception, indeed, initiates with my video OM, a simple walk meditation, presents the capsized moments from the miscellaneous nature of my native country (little wild countryside), persists and goes through a full pandemic global isolation.

I dreamed that I was dreaming … Wake and awake… Half Human? Or Fully Nature?

Last but not least, OOO-Intime, keeping utter innocence, continues to create a live concert, where poetry-music experiments alive as any kids love to play, rich of human authentic Poetry experiences, constantly inviting to love, to love and to be reborn.
Liping Ting


Liping Ting

Liping Ting

The works of the interdisciplinary artist Liping Ting blend various cultural sources including art, literature, theater, music and philosophy. Her work has been influenced by John Cage and Samuel Beckett, but also by the Chinese poet and philosopher Zhuang-Zi. She came into contact with dance and traditional Chinese dance traditions at an early age. She studied philosophy in Taipei and from 1988 applied theater studies in France. Since then, she has presented her poetry-art actions at festivals in Europe, North America and China, such as Polysonneries (Lyon) in 1999, Polyphonix (Paris) in 2000, the performance show REMAINS at Fergus McCaffrey Gallery, New York in 2017, as well as at Le Lieu Quebec with her installation IM-MI (Para-Site), at the DAAD Artists-in-Berlin Program in 2018 and at the Donaueschinger Musiktage. She co-curated experimental music and interdisciplinary art activities at Topophonie, InFormo, and Festival In-Ouïr in Paris, and founded her OOO-Lab in Taipei.

Liping Ting has collaborated with various artists, poets and musicians such as Esther Ferrer, Boris Nieslony (& Paersche), poet Serge Pey, Julien Blaine, performance artist John Giorno (in homage to Robert Filliou, Montagne Froide), Luc Ferrari, Malcolm Goldstein, Joëlle Leandre, and the music ensembles Hiatus (FR) and Ensemble Mosaik.

In her installation works, Liping Ting explores anthropological and ecological marginal issues and their possible transformation in relation to collective memory. The artist practices a ritual purification process that raises awareness of geopolitical crises and globalization.


Ensemble Mosaik

Ensemble Mosaik

The artistic work of ensemble mosaik builds on the continuity of its musical community, on explorative continuity, networking, collaborations with artists of all disciplines, other ensembles and with event organizers, on intercultural exchange as reflection and inspiration of global artistic concerns.


Since its founding in 1997, ensemble mosaik has developed into a renowned ensemble for contemporary music as a particularly versatile and experimental formation. In their 25 years of collaboration, the musicians have created a distinguished ensemble that demonstrates openness to a wide variety of contemporary music concepts at the highest artistic level.


Egalitarian working structures form the basis of a processual way of working in exchange with all actors involved in a concert project.