everything is registered, everything is a product, everything is performed.  


OUThere took place for three and a half months on public locations in Vienna, on the internet and in a final performance installation at the WUK theatre in October 2012


OUThere was a project that intended to blur the division between product and process by transforming every material generated from the 1st day of the process into a product. This, was done by creating a series of daily practices which organised time, produced and processed materials in a cyclical manner. One could call it an artistic game, as the idea was to find out how to create interest by framing/re-contextualizing every single material that was generated no matter the perceived quality of the original material. The result is simultaneously aesthetically eclectic and coherent in terms of the methodology.  


List of practices OUThere:

-performing two to four times a week on public locations randomly chosen by throwing dices over the map of Vienna.

-video recording of all the performances and transformation of these recordings into “video work”. One dance - one video ratio.

-photographing glimpses of what was seen in the journey towards and from the location of the performances.

-self-interviewing myself in real-time through the use of a typewriter, with the intent of simultaneously further develop the project and create a documentation of the process of thought as it happens.

-documentation of the creative process as an artistic object in the form of a website.  Attempting to understand the act of registering as an artistic practice, which in its turn becomes an artistic object. (this website no longer exists unfortunately)


 Bellow you can find some examples of produced materials in the form of images and videos :




​                                original  image/text description for website




Seeing is in itself a way of faking 

Choreographer Raul Maia with "Outhere" at WUK

Helmut Ploebst

Oct 4, 2012, 7:06 p.m

Vienna – After his dancing career in Brussels with Wim Vandekeybus' company Ultima Vez and with the well-known Dutch Hans Hof Ensemble, the Portuguese-born choreographer Raul Maia (31) is establishing himself in Vienna. His successful solo project Outhere is currently being shown in the Wuk project room.

So far, Maia has not only attracted attention as a participant in the work of local choreographers, but also with his Ballet of Sam Hogue and Augustus Benjamin- together with Thomas Steyaert - which was also shown in the Wuk and then in the Tanzquartier and at Impulstanz. From May of this year he also attracted attention as a performer on Vienna's streets, train platforms and meadows: as a young man with a beard and a camera, who behaved very strangely.

That was the time when Outhere was implemented in public space. In the course of this, Raul Maia filmed himself dancing at different locations, which he selected by rolling a die on a Vienna city map. The resulting video material and texts, which the dancer typed on an old Olympia Progress typewriter, form the basis for the final Wuk performance Outhere is facing here. In it he dances live to the images created in the city area. The special thing about it: Maia can manipulate these videos directly on stage with a computer mouse if necessary. He makes the accompanying music with an amplifier device that resembles a metal detector and with an electric guitar that he takes out of a refrigerator.

In a fascinating way, this confrontation of documentary material with the live events in the project room illustrates how spooky the medium of film is. Because everything that becomes visible in it is irretrievably passé. On a certain level, Raul Maia's dance with the recordings of his interventions in the city also becomes a fight against forgetting, the "death" of what has been experienced. And also against the document becoming a falsification of history.

Rather, Maia makes it clear how much each perception brings its fictions into our reality. That's probably why it's also part of the "Fakes, Facts and Fiction" theme, which will continue to make the Wuk a place of uncertainty until mid-December. First with the young choreographer Fannifutterknecht and later with Otmar Wagner, God's Entertainment and Toxic Dreams, among others. (Helmut Ploebst, THE STANDARD, October 5, 2012)

(google translation)