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.

This – unexpectedly current – rerun from 2008 shows Paris from the perspective of the artist-immigrant. During the 20th century countless people took refuge in the French capital, including many artists and intellectuals. Just as likely, they ended up working as taxi drivers or street cleaners. Christian Bakalov’s depictions of their social exclusion and humiliation urge you to question your own feelings of empathy and solidarity.

What if scenography becomes the starting point from where a story unfolds? Meryem Bayram developed a series of pure and basic forms made from cardboard, that transform from an apparently empty and flat surface into a whole repertory of evocative scenic elements.

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.

In Still Animals, Tuur Marinus brings the famous photographic studies of Eadweard Muybridge to life. Naked human bodies that are subtly manipulated by camouflaged performers, perform iconic series like the jumping cat or the flying pigeon.

How can we perceive reality if we reinvent the primary elements of language? In Holy Words, Niko Hafkenscheid revisits his passion for language and history. How did man get to the point of writing things down by using signs?

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’.