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HAUT SKIN PELE
In a world where differences often feel greater than similarities, skin teaches us that the essence of life is both unique and shared—binding us together through its infinite elasticity. It is at once diverse and singular. Vital to our survival as human beings, skin inspires artistically and strengthens socially in our search for unity.
When something gets under our skin, that experience can transform into a powerful language—expressed uniquely through feelings, stories, movements, and sounds, all enveloped by the skin. Haut Skin Pele is an artistic journey that reaches inward, connecting us to the essence within.
Concept: Momentos World
Choreography: Vinicius
Music: Vienna Music Institute
Photography © Tabea Stummer
www.momentos-world.com
When something gets under our skin, that experience can transform into a powerful language—expressed uniquely through feelings, stories, movements, and sounds, all enveloped by the skin. Haut Skin Pele is an artistic journey that reaches inward, connecting us to the essence within.
Concept: Momentos World
Choreography: Vinicius
Music: Vienna Music Institute
Photography © Tabea Stummer
www.momentos-world.com
(OP)POSING BODIES
Two bodies. Standing in space, searching for direction. A female and a male body exploring their possibilities for communication, expression, trust, and freedom. An invisible connection is formed. Is it stable, supportive, detached, or frightening? In an attempt to share (body) history and its weight, dancers Nemanja Bošković and Lina Lev expose themselves to the risk of falling, letting go, and the possibility of reframing.
Inspired by the exhibition Frauenkörper (“Female Bodies”) at the Kurpfälzisches Museum in Heidelberg, they examined the relationship between man and woman, painter and model, and the process of assigning gender roles.
The project was supported by the Ministry of Science, Research and Culture Baden-Württemberg, the Ministry of Culture Heidelberg, and INTER-ACTIONS / Edan Gorlicki.
Concept | Dance | Choreography: Lina Lev in cooperation with Nemanja Bošković
Music: Paul Erich Riedel
Photography | Video © Lutz Berger
Inspired by the exhibition Frauenkörper (“Female Bodies”) at the Kurpfälzisches Museum in Heidelberg, they examined the relationship between man and woman, painter and model, and the process of assigning gender roles.
The project was supported by the Ministry of Science, Research and Culture Baden-Württemberg, the Ministry of Culture Heidelberg, and INTER-ACTIONS / Edan Gorlicki.
Concept | Dance | Choreography: Lina Lev in cooperation with Nemanja Bošković
Music: Paul Erich Riedel
Photography | Video © Lutz Berger
FEMALE BODIES
The project “Female Bodies” consists of two parts. In the first research phase, Lina Lev spent three months investigating the representation of female bodies in visual arts from the 1400s onwards. She explored how female bodies are portrayed, what expressions and gestures they convey, and how these representations have influenced the understanding of women and their bodies up to the present day. Throughout this phase, she continuously shared her “work in progress” with the public as part of Edan Gorlicki’s “Building-Actions” program. The project was conducted in cooperation with the eponymous exhibition Frauenkörper at the Kurpfälzisches Museum Heidelberg.
In the second part, Lina Lev continued her research in collaboration with dancer Nemanja Bošković. They focused on the relationship between man and woman, painter and model, and the process of how being seen through gender roles shapes perception. The performance (OP)POSING BODIES was presented on February 19th and 20th, 2022, at the Kurpfälzisches Museum Heidelberg. The project was supported by the Ministry of Science, Research and Culture Baden-Württemberg, the Ministry of Culture Heidelberg, and INTER-ACTIONS / Edan Gorlicki.
Concept | Choreography: Lina Lev
Photography © Patrick Sobottka
In the second part, Lina Lev continued her research in collaboration with dancer Nemanja Bošković. They focused on the relationship between man and woman, painter and model, and the process of how being seen through gender roles shapes perception. The performance (OP)POSING BODIES was presented on February 19th and 20th, 2022, at the Kurpfälzisches Museum Heidelberg. The project was supported by the Ministry of Science, Research and Culture Baden-Württemberg, the Ministry of Culture Heidelberg, and INTER-ACTIONS / Edan Gorlicki.
