feudalism is drawing to a close in the wachau which is ruled by the house of kuenringer. the troops of the european leviathan, a mechanised political system originating from the british isles, are overruning the continent with the ideas of enlightened thomas hobbes and have now reached the gates of krems.

the artist leonhard, a follower of progress himself, is - against his will - reminded of his duty by the seigneur of krems. however, him and the abbess of göttweig can stop leviathan's encroachment at least for the time being by using an astute invention. yet, the seeds of violence are starting to sprout. leonhard could help once again, but how can the tamed monster leviathan be pacified and engaged in community?

the plot of leviathan takes place during approximately 60 minutes at existing topographical locations in the danube valley: the bridge of stein nr. mautern, krems, the wachau, the river danube. an LED-video wall simultaneously inserts places afar and storylines into the real image of the fluvial topography, akin to an inlay. in condensed black and white aesthetics, only man, horses and military vehicles emanate from modern times. every other treacherous modernity of the setting is abscised via precise video dramaturgy.

leviathan uses leaps in time and conflicting images as engine for its plot. sumptuous military equipment and human performers - in a contemporary choreography with mediaeval backdrop - leviathan poses the present question of a new europe in the setting of a fictitious tale about the house of kuenringer in krems.