In this piece for three dancers, Ola Maciejewska draws her inspiration from Loïe Fuller, one of the pioneers of modern dance and performance art. She explores the relationship in the arts between human beings and physical matter by creating movement in large pieces of fabric. She plays with the confluence of bodies and objects and the battle that these wage.
Trajal Harrell explores a moment in dance history when female artists presented performances on the boundary between entertainment, erotic dancing, and early experiments in modern dance. CAEN AMOUR is structured as a hoochie coochie show. With a seductive performance, scantily dressed ‘hoochies’ lure you around to the backstage area, to reveal the festivities on the ‘coochie’ side.
In her new solo – and anagram – oslo, Mette Edvardsen once again plays with language, time and space. She extends the concept of the solo into the entire theatre space, where thoughts, words, things and actions multiply.
Charlemagne Palestine is unleashing his strumming technique on the Bösendorfer Imperial: a piano that covers eight complete octaves. His instrument looks like a sculpted altar made of cuddly toys. He elevates these to divine creatures or shamanistic totems that are always close by.
SSSSSSSSSSSS is a solo about survival instincts based on Butoh techniques, performed in the public space. Initially, Misevičiūtė looks like one of those street artists who pretend to be statues, but the meticulous movements of her living sculpture gradually evolve into a choreography.
Caspar Western Friedrich combines the narrative force of the Western with the dreamy longings of Romanticism. Drawing his inspiration from the lonesome cowboy and from the paintings and personality of Caspar David Friedrich, Philippe Quesne builds a studio of landscapes on stage.
With a year’s production of her own wool and two performers, Orla Barry addresses our complex relationship with nature. The result is compelling live performance and a video installation, made up of a series of vignettes that reflect upon the primal, poetic and unpredictable bond we have with the natural world.
SSSSSSSSSSSS is a solo about survival instincts based on Butoh techniques, performed in the public space. Initially, Misevičiūtė looks like one of those street artists who pretend to be statues, but the meticulous movements of her living sculpture gradually evolve into a choreography.
Hedwig Houben introduces three plaster characters: The Made, The Being and The Imitator. How do they relate to each other? How much do authenticity and originality really matter? Don’t we all learn through copying others?
In 2012 Karthik Pandian and Andros Zins-Browne visited the Atlas Film Studios in Morocco. They rented a group of camels, which they tried to coax into dancing in amongst the old film sets. With Atlas Revisited, the artists take a look back at this quest for an image of freedom – with brand new video material.
Sirine Fattouh guides you through a piece of Lebanese history based on a personal selection of artworks. She hereby focuses on three specific moments: the end of the civil war in the late nineties, the assassination of the former prime minister in 2005, and the Israeli attacks on Lebanon in 2006.
Numerous Syrian gardens cover the bodies of demonstrators who took to the streets during the civil war. Gardens Speak shares the oral history of ten of these people, in the form of an interactive sound installation. Each story is carefully told in consultation with their family and friends.