Concept | Choreography: Lina Lev
Photography © Patrick Sobottka
FOLLOW ME FREELY
In solos, duets, and the larger ensemble, the dancers explore movements centered on the intimacy of touch and use sound as a form of language. The roles of dancers and supporters sometimes appear clearly defined, at other times they blur. This interplay creates dialogues between spoken word, sound, and movement—where everything overlaps, reverses, and confronts each other. What remains harmonious, and what feels uncomfortable? Tension builds until it breaks, culminating in the final resolution of contrasts.
Founded in 2018, Kollektiva. is a collective of international freelance dance and performance artists based in Hamburg. Composed entirely of women, the group draws on the diverse artistic backgrounds of its members within a heterarchical structure to explore new movement possibilities through research. With foundations in contemporary dance and classical ballet, alongside influences from urban and Afro dance, martial arts, and Feldenkrais techniques, the women of Kollektiva. find commonality in their shared feminine experiences. The varied movement expertise within the collective enriches their work, fostering open exchange of ideas on stage, in the studio, and within Hamburg’s vibrant free scene.
Concept | Choreography: Kollektiva.
Dancers: Claudia Ferrando, Julia Hehlke, Verena Piwonka, Lina Lev
Outside Eye: Wiebke Schwittay
Photography © Andrea Fischer
Founded in 2018, Kollektiva. is a collective of international freelance dance and performance artists based in Hamburg. Composed entirely of women, the group draws on the diverse artistic backgrounds of its members within a heterarchical structure to explore new movement possibilities through research. With foundations in contemporary dance and classical ballet, alongside influences from urban and Afro dance, martial arts, and Feldenkrais techniques, the women of Kollektiva. find commonality in their shared feminine experiences. The varied movement expertise within the collective enriches their work, fostering open exchange of ideas on stage, in the studio, and within Hamburg’s vibrant free scene.
Concept | Choreography: Kollektiva.
Dancers: Claudia Ferrando, Julia Hehlke, Verena Piwonka, Lina Lev
Outside Eye: Wiebke Schwittay
Photography © Andrea Fischer
CO-TOUCH
На страницу с информацией на русском языке
With CO-TOUCH, a small audience group embarks on an immersive journey through sound and body experiences. The visitors enter an empty room and receive a blindfold and headphones. Guided by the performers, they experience events and stories through sound compositions, movements, and touches, which are also shaped by their own personal associations. Body experiences, inner stories, and memories are unearthed, allowing the inner and outer worlds, past and present, to merge with each other.
The soundtrack is a combination of composed sounds and binaural recordings collected around the world to imagine how our body sounds from within and how different sounds affect our movements and body condition. CO-TOUCH is an ongoing research laboratory that brings together contemporary dance, sound art, Axis syllabus, ideokinesis, contact improvisation, bodywork, and other somatic practices to explore the potential of tactile interaction and how art can be perceived with our whole body.
Concept | Choreography: Kristine Petrova, Katia Reshetnikova, Vera Shchelkina
Photography © Katia Reshetnikova
With CO-TOUCH, a small audience group embarks on an immersive journey through sound and body experiences. The visitors enter an empty room and receive a blindfold and headphones. Guided by the performers, they experience events and stories through sound compositions, movements, and touches, which are also shaped by their own personal associations. Body experiences, inner stories, and memories are unearthed, allowing the inner and outer worlds, past and present, to merge with each other.
The soundtrack is a combination of composed sounds and binaural recordings collected around the world to imagine how our body sounds from within and how different sounds affect our movements and body condition. CO-TOUCH is an ongoing research laboratory that brings together contemporary dance, sound art, Axis syllabus, ideokinesis, contact improvisation, bodywork, and other somatic practices to explore the potential of tactile interaction and how art can be perceived with our whole body.
Concept | Choreography: Kristine Petrova, Katia Reshetnikova, Vera Shchelkina
Photography © Katia Reshetnikova
HAMONIM
What is the first thing that comes to mind when you see 70 people on stage? HAMONIM – Hebrew for “what moves masses” – is the third part of Patricia Carolin Mai’s trilogy about “bodies in states of emergency.” Created during her eight-month choreographic residency at K3 | Tanzplan Hamburg, the piece brings together 70 local dance enthusiasts of all ages to explore how protective mechanisms manifest in the body and how community is renegotiated. It asks: What does it take to exist and persist within a group? Is the individual at risk, or do they find protection? Together, these 70 people form a powerful stage community that dissects the parameters of togetherness and critically examines the dynamics of the mass.
