May 2nd - 30th 2016
WHEN WE FIRST MET is a one-on-one audioguided mobile performance, exploring human interaction and the significance of shared moments between strangers in the city. The audiowalk, with original text written by Serena Chalker and Quindell Orton, will be constructed specifically for FAKI leading the audience member through both everyday and unusual spaces, and encouraging them to view and examine them in a new way. During the course of the performance a fragmented narrative weaves its way through the guide, setting up a 'relationship' between the audience member and a single performer, and framing the audience member as one of the central characters in this duet that weaves through the city. WHEN WE FIRST MET embraces the connections between people and their potential impact in a transitory world.
Anything Is Valid Dance Theatre (AIVDT) was founded in 2008 in Perth by Serena Chalker and Quindell Orton, and is a critically acclaimed dance company specializing in site alternative performance. AIVDT have presented at independently and in festivals in Australia and Europe including Water Tower Art Fest (BG), Process – Space Art Festival (BG), Springhouse (DE), Fringe World (WA), Adelaide Fringe (SA), MoveMe Festival (WA), In Short – In Situ (WA), Noted (ACT), Short Cuts (WA), and Nomadic Village (UK). AIVDT were winners of the Best Dance Award at Adelaide Fringe in 2013, and are multiaward nominated including for the WA Dance Award for Outstanding Achievement in Choreography. AIVDT contributes bravery to the world and breathes culture into the unlikeliest of places. aivdt.com
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SPECTACULAT’OR is an experimental dance performance which uses body expression (gesture, movement, voice) and music (city sounds transformed into electronic music). The dramaturgy refuses a spectacular performance – a fixed, narrative and entertaining form. SPECTACULAT’OR proposes a ‘fiction documentary’, where performers embody social patterns and body mannerisms of diverse citizens. This urban embodiment transposed to an intimate space of a stage is reflecting and questioning an elitist and unequal society.Trailer
Sonia Borkowicz, Elsa Mourlam, Izabela Soldaty i Vilte Svarplyte are young dancers, choreographers and video artists from Linz who developed a critical approach to the city in which they came to live and study dance. They met at Anton Bruckner University and formed a performance collective Collective B for capturing urban body mannerisms and exploring social patterns that reveal dissolution of individualities.
Multimedial dance performance HOW THE HARES ARE DYING touches on subjects of individual vs society and the pressure to perform one's 'duty'. It explores the definition of identity and the identification of memories, and shows obsessive thought-projections towards another world war. The work is loosely structured upon Ionesco's 1952 pseudo-drama 'Victims of Duty', incorporating pre-recorded and live video projection, original text by Magda Tuka and a newly commissioned sound design. It is a brutal combination of different theatre strategies, stubborn and unstable search for meaning of events on stage, giving up and starting from the beginning again and again. Performed and devised by Magdalena Tuka and Anita Wach. Live sound and video by Myles Stawman.
Ja Ja Ja Ne Ne Ne is a Warsaw/London based non-profit organization. It was established in 2013 by actress/performer Magda Tuka and dancer/performer Anita Wach, to increase the feasibility for both their own creative initiatives and those of a network of associate artists. The organization core activities are, or are in relation to, live performance and the performing arts, with a particular interest in the interdisciplinary. The name Ja Ja Ja Ne Ne Ne was chosen to represent the creative idea of a bringing together of opposites, and is after the title of the 1968 artwork by Joseph Beuys. jajajanenene.com
'“STRAIGHT” JACKET’ is a durational performance using the imagery of a straightjacket to explore ideas of sexual inclination and societal restriction. A straightjacket is constriction. It physically restricts movement. It is a bind. More than just a reminder, it limits functionality. The image is powerful: a jacket which holds back the arms and constrains the body. A straightjacket has both a magic and a psychotic element to it, it is something to escape from. The straightjacket binds you to yourself, while at the same time keeping you from hurting yourself. It is aggressively taming the body to behave. Emphasizing the word straight, denying its reality, mocking it with quotation marks, ‘"STRAIGHT" JACKET’ implies something other than “straight”. “Straight” is a prescription which doesn’t cover anyone all of the time.
Sura Hertzberg is a performing artist based in Berlin, coming from New York and Portland. She has had the pleasure of dancing with renowned international performing artists (luciana achugar, Pawel Althamer, The AOMC, Patty Bradshaw, Felix Merchant, Hana Erdman, Nathan Fuhr, Javier Murugarren, Uber Teuchter, Yvonne Rainer...), as well as showing her own work in various pop-up and performance venues around Europe, the US, and the UK. Sura’s work is the trifecta between performance art, experimental theater, and contemporary dance. Through the body, she explores themes of sensuality and sex, beauty and grotesqueness. Her work aims to question and upset traditional performative standards, to deepen human connectedness and relationship, and to give those present an intimate and fully sensorial experience of art. surahertzberg.com
TALK TO ME AND I SLAP YOU is a piece about relationships, unfortunately. (We can’t get away from them.) One woman, one chair, one microphone. And a chair opposite her, for you. In an intimate conversation, she lays her cards on the table: talk to her, and she will slap you. A play on the anticipation of what happens when a theater audience talks back. An invitation to the edge of absurdity: she giggles, she hesitates, she paces, she explains, she explodes. Sometimes she does make real on her threat - in a funny and frightening exploration of spectatorship, gender, sensuality and violence. https://vimeo.com/166717181
Gabi Serani was born and raised in Santiago de Chile. She holds a postgraduate diploma in performance from London Contemporary Dance School and is apprentice with BalletLorent. Her work has been influenced by collaborations with David Zambrano, Theo Clinkard, Leila Mcmillan, Amit Lahav and BalletLorent. Serani is artistic director of TheDancingOwl, an online dance platform that supports graduates to build sustainable lives as independent artists. gabiserani.com
Chan Sze-Wei stepped into a dance class for a university P.E. requirement, and hasn’t stopped dancing since. After a degree in Political Science, she swapped a civil service career for dance, training at the Nanyang Academy of Fine Arts (Singapore) and London Contemporary Dance School. Blending conceptual, interactive, improvisatory and cross-cultural approaches for theatres, public spaces, performance installation and film, her work is often intimate and sometimes invasively personal, reaching for social issues, identity and gender. oddpuppies.com
In Soft Associations, we seek to acknowledge the softness of flesh and character. We seek to reveal the economy of dancers’ bodies, by consciously and openly economizing our own bodies. The aesthetic of softness is not usually associated with formal contemporary dance, but rather with body work that is often less socially acceptable, such as soft porn. We are using our two bodies as mirrors of one another to subvert our own expectations and those of the audience to reveal the constructs that confine our experiences of contemporary dance. As two trained female contemporary dancers, we are subjugated to the elitist constructs of dance. In Western dance, elitist notions are critical to both its form and presentation. The dancer is trained to develop an artifice of vulnerability. Dancers are taught how to expose their bodies while being observed. We as dancers spend large amounts of time staring at ourselves in mirrors as we train, connecting with the correctness of what we see, sometimes at the expense of noticing what we feel. Dance training is an elite practice that the audience is excluded from. Audiences are not expected to understand or even invited to be included in the embodied experience of the dancer. Thus audience is allured to the exposure of the dancer’s body, yet it is a calculated exposure. Vulnerability as taught in elite dance training can shield the performer from being genuinely vulnerable in their individual personhood.
Liv Fauver is a dancer and choreographer currently residing in Seattle, WA, USA. She received her Bachelor of Arts in dance and chemistry from Smith College in Massachusetts and was a resident artist with Delfos Danza Contemporánea where she toured and performed with Generation XIV of La Escuela Profesional de Danza de Mazatlán. She has also danced with the Tinydance Project, Melder Dance and in the works of Adam Barruch, Mizraim Araujo, Paul Matteson, Monica Bill Barnes, Andrea Miller and Zoe Scofield. She has presented her own work at EPDM, Velocity Dance Center, The José Limón Festival and Danza al Borde in Tijuana.
Kata Cots works in dance research and as a professional contemporary dancer and teacher. She is of Spanish and American nationality and has performed in Mexico, the United States, the United Kingdom, and Spain. She lives in Tijuana, Mexico, a metropolis on the border with the United States. She is a certified practitioner of the Feldenkrais Method® in somatic education by The Feldenkrais Guild ® of North America, having studied under Dr. Stephen Rosenholtz and Marilupe Campero at the University of Colima (Mexico) in the department of medicine. She has been using the Feldenkrais Method ® in her own practice for 9 years. Kata is a graduate of Sarah Lawrence College (New York) in Dance and Cultural & Political Anthropology.
May 24th - 29th 2016
Icarus is the mythical person who wants to fly higher than possible and go beyond the natural rules because he has too much pride. For this reason he is punished with death. According to the version of the ancient Greek writer Luciano di Samosata Icarus does not fall because he is crazy or proud, but because he is terrified of life and has therefore chosen to fly and die in dreams. This symbolic universe is similar to the choice of many young people who choose to take drugs because they feel like losers. In this piece Icarus doesn't die, we see him with a skeleton of wings, his figure resembles that of an aeronaut of the thirties, a mad scientist or a young unbalanced dark man. Icarus says he will still try to fly, to see the light. His ultimate aim is the ecstasy caused by beauty. Icarus has chosen to return to the light as a place of extreme beauty, dangerous and vital at the same time.
AZULTEATRO, born in 2005, is an Italian based group. Serena Gatti is director and performer, Raffaele Natale is musician and composer. Other collaborative artists join their projects. Serena and Raffaele devise shows for theatre and site specific performances. Serena has performed and collaborated with R. Mireck, G. P. Ang, D. Manfredini, E. Moscato, C. Morganti, F. della Monica, Living theatre; S. Bucci, C. Zerbey, A. Certini, K.J. Holmes, R.Giordano, K. Duck, O. D’Agostino, P. Mereu. azulteatro.com
TORTURES is a spectacle of circus contemporaneity, questioning small and bigger tortures that we inflict on ourselves and suffer by others on our path of artistic self-realisation. Torture stands for a deliberate act of causing physical or mental pain with a purpose of fulfilling a desire of a person who is torturing or to make the victim perform a certain action. By definition, torture is performed with intention and knowledge. Torture is forbidden by law in most states. Nevertheless, we have embraced subtle forms of torture as our everyday act and ritual. We do it to ourselves, we – the Circus People. We hang on our extremities, we throw ourselves from height, we repeat until we are exhausted, we force ourselves to remain in certain postures... These are just some of the small tortures that we constantly inflict on ourselves and our partner, with a tendency of increasing the number of hours spent in the space for body torture. The mind is not exempted either. In TORTURES three performers, using movement and music, convey their point of view on torture present in everyday social life and artistic work. Using the definition of the term and its practical forms as motives, performers implement them into the spectacle through live music, acrobatics, objects manipulation, VJ-ing..
Performance collective Cirkorama was founded in 2008, with a goal of promoting circus arts through education, plays, performances, street actions and various events. Its founders were part of Autonomous Cultural Center Attack's informal group 'Crazy Mama's New Lodge', which was among the first to bring juggling and stilt walking to the streets of Croatian cities. In addition to juggling, their artistic expression includes equilibrism, aerial and partner acrobatics, clown technique and modern visual and audio media. They are developing the regional circus story with international projects Laboratory of Circus Art and Cirkobalkana, and are partners in Medika’s performing arts program SubScena. In addition to various short street performances, they have created the circus collage show 'There are no dilemmas'; movable installation on stilts ‘Johan Von Stilter’; street juggling clown show 'The Magic of a Hat' and the full-length circus spectacle 'Danse Macabre - an Attempt of a Vertical Return'. 'Tortures' are their second full length circus spectacle. In May 2016 Cirkorama is publishing its first musical LP, with the soundtrack from 'Danse Macabre'. cirkorama.hr
In Italy, on June 13th 2012, 10 people have been accused of taking part in 'Subversive Association with purpose of international terrorism'. Thanks to the anti-terrorism Italian law 270-bis, three of them remained in preventive prison for one year, without trial or proof. These three arrested people were my flatmates and are my friends. One year later they came out of prison, and the major part of the accusations was considered unfounded. When I saw my friends out of the prison, they were strong, beautiful, full of grace and power. RIGHT ON! explores that strength that continues to make us human.
Daniela Marcozzi (1983, Bologna), based in Berlin, is an actress, performer, director and theater educator. In 2007 she got her master degree in Environmental Biotechnology at Humboldt University of Berlin and since 2003 she has educated herself in performing arts, taking long term courses and numerous workshops in Italy and Europe. In 2013 she moved to Berlin and thanks to an European fellowship, studies and collaborates with Peter Rose, the former student of Grotowski, participating in his ensemble in the performances shown at K77 Berlin. Peter Rose supported and supervised the realization of RIGHT ON!. In 2015 in Frankfurt am Main she collaborated with Angelika Liddell in the performance 'San Paolo a la carta'. With the Swiss dancer Sarah Kuster, in 2013, she founded 'Dani meets Sara', a performative duo active in the field of dance improvisation and composition. They performed LIGHTBEAT, a physical theater piece in different venues in Berlin and Europe (ada studio, HAU2, Eschscholoraque, TanzUnplugged- Winterthur, etc). danielamarcozzi.net
The state of emergency describes situations where common laws and rules are set aside. They are often triggered by a catastrophe or an unexpected event. By the state of emergency a situation is reaching a critical stage; decisions must be made and given the grounds for by everyone – independent of earlier norms and rules. The dramaturgy of the state of emergency tears away the security net and everyone is made responsible. Like this the state of emergency in many ways becomes the point zero and the standard of the political man: What do we decide when we no longer can act 'according to' or 'by the orders of'? 'Reasonable is the one who avoids the state of emergency', wrote a famous philosopher. But what if the state of emergency just cannot be avoided?
Let us imagine now a theater as a mixing console, let us imagine a scenic DUB. When bass and treble are distilled in their extremities, a void is created in between. As a musical form DUB is thus in principle democratic and welcoming, not only in style and material but also in the decision as to which voices fill the void. Stretched out in time, in a stripped-down and repetitive musical pattern, it also requires the active involvement and co-creation of the listener. Is it possible to conceive DUB as an even more open invitation, an invitation to musical theatre in general? With U-DUB we are attempting exactly that strategy: To transfer the musical concepts and work forms of the DUB genre to the stage – to use the theater as a mixing console. At the same time we challenge DUB music to receive theatrical devices into an extended metabolism of space, video, sound, movement, action and (radio) theater.
Transiteatret-Bergen (Transit-Bergen) is a theatre company based in Bergen, Norway. Transiteatret-Bergen (Transit) works under the artistic direction of playwright and director Tore Vagn Lid with the development of a contemporary theatre working in the intersection between theatre and music. Transit constitute an artistic production-network, comprising director, sound-,video- designer, set designers, moviemakers, actors and musicians – mainly working with base in Lids concepts and plays. The core artistic ambition has been "to expand the theatre room as a critical room of experience, where the musical and musical dramaturgic potential of the theatre is the most central". Tt-B has since its foundation in 2001 carried out over 20 scenic experiments and award-winning productions. The company has been presented in several European countries, and was the first Norwegian company to perform at the Salzburg Festival ("Measures Taken", Young directors project 2008). transiteatret.com
Dance performance THE MORE YOU DANCE... is rooted in the idea of the forced use of the body as a commodity for sale, with reference to the sexual exploitation of women. A person on stage, a faceless person, a nobody who is forced to expose, sell and resell a body again and again. Aggression, violence, fear and shame are performed through a highly physical movement language. Repetition reveals physical exhaustion, while the face brings back the factual reality instead of news from a distant country about sexual exploitation and human trafficking. Performance succeeds in combining intimacy and humor, narration and abstraction, risk and surprise.
the more I move the more I dream the more I dream the more I move the more I move the more I dance the more I dance the more I get
Evie Demetriou studied dance and performance at the Laban Centre in London and Limon Institute in New York. She is a 2004 Danceweb scholarship recipient and a travel grant recipient from the E-motional European Program 2011-2014 . She was an invited artist in the European Program Act Your Age 2012-2014, a European collaboration between Italy, Holland and Cyprus. Her performance works were shown in various venues in Cyprus and internationally at festivals such as Time to Dance Festival (Riga), E-motional festival (Bucharest), Abundance (Karlstad), Tanzherbst (Dresden), Nairobi solo and duets festival (Kenya), Stockholm Fringe Festival, Creative Forum of Independent Theatre (Alexandria), If Only (Birr), Dance Week in Dresden, Biennale of Sinop (Turkey). She was also the selected dance artist to represent Cyprus in the Biennale for Young artists from Europe and the Mediterranean 2008 in Puglia, Italy. She has choreographed and co-directed dance videos that were screened at numerous international festivals in Europe and USA. She has also contributed to the development of contemporary dance in Cyprus, as one of the founding members of the Dance House Lemesos and member of New Movement of Dance Groups, Choreographers & Dancers (2006-2010, 2012 -14). eviedemetriou.com
The chameleon is a symbol of a continuous and relentless transformation, a skin mutation that surpasses all the previous formalities and aspires to freedom. The chameleon embodies the most varied patterns and shades of colors: it uses them to create a constant bond of trust and cooperation in order to assert its absolute integrity. The chameleon achieves this by using its environment, but without damaging it. It takes on the characteristics and adapts its state of mind to the continuous changes around it. It is with these same intentions that the four performers move on the stage investigating new forms of interaction and dialogue, eclectic and varied. Vibrating and resonant bodies, and the performance material capable of shattering and supporting four chameleon stories, create an imaginative and fantastic world which is both prehistoric and futuristic.
CALAMALEONTE PRIMO ATTACO is a dance research project by four Italian choreographers and dancers Carolina Amoretti, Sara Campinoti, Cristina D'Alberto and Martina Francone. This is the first work of FIKA contemporanea danza, a dance collective founded in 2015. Its founders met in 2013 in Florence, where they were among the founding members of Attivisti della danza, an open group of dancers and choreographers promoting a change of perception of the role of contemporary dance and art in Florence and strengthening the city’s dance community. Experimental musician and percussionist Simone Tecla and light and sound designer Umberto Foddis collaborate with FIKA danza on a permanent basis. 'Fika' is a Swedish expression for having a coffee with cake, which is everyday Swedish convention, representing taking a break from the demands of daily routine.fikacontemporaneadanza.wordpress.com
"I" is a starting point. "I" as such - that an identity as such - does not exist. It can only exist in relation to others. "I" is constantly interacting with and reacting to the people and the reality which surround "I". An "I" must involve and must be involved ( Marc Colpaert )
The dance solo CAN'T LOOK THROUGH YOUR EYES was inspired by readings of the intercultural philosopher Marc Colpaert and his book 'Where Two Seas Meet'. It is a research of intercultural dialogue, in which Swiss choreographer Katja Grässli and the Malaysian dancer Beh Chin Lau explore the boundaries of two identities, not only by sharing experience of having different cultural backgrounds (European and Asian), but also by creating a dance performance in which they have connected the Malaysian traditional dance and synchronic Chinese dance with the strong visual, theatrical and experimental dance language of contemporary Europe.
Beh Chin Lau (Jinn) was born in 1983 in Penang, Malaysia. She has studied for one year for Master of Choreography at Fontys Hogeshcool Voor de Kunsten in Tilburg before she was awarded a stepping stone scholarship. She graduated from the University of Limerick with a first class honors Master’s degree in Contemporary dance performance. Jinn is accomplished in many dance forms including Chinese Classical and Folk Dance, Contemporary techniques, Tai Chi and Yoga. Jinn has performed and worked with Katja Grassli (Swiss/NL), Laura Murphy (IRL), Jacqueline Doyen (FR) and had her works performed at ABUNDANCE ’13, Sweden; Dancewoods Workshop Festival, Bologna Italy. Jinn has been awarded a number of scholarships including a full scholarship to the TDP’13 Dance Laboratory in Tipperary, University of Limerick, and was a recipient of a full scholarship to Shawbrook advanced summer dance training week in 2013.
Katja Grässli (1974) has studied visual arts in Zurich and got her master degree in experimental dance and choreography at Fontys Dance Academy in Tilburg. In her choreographic work Katja wants to stand close to her audience. She is fascinated by the stylistic possibilities offered by a combination of human body language with the abstract aspect of the dance. She has collaborated with numerous theatre venues (DanceBrabant (NL), Tanzhaus Zurich, OST-freie Szene Sttugart, O.T. Theatre Rotterdam, Theater Tilburg...). www.katjagraessli.com
The flowing river never stops and yet the water never stays the same
Foam floats upon the pools, scattering, re-forming, never lingering long
so it is with man and all his dwelling places here on earth
Hojoki- Chomei Kamo
EMPTINESS/FULNESS was created after the death hit my life. Two of the closest people in my life died suddenly during one month. I was forced to look at the death straight forward and change my perception. I'm trying to observe the world and to give a testimony about the stamp death has left me with, in order to design our lives.
Kazuyo Shionoiri was born in Tokyo in 1984, where she studied traditional Japanese dance. At the age of 18 she joins the Women Academy for Dance and Physical Education in Tokyo, finishes MA and begins to hold dance classes at the same institution. She won several awards in dance competitions and was awarded with two scholarships which enabled her to continue her studies at Clipa Theater in Israel (2010-12). After one year she becomes a member of the group and participates in several performances. She has also collaborated with choreographers Nimrod Freed, Sharona Floreshaim, Idit Herman, Tomer Sharabi and Gabriael Niohaous. Since 2012 she is creating with Oded Zadok. Their performances, as well as her own, were presented in many festivals all around the world (China, Japan, Russia, Poland, South Africa, Armenia, Israel and more).
KLETTE OR THE PHENOMENON OF SURREALISTIC CLINGING is an interdisciplinary work around the 'hook and loop fastener' invention of George de Mestral from the 1940s. The specific design of the costumes with velcro, which mechanism is derived from the features of the 'Arcticum Lappa', transforms attachment into a physically prevailing constant. The stage is shared by three performers whose presences are in a constant flux between subject and object. This fact puts them into a physical, emotional and architectural relation anew over and over again. The production is a serious examination of the topic of attachment and contains humor and vibrancy alike, while its consequent implementation creates a specific relation between subject and object and blurs the definition of the actual initiator of action. The performers interweave the choreography with a live-experiment of motion qualities and thus convert the dance also into an audible adventure.
LAB ON STAGE is a collective established by the visual artist Adriana Torres Topaga and the movement researcher/performer/pedagogue Arnulfo Pardo Ravagli in 2012. Exploring extensively relationships between body, movement, different materials and space over the years, the performer Andrea Maria Handler joined the group in 2014. Interested in interdisciplinary crossover projects, the collective is in constant research in the field of creative processes versus performance. puntos.at
ASSIMILATION is the first of a DIY multilogical-Afrofuturistic choreographic project that imbricates queer, Black, and anarchist ontologies with a current state of affairs. Looking toward new political possibility, the piece uses the repositioning of the allostatic load (a wear and tear on the body from repeated stress) on the Black body as both caused by frequent and unrelenting political stress, and also as the ripest site for radical physical discourse. It has been supported by the University of Illinois, Urbana-Champaign, FiveMyles Gallery (NYC), ShuaSpace (Jersey City, USA), and CLOUD at Danslab (The Hague, NL).
Malik Nashad Sharpe is a queer experimental dancer, choreographer, and writer based in NYC. He received his BA in Experimental Dance and Live Art from Williams College, holds a Certificate in Contemporary Dance from Laban, and is an MFA candidate at the University of Illinois. He is primarily concerned with the poetics of movement, emergent improvisation and choreographies, and the political potential of dance. He has performed widely around the United States, and Ireland, and his work has been shown in London, NYC, Tokyo, Montreal, and Williamstown. He is the founder and choreographer of experimental dance ensemble YESwave. vimeo.com/maliknashad
MEDOMAI is an examination of the fluid body projections. Slowing down physically to an almost constant rhythm, and to a velocity like we see on snails perceived by our eyes, we gain time to recognize how our situation changes in every instant, as well as the relation to our partner in any aspect. We are not able to fulfill desires or to get our desires fulfilled because during exactly that time, while we understand what we could do to reach our aim, the whole situation has already changed. In the impossibility to follow decisions and previsions, and so in the incoherence of expectations, there is a fragment of undecided land, where we can be free to perceive the present and staying in the slowest motion, second by second without knowing about what will appear next. Like this we can open possibilities to let them guide the body without thoughts, but with extended awareness. This also happens in life, but only when we are surrounded by a slow space. Only there we are able to understand the process, only then we are able to sense how things are evolving. In the quickness we can arrange things in a way that we can reach our aims, in the very slow motion we can only adapt our body and our mind to the situation. Here we might find new resources, we could change ourselves and our trajectories if we wanted, most likely because of the interaction with a non average time and state and the relation to the other person. Performed by Stephanie Felber and Ludger Lamers.
Choreographer and performer Stephanie Felber is specially interested and inspired by her all day environment and the subconscious habits that open related questions on social behaviors and structures. Her particular interest lines in social choreography and city/landscape architecture. Co-productions with other artists (e.g. Susanne Linke, Allard van Hoorn, Tino Sehgal, Chris Ziegler / Martina Morasso) led her to the Pinakothek der Moderne, Haus der Kunst, Dance Festival Munich, pérelinages Kunstfest Weimar and Akademie der bildenden Künste Berlin. Furthermore, she worked at the Kammerspiele Munich and the Residenz Theater in Munich. Her choreographic work has been invited to Best German Dance Solo euro-scene Leipzig, apart dance performance and secret solo Munich and shown in the Pasinger Fabrik, Museum der bildenden Künste Leipzig, Dock11 Berlin and schwere reiter Munich, Showbrook Ireland and Španski Borci Ljubljana. stephanie-felber.de/en/
MIGRA YOGA is an interactive performance based on the structure of yoga lessons. Main theme of the project creates clash between social movement and social topics connected to the refugee crisis and the bourgeois free-time physical activity, the cult of keeping the mind and body in harmony. Allegory of yoga is understood as illusionary search for autonomous, non-political place in the middle of life requiring political gesture. Thus, the opinion-required implications of yoga exercise are key tools for creating the feeling of certain discomfort. Harmonic and symmetrical yoga exercise (and philosophy) is disrupted by evil situations, by deformations of mental images connected to the centralized, meditative and „right“ poses. The performance can be either fully or half-interactive, and the interactivity bears the meaning as well: for those who want to be part of the play it is open to step in, for those feeling better in the role of observer can the piece be seen as a distant show.
Jindřiška Křivánková is an actress, dancer, choreographer, yoga instructor and performer in the field of original and experimental theater and performances. She studied choreography and contemporary dance at the Duncan Center in Prague, nonverbal theatre at the Academy of Performing Arts in Prague and Theater school Die Etage in Berlin. She has been creating original works since 2002, and in 2008 co-founded the Spitfire Company, which is engaged in physical and dance theatre. She is also the co-founder of the Kolonie, o.s., theatre company. In the 2010, she received the Talent of the Year award at the Next Wave festival in Czech Republic.
MMarkéta Magidová is an artist working with film, performance, installation and text. She has participated in many Czech and international exhibitions and festivals (National Gallery of Macedonia, Moscow International Biennale for Young Art, festival Ha!Wantgarda, Festival of Film Animation: Other visions, Days of Slovak Literature, Lisbon Architecture Triennale) and has held more than 20 solo exhibitions. She has published three artist books (Translation, The Home Dictionary, Typos and Stumbless) and created theatre play Persona forte (with J. Pfeiffer) and theatre performance (Typos and Stumbless). marketamagidova.com
A schizophrenic piece in three acts NORDIFIED derives from connecting two personal solos – 'Ad libitum'(A. Sollima, premiered at Echo Echo Festival of Dance and Movement in Derry, UK, 2014) and 'The Weeping Song' (Tanzarella, SEAD, 2013) and it is based on the personalities of dancers and improvisational techniques. They have researched on the physical strategies of surviving, trying at the same time to acknowledge thematically different and personal performances - on the freedom from the expression in the present moment (Sollima), and limiting enslaving impact of a strong past experience (Taanzarella). Result is two solos (con)fusing themselves in a duet, talking about structures, patterns, repetitions, difficult things, tiring things, things that we don't like so much, free material, survival strategies, exhaustion, confusion, states of mind and our common southern Italian origins in a nordified version. NORDIFIED is the exchange between a skilled performance, its practical preparation, its playfulness but also its exhaustion and weakness. Created with the support of Life Long Burning Wild Cards Residencies, Riksteatern (Stockholm) and Cullberg Ballet.
Alessandro Sollima started training contemporary dance in 2009 in “Modem Studio Atelier”, young collective of Compagnia Zappalà Danza, where he worked with Roberto Zappalà, Giovanna Velardi, Loris Petrillo, Giovanni Scarcella, among other Italian choreographers. Consequently Alessandro starts collaborating with Simona Miraglia in the ongoing project Il II SESSO, winner of many awards and presented in different venues around Italy. In 2011 he decided to go abroad to study in Northern School of Contemporary Dance (UK) and consequently in SEAD (Salzburg Experimental Academy of Dance) performing pieces by Akram Khan, Martin Kilvady, Michal Mualem, Claire Lefevre and others. After graduating, in 2014, Alessandro worked with Simone Forti performing daily in the Museum der Moderne, Salzburg. Currently he is part of Milan Tomasik & Co. touring the show 'Hunting Season' and ‘Silver Blue’.
Maria Teresa Tanzarella (Bari, Italy), based in Wien, is a winner of numerous dance, choreography and literature awards, scholarships and art residencies. She has studied at SEAD and at University of Trento - Department of Humanities, Faculty of Literature and Philosophy. Her last creations have been with choreographers Doris Uhlich, Michikazu Matsune, Jacqueline Kornmüller, Corinne Eckenstein. Her work as a choreographer has been shown in Salzburg (Lust am Risiko festival),Vienna (Raw Matters, Tanzquartier, Tanzhotel), Stockholm (Riskteatern), Barcelona (Tragantdansa), Bari (Teatro Kismet OperA), Ruvo (Teatro comunale). Experiences which she finds absolutely important for her development have been workshops with David Zambrano (she has been selected for EX-IN 2014, one month intensive of Flying Low and Passing Through at Ponderosa), Les Slovaks Dance Collective, Edivaldo Ernesto, Frey Faust, festivals such as Festival Internacional Deltebre Dansa and ImPulsTanz and the practice of JiuJitsu and Brazilian JiuJitsu. mt-tanzarella.wix.com
ALL THESE PLACES HAD THEIR MOMENTS is an eclectic dance performance, researching on remembrance of things, based on Marcel Proust's 'Swan's Way' and theater of absurdity by Eugen Ionesco and Samuel Beckett. It shows the absurdity of believing in an intelligible present, when reality is made of fragments, disorder and chaos of the past, fleeing from us and making us who we are. Show was created at SEAD. Four young performers, students at SEAD, contributed to the ambiguity of the project by their different performance means and backgrounds (contemporary dance, breakdance, acrobatics, ballet, theatre, singing). Directed and choreographed by Patricia Hastewell. Performed by Hastewell, Alexandros Anastasiadis, Giulia Brigona i Luis Garcia.
Patricia Hastewell (1991) comes from Barcelona, where she studied ballet, contemporary dance and law school, practicing for one year with professional dance formation AREA. In 2013 she continued her dance studies at SEAD. She has collaborated with William Castro (Cuban national Ballet), Olga Alvarez (Cia la Taimada), Ryan Mason (Staatstheater Kassel) and Paul Blackman (Juxstapose).
New media and live music performance RE-VOLT ATHENS investigates on the subject of gentrification, which became a burning political issue in Athens since 2010, when public spaces in the city center became riot zones of civil resistance against political and economical exploitation of public historical locations. Melted with other crisis factors of chaotic urban everyday life RE-VOLT ATHENS brings the question of Athens being a city, a myth, a notion or a prima-donna of crisis? ODC ensemble welcomes four provocative artists, director Elli Papakonstantinou, performer Rosa Prodromou, visual artist Pantelis Makkas and composer/ musician Tilemachos Moussas, who draw attention to the feelings of fear that arise in the gentrifiers’ perceptions of quotidian life in times of high liquidity. Focus is on the political rhetoric that was developed in the context of gentrification project 'Re-think Athens', run by the Onassis Foundation. The center of Athens was publicly described as 'uninhabited', 'filthy' and 'empty', while in reality it was overpopulated. This rhetoric was used to legitimate the policies of oppression performed by the government towards immigrants (sent to immigrant camps) and demonstrators (victims of militant police actions). RE-VOLT Athens is an impressionistic journey through the sociopolitical problems of Athens today, in a crisis which is pan-European. It is an angry outcry against faceless state control undermining democratic processes and exercising authority in our social habitats, transforming them according to their rules and regulations into an under-cover war-zone.
Established in 2002 by Greek theatre director Elli Papakonstantinou, ODC Ensemble is a highly acclaimed company active in the field of contemporary and experimental art, consisting of outstanding performers, dancers, musicians and visual artists. ODC ensemble creates engaged art, out of the box, in unexpected spaces like a window-screen on Broadway Avenue, N.Y., a residential building (polukatoikia) in Athens, industrial spaces etc. The involvement of local communities and volunteers is essential to its artistic work (bringing on stage more than 20 citizens that join forces with professional artists at a time). Since March 2011, ODC Ensemble has been based at their own venue, Vyrsodepseio - the biggest tannery of the Balkans in the 19th century. They transformed it into a multi-stage, versatile space for performing arts. Vyrsodepseio is situated at the fringe of Athens, in a neglected post-industrial area. Vyrsodepseio' is a member of International Networks Trans Europe Halles (TEH) and IETM and runs under the Auspices of the Greek Ministry of Culture. The company's work was presented internationally at the Edinburgh Festival (UK), Athens & Epidaurus Festival (GR), the Princeton University (US), the Opera House of Cairo (EG), the National Theatre of Greece, LaMaMa Theatre NY (US), the 1st International Theatre Festival of Iraq, the Inauguration Ceremony of the Library of Alexandria (EG), X-Dream Festival (CY), Neukollner Oper Berlin (DE), , Musikteatertage festival Wienna (AU), Antik Teatre Barcelona (ES), etc. It was presented at the National Greek participation in PQ Quadrennial 2016 (CZ). vyrsodepseio.com/en
SHIFT is a multidisciplinary circus performance, aiming to take the audience on a journey that is poetic and surreal, but close to everyday life. It tells the story of a girl seemingly living a normal life, but suddenly discovers more and more pleasure in not fulfilling her own and society’s expectations. On a very visual level, the performance deals with categories and norms inviting the audience to question its perception. The clear and honest use of circus techniques of static trapeze, ball manipulation and foot juggling, as well as the elements of performance art, make SHIFT a poetic and thoughtful performance, while being self-ironic and funny.
Roxana Küwen (DE/IR) graduated in 2013 from the Academy for Circus and Performance Art in Tilburg (NL). Within her circus disciplines, foot juggling and static trapeze, she has developed a unique style of expression which aims to take as many different audiences as possible into her universe. She performs solo acts is part of the Collective CiNS. roxanacircusartist.com
CIRCUS.FREEDOM.EQUALISING is a performance lecture by CiNS, a multidisciplinary project group dealing with culture of remembrance in the context of circus and circus artists during Fascism in Germany. The lecture performance is part of their quest to find new ways of remembrance and to spread knowledge about this neglected subject. It tells the story of Jewish circus artist Irene Bento and her surviving from the Holocaust by hiding in a traveling circus. Through links between history and personal destiny, as well as between narrative and acrobatic images, it points out the importance of finding new ways of remembrance which relate to the world we live in today.
Roxana Küwen (DE/IR) graduated in 2013 from the Academy for Circus and Performance Art in Tilburg (NL). Within her circus disciplines, foot juggling and static trapeze, she has developed a unique style of expression which aims to take as many different audiences as possible into her universe. She performs solo acts is part of the Collective CiNS. roxanacircusartist.com
'A reenactment of a state of mind of someone who has nothing to lose'. Street performance THE LOWEST SPOT IN TEL AVIV is a journey following the artist's attempts to escape reality and become a 'super-hero' in fantastic para-reality which reveals his fears, failures and vulnerability. Performer discusses and demonstrates how the fantasy and the street life both confronted him with his inhabit death wish and depression, his religious background, and his relationships with family members and love interests. Losing all shame is the last barrier in the artist journey toward living his fantasy, and is also the unavoidable lesson learned in becoming a street artist.
NEITHER SOFT NOR LIGHT is a dance performance of physical and emotional extremes. 'My creation stems out of my biography. It may derive from my religious education or the fact that I served in the army as a combat soldier, and it may simply be that I grew up in a family of 11 children and therefore I keep choosing to stand in the opposition. I am constantly drawn to the winding paths and the unpaved roads. I turn to the dance with a prayer to heal by it, to shake out old pains, to create a new context for my being and to exercise my freedom and spread the faith.'
Dror Lieberman is a multidisciplinary performance artist. As a performer and creator he is part of Clipa Theater from Tel Aviv since 2013. As a freelance dancer he worked with many chreographers including Idit Herman, Nir De Volff, Noa Dar, Maya Briner, Sharona Florshaim, Nimrod Freed, Deganit Shemay and many others. His works include wide scale of skills and abilities as he tries to create a new style or language in every piece. His creations have been presented in festivals in Tel Aviv, Berlin, Bilbao, Prage, Wrocław etc.
Theater without actors and a director. THE STATE is a participatory meta-theater performance dedicated to the last conscious night of Plamen Goranov, before the morning of February 20th 2013 when he burnt himself in front of the Municipal Council of Varna. Since early 2013 Bulgaria saw more than a dozen of people, young men and women, burning themselves in public spaces in protest against a failing state, corruption, poverty and very probably – in despair. Bulgaria has had the most massive wave of protests in 2013 since the time of WWII. The country is an active part of the growing protesting movement throughout the world that started in 2011 with the Arab Spring and the Indignados movement in Spain.
Alexander Manuiloff is an established author, screenwriter and writer from Bulgaria whose dramaturgical works have been shown in Munich, Prague, Cologne, Berlin, Baltimore (US), Cluj, Sofia and Varna. He was selected for the festivals such as Temps d’Images, Globalize: Cologne, Prague Quadrennial (2007 and 2011) and Varna Summer. Recently he was invited to contribute to the newest project made by German theater collective Rimini Protokoll. His first book 'Film' received the Bulgarian Writers’ Guild Award for the best debut book of 2005, while his second one came out in Berlin in 2008 ('Language Ideas'). Alexander Manuiloff is the first Bulgarian writer to denounce publishing on paper in Bulgarian and in a Bulgarian publishing house (Christmas, 2011). manuiloff.com/english
Three dancers on stage, with two tables and two computers. The dancers control directly the music and video on stage. Performance consists of two parts; first part presents a fixed choreography with projection, while the second brings task-guided improvisation. SKETCHES OF FREEDOM reflect on the concept of freedom in creative class with the main question being: Are we free to create in our society? When are we more free? In the planned steps or inside an improvisation scheme? What do we choose to enhance our freedom? Performed by Tommaso Monza, Andrea Baldassarri and Lucia Pennacchia.
Tommaso Monza studied sculpting at Accademia di Belle Arti di Brera, and later he moved closer to dance theater and contemporary dance studying and training with different teachers, among others: Abbondanza/Bertoni, Julien Hamilton, Roberto Castello, Ivan Wolf, Liat Waysbort, Silvia Rampelli, Loren Potter... tommasomonza.com
FOREVER/NEVER is a site-specific project moving on the diminishing borderline between visual art, dance and performance, offering a passage through hauntingly attractive and deceiving images of beauty and violence. FOREVER/NEVER examines the attraction towards representations of violence, and it is a result of a long work process which included a profound research of different forms of violence in contemporary life. The research started by addressing the fact that violence is so roughly woven into Israeli day-to-day life, acts as Israel's main 'product' exported to the world media, and is inseparable from the nation's history. The short violent movement scenes are operated in a loop, and so – the performers repeat, in amazing accuracy, extremely physical moment of violence, over and over again, letting their physical exhaustion 'corrupt' and change the material presented, until they can no longer do it, until they drop to the floor. For FAKI creator and director Idit Herman and co-creator Artour Astman will stage the performance with local and FAKI dance and performance artists.
Clipa Theater was established in 1995 in Tel Aviv by dancer and director Idit Herman and actor-creator-musician Dmitry Tyulpanov. Their encounter and partnership led to the emergence of unique theatrical language, interweaving the arts of theater, dance, design and music. Clipa Theater is considered the leading visual theater group in Israel, and has significantly contributed to the development of the field in the country. clipa.co.il
One morning I woke up in bed, rolled over and looked at the person sleeping next to me. And I recognized her. Not because we’d been dating for the last year. But because she reminded me of every person I’ve ever been in a relationship with. Why do we fall in love with the same people over and over? What lessons are they trying to teach us? 'Love & Heroine' is a reflection on addictive love, obsessive patterning, and where it leaves us in the end.
>Sura Hertzberg is a performing artist based in Berlin, coming from New York and Portland. She has had the pleasure of dancing with renowned international performing artists (luciana achugar, Pawel Althamer, The AOMC, Patty Bradshaw, Felix Merchant, Hana Erdman, Nathan Fuhr, Javier Murugarren, Uber Teuchter, Yvonne Rainer...), as well as showing her own work in various pop-up and performance venues around Europe, the US, and the UK. Sura’s work is the trifecta between performance art, experimental theater, and contemporary dance. Through the body, she explores themes of sensuality and sex, beauty and grotesqueness. Her work aims to question and upset traditional performative standards, to deepen human connectedness and relationship, and to give those present an intimate and fully sensorial experience of art. surahertzberg.com
FROM DUST WE COME TO DUST WE GO is part of series of performances called '53 Saturdays', started in 2012. and consisting of 53 individual performances on 26 motives, dealing with the complex relationship between labour and leisure in art, nature and life in contemporary times. The work exploits body and basic materials like dust, fire, water, air etc. After the performance Syed will hold a video presentation of his art work.
Syed Taufik Riaz is a visual artist and performer from Calcutta active in the Indian and international scene. His performances are solitary, individualist acts which are rarely publicly announced and no audience is gathered. He rather documents the actions and reflects on them theoretically later. After studying painting, Syed specialized in art history at the Kalabhavan University in Calcutta and he creates in the field between art galleries, streets and public spaces, art institutions and the academia for 13 years. He teaches aesthetics and practice of new media. He is a co-founder of Kolkata International Performance Art Festival (KIPAF) and a member of Performers Independent, an open collective of artists and other creative individuals.performersindependent.blogspot.hr
Where could the world be, if not in the flesh? From where to scream and escape, if not from the flesh? The spectator is going to be an accomplice of the bodies tearing apart their vestments and flesh for assaulting an open space. Four female artists activate naked space by using walls, holes, windows and rooms, filling it with all the power of female tide and re-imagining it as thousands of sceneries that reveal to the audience thousands of possible worlds that flood women. SCREEN FLESH is primarily inspired by Spanish film director Pedro Almodovar, gathering four stage artists who have deconstructed female semantics and eventualities in order to talk from their own flesh about some situations, memories and experiences. The project won a grant for creation from the District Government in Bogotá, Columbia. Performed by Juana del Mar Jiménez Infante, Jennyfer Caro Castrillon, Daissy Robayo and Eliana Quintero. Directed by Jorge Bernal.
Dance company Maldita Danza has developed a particular interest in scenic space and moving bodies, after series of researches on Colombian and Latin American traditional dance. The company participated in dance and performance festivals in Peru, Ecuador, Argentina, Chile, Mexico, Croatia and Turkey. Jorge Bernal is a dancer and choreographer from Bogotá, Colombia. He has graduated in Performance arts and Contemporary dance at the District University Francisco Jose de Caldas Bogotá. He spent four years working with Butoh master Ko Murobushi in Colombia, Japan and Austria. He is the co-founder and director of Maldita Danza. facebook.com/maldita.danza
ANYTHING IS VALID DANCE THEATRE (AU) – WHEN WE FIRST MET, 10am/12am/2pm/4pm / Street
YAYA COLLABORATIONS (US / MX) – SOFT ASSOCIATIONS, 8pm / DZIU
COLLECTIVE B (AT) – SPECTACULAT'OR, 9pm / Film studio
SURA HERTZBERG (US) – LOVE & HEROINE, 9:30pm / Joghurt
MT TANZARELLA & ALESSANDRO SOLLIMA (AT/IT) – NORDIFIED, 10pm / DZIU
GABI SERANI / CHAN SZE-WEI (SG / CL) - TALK TO ME AND I SLAP YOU, 11pm / Chakka
ANYTHING IS VALID DANCE THEATRE (AU) – WHEN WE FIRST MET, 10am/12am/2pm/4pm / Street
TOMMASO MONZA (IT) – SKETCHES OF FREEDOM, 8pm / Film studio
BEH CHIN LAU / KATJA GRÄSSLI (MY/NL) – CAN'T LOOK THROUGH YOUR EYES, 9pm / DZIU
EVIE DEMETRIOU (CY) - THE MORE YOU DANCE THE MORE YOU GET, 9:35pm / DZIU
TORE VAGN LID / TRANSITEATRET-BERGEN (NO) – U – DUB, 10pm / Club Attack
KAZUYO SHIONOIRI (JP) – EMPTINESS / FULLNESS, 12pm / Chakka
ANYTHING IS VALID DANCE THEATRE (AU) – WHEN WE FIRST MET, 10am/12am/2pm/4pm / Street
TORE VAGN LID / TRANSITEATRET-BERGEN (NO) – U – DUB, 8pm / Club Attack
LAB ON STAGE (AT) – KLETTE OR THE PHENOMENON OF SURREALISTIC CLINGING, 10pm / Film studio
SURA HERTZBERG (US) – 'STRAIGHT' JACKET, 10:30pm / Jazz
ROXANA KUWEN (DE/IR) - CIRCUS.FREIHEIT.GLEICHSCHALTUNG, 11pm / DZIU
SYED TAUFIK RIAZ (IN) - FROM DUST WE COME TO DUST WE GO, 12pm / Yard / Chakka
JINDŘIŠKA KŘIVÁNKOVÁ / MARKÉTA MAGIDOVÁ (CH) - MIGRA YOGA, 7pm / DZIU
ROXANA KUWEN (DE/IR) – SHIFT, 8pm / DZIU
DROR LIEBERMAN (IL) – NEITHER SOFT NOR LIGHT, 9pm / Film studio
MALIK NASHAD SHARPE (US) – ASSIMILATION, 10:30pm / Joghurt
STEPHANIE FELBER (DE) – MEDOMAI, 12pm / Chakka
DROR LIEBERMAN (IL) – THE LOWEST SPOT IN TEL AVIV, 12am / Street
MALDITA DANZA (CO) – SCREEN FLESH, 7pm / Facade
FIKA DANZA (IT) – CALAMALEONTE PRIMO ATTACO, 8pm / DZIU
AZULTEATRO (IT) – ICARUS, 9pm / Film studio
ELLI PAPAKONSTANTINOU / ODC ENSEMBLE (GR): RE-VOLT ATHENS, 10pm / Club Attack
ALEXANDER MANUILOFF (BG) – THE STATE, 11pm / Chakka
CLIPA THEATER (IL) - FOREVER / NEVER, 5pm / Facade
CIRKORAMA (HR) – TORTURES, 7:30pm / Pogon Jedinstvo, Trnjanski nasip bb
PATRICIA HASTEWELL (ES/AT) – ALL THESE PLACES HAD THEIR MOMENTS, 9:30pm / DZIU
JA JA JA NE NE NE (PL/UK) – HOW THE HARES ARE DYING, 10pm / Film studio
DANIELA MARCOZZI (IT) – RIGHT ON!, 10:45pm / Joghurt