With Dance # 2 Christine De Smedt and Eszter Salamon continue to build on Dance # 1 / Driftworks. The first part – listening & mouthing – was inspired by Inuit throat-singing duets. In part two – words & gestures – a dialogue develops in which syllables and words become attached to movements. What does a choreography look like when it resembles a ping-pong game of question and answer?

During the Day of the Dance we show a screening of IT'S IN THE AIR. In this 2008 collaboration between Jefta van Dinther and Mette Ingvartsen, the two performers jumped on large trampolines for 50 minutes. This video registration is all that remains of the intense physical challenge.

The raw materiality of the set, the physical sound and unavoidable language of movement make Meanwhile, an apocalyptic performance in which the passage of time and the relationship between man and his environment become tangible. This show has been rescheduled to season 2016-17 due to planning problems.

Technological developments lead to a potential new era, that of Technological Singularity. Sandy Williams creates a performance about the tension between our raw, flawed and incomplete human nature and the immaculate potential of a digitised future.

Ivo Dimchev gives one of his famed live concerts. Be swept away by his remarkable vocal gift and musicality during 15 original songs from his performances!

With this performance installation, Hans Demeulenaere and Emi Kodama invite you to explore the ways your relationships are shaped by the places you live.

With The Disembodied Lady, Benjamin Vandewalle delves into the possibilities of a choreography of sound. He generates an immersive physical soundscape that explores the suggestive powers of sound – together with you.

Salva Sanchis revisits his group piece The Phantom Layer in the shape of a small-scale installation. Time and the body are mirrored by video projections. This physical essay explores the traces we leave behind and the infinite possibilities they generate.

What happens when a voice creates space and this space is filled with movement? ‘S approaches performance as a love relation. Between you, the performer and his materials.

Julian Hetzel explores a radical alternative use of money earmarked for culture. Starting point is the € 2.000 gift he received to develop a project. He donates that entire budget to a starving child in Africa. By transferring 1 euro each day, he effectively turns the gift into a ‘2000-day intercontinental performance’.