Concept | Choreography: Patricia Carolin Mai
Choreografic assistance: Lotta Timm
Artistic assistance: Hanna Naske, Julika Schlegel
Negotiation | Production aesthetic: Kirsten Bremehr
Music | Composition: Pauline Jacob, Daniel Dominguez Teruel
Dramaturgy: Anja Kerschkewicz
Costume: Felina Levits
Costume assistance: Sophia Wagner
Costume production: Pauline Langemaak, Caroline Packenlus
Light design: Dennis Döscher
Film: Stefanie Rübensaal
Mentoring: Anne Kersting
Graphic: Hanna Naske, Si-Ying Fung, Pam Goroncy
Production | Public relation: Stückliesel
Photography © Hanna Naske
Concept | Choreography: Patricia Carolin Mai
Choreografic assistance: Lotta Timm
Artistic assistance: Hanna Naske, Julika Schlegel
Negotiation | Production aesthetic: Kirsten Bremehr
Music | Composition: Pauline Jacob, Daniel Dominguez Teruel
Dramaturgy: Anja Kerschkewicz
Costume: Felina Levits
Costume assistance: Sophia Wagner
Costume production: Pauline Langemaak, Caroline Packenlus
Light design: Dennis Döscher
Film: Stefanie Rübensaal
Mentoring: Anne Kersting
Graphic: Hanna Naske, Si-Ying Fung, Pam Goroncy
Production | Public relation: Stückliesel
Photography © Hanna Naske
WER SAGT DENN DAS | DEICHKIND
Deichkind is a German electropunk band formed in Hamburg in 1997. Initially rooted in hip hop, the band later incorporated elements of electronic dance music into their style. They describe their music as TechRap, a fusion of techno and rap. Their songs often feature satirical lyrics that critique consumerism and the performance-driven society. Some of their most famous electronic-leaning hip hop hits include the charting singles Remmidemmi (Yippie Yippie Yeah) (2006), Arbeit nervt (2008), and Leider geil (2012).
Lina Lev joined Deichkind’s spontaneous performance at the Reeperbahn Festival. Before the concert, a small “mop” (pop-up gathering) took place at Reeperbahn, attracting a diverse audience eager to listen.
Music: Deichkind
Photography © Danilo Rößger
Lina Lev joined Deichkind’s spontaneous performance at the Reeperbahn Festival. Before the concert, a small “mop” (pop-up gathering) took place at Reeperbahn, attracting a diverse audience eager to listen.
Music: Deichkind
Photography © Danilo Rößger
BODIES IN URBAN SPACES
BIUS is a moving trail, choreographed for a group of dancers. The performers lead the audience through selected parts of public and semi-public spaces. A chain of physical interventions, set up quickly and existing only temporarily, allows viewers to perceive the same space or place in a new and different way—on the move. The appropriation of city spaces, architecture that exercises power over us, and behavioral conventions in public areas are brought into question.
The project boycotts underlying commands and dictations that are “poured in concrete,” highlighting them by breaking their norms. It is a political statement about residents living in cities who must fit into given architectural structures. BIUS has been performed in more than 140 cities worldwide, including NYC, London, Moscow, Vienna, São Paulo, Hong Kong, Montreal, Macau, Paris, Sydney, Copenhagen, and Berlin.
Bodies hanging over edges, niches, entrance architraves, landings, or park benches act as bizarre body sculptures, opening curious perspectives and offering residents a surprisingly different city experience. These temporary interventions confront the public with unsettling uses of shared spaces. The varying locations and different times of day at which performances occur make each event unique.
Photography © Irving Villegas,
https://mittenmang-festival.de
https://kunstfestspiele.de/
https://www.euskirchen.de/leben-in-euskirchen/aktuelle-mitteilungen/detail/bodies-in-urban-spaces-performances-am-1210
The project boycotts underlying commands and dictations that are “poured in concrete,” highlighting them by breaking their norms. It is a political statement about residents living in cities who must fit into given architectural structures. BIUS has been performed in more than 140 cities worldwide, including NYC, London, Moscow, Vienna, São Paulo, Hong Kong, Montreal, Macau, Paris, Sydney, Copenhagen, and Berlin.
Bodies hanging over edges, niches, entrance architraves, landings, or park benches act as bizarre body sculptures, opening curious perspectives and offering residents a surprisingly different city experience. These temporary interventions confront the public with unsettling uses of shared spaces. The varying locations and different times of day at which performances occur make each event unique.
Photography © Irving Villegas,
https://mittenmang-festival.de
https://kunstfestspiele.de/
https://www.euskirchen.de/leben-in-euskirchen/aktuelle-mitteilungen/detail/bodies-in-urban-spaces-performances-am-1210
TILL EULENSPIEGEL
Ulenspugel? That is an abyss, suffused with light. Till Eulenspiegel was a rogue, one who disobeyed rules. The piece was inspired by 96 histories, which were published in 1515 by an unknown author, by the retellings of Clemens Setz, as well as the novel “TYLL” by Daniel Kehlmann. The production combines the art forms of acting and dance.
Director: Felix M. Zeppenfeld
Lyrics: Sahba Sahebi & Felix M. Zeppenfeld
Artistic assistance: Emma Hütt
Costume: Sita Messer & Marylin Rammert
Sound: Robert Craven
Choreography: Anna Jakubeit
Actors: Anton Rubtsov, Felix M. Zeppenfeld, Darja Mahotsin, Lea Ostrovsliy
Dancers: Anna Jakubeit, Inci Kurt, Katja Rimer, Lina Lev, Morin Gonzales, Sahra Abbassi, Sophie Seja
Director: Felix M. Zeppenfeld
Lyrics: Sahba Sahebi & Felix M. Zeppenfeld
Artistic assistance: Emma Hütt
Costume: Sita Messer & Marylin Rammert
Sound: Robert Craven
Choreography: Anna Jakubeit
Actors: Anton Rubtsov, Felix M. Zeppenfeld, Darja Mahotsin, Lea Ostrovsliy
Dancers: Anna Jakubeit, Inci Kurt, Katja Rimer, Lina Lev, Morin Gonzales, Sahra Abbassi, Sophie Seja
SCHÖNE BÜHNE
What is Schöne Bühne?
Schöne Bühne is a creative platform founded in 2018 by Anne Kuechler and Stefanie Tübinger as part of the Gewerkschaft e.V. It offers a unique, interdisciplinary space for artists from visual arts, sound, language, dance, and movement to come together and engage in free improvisation.
The experience is designed to be cozy yet intense—a sensory journey blending music, dance, and visual expression. Audiences are invited to lie, sit, or stand, distributed in space and time, as they listen and watch for about 60 minutes. The setting encourages immersion, whether with eyes closed or open, allowing participants to dive deep into waves of intricate sounds.
For the performers, Schöne Bühne is a break from routine—an opportunity to explore the unknown and embrace spontaneity. The improvisation moves fluidly between form and formlessness, shaped moment-by-moment by the impulses of the artists. It’s an open, evolving space that welcomes familiarity, surprises, detours, and new connections.
Visit https://eigenarten-querbeet.de/ for more details and to learn about the other great projects hosted by this organization!Contrabass, piano, and dance creates one hour of mysterious, wild and unpredictable improvisation before your eyes.
Dancers: Isabella Boldt, Clàudia Ferrando, Julia Hehlke, Verena Piwonka, Larissa Potapov, Doria Worden, Jasmine Fan, Lina Lev
Contrabass: Macus Gnadt
Piano: Tomasz Kowalczyk
Photography © Patrick Sobottka
Schöne Bühne is a creative platform founded in 2018 by Anne Kuechler and Stefanie Tübinger as part of the Gewerkschaft e.V. It offers a unique, interdisciplinary space for artists from visual arts, sound, language, dance, and movement to come together and engage in free improvisation.
The experience is designed to be cozy yet intense—a sensory journey blending music, dance, and visual expression. Audiences are invited to lie, sit, or stand, distributed in space and time, as they listen and watch for about 60 minutes. The