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.
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.
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.
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.
In this lecture performance, Tony Chakar investigates the mythological story of the first woman, Lilith, who was Adam’s equal, and the emergence of the alphabet. He links this to the destruction of recent political events.
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.
Petra Serhal explores the commemoration of recent horrific acts. She asks you to hold a minute’s silence at the beginning. You are not only a viewer, but also a performer who – forced into an extremely vulnerable position – mourns collectively.