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.

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.

Based on the Golem myth – in which Jewish scholars bring dead matter to life, which subsequently turns against them – Thomas Ryckewaert creates an explicitly visual performance about ambition, creativity, power, creation, insanity, and destruction.

If it is true that money rules the world, then perhaps time has come for it to account for its acts. It is therefore not in an attempt to bribe a magistrate that Christophe Meierhans is bringing money to court, but on the contrary, in order to offer it a fair trial: Is money itself the culprit for having brought the world to the catastrophic state it is in now, or has it rather been employed to the design of ill-intentionned individuals?