In her previous pieces, Charlotte Vanden Eynde often used objects and video, coming close to the boundary of visual art. In I’m Sorry It’s (Not) A Story she gives shape to her associative visual idiom in pure movement and dance, and seeks out the ‘image’ and poetry of movement.

(BIG GIRLS DO BIG THINGS) by the American dancer and choreographer Eleanor Bauer is a dance performance on grandeur and vulnerability, hubris and humility, about living large when less is more but more is also unmistakably more. Bauer invites you on a safari expedition into the depths of the surface-oriented world of the performer. Self-expression drops the self and expression takes over.

The Cypriot Maria Hassabi, who lives in New York and is appearing in our country for the first time, has made this portrayal of the female body in art and popular culture the subject of her SoloShow. She has merged hundreds of iconic images seamlessly together and with aesthetic precision and extreme physicality developed them into a live installation.

In Springville we witness the constant metamorphosis of a small world. Characters, half human, half object, attempt to function with and in the proximity of one another. They play a moving game of chaos, expectation and surprise. Scenography, costumes, props and characters are closely interwoven and merge together. The image prevails. A performance with references to slapstick.

Kris Verdonck quite often combines his fascination with machines with images and concepts that owe a lot to science fiction. This certainly applies to the three-part Actor #1, a performance about evolving: about what has come into being, what is, and what may come into being. Three variations on the metamorphosis from chaos to order. The three parts of the performance are shown in separate rooms at the Kaaistudios, and a guide takes you from one to the other.

When you go to see every now and then, you are given a book of photos at the start. For the whole duration of the piece the audience can read through the pages and the ‘spaces’ of the book at the same time as they follow what is taking place on stage. The individual reading combined with a collective experience results in a performance in several layers. The piece unfolds through the turning of pages, and the fantasy and imagination of the experience of a space, of a time, of a performance.

Using text and sound, the Croatian Barbara Matijević and the Italian Giuseppe Chico offer an associative, personal view of their 1989. Their material consists of authentic and fictional audio documents either made in 1989 or related to it by content: pop songs, the Eurovision Song Contest – in 1989 won by Yugoslavia! – excerpts from radio and TV shows, private recordings and so on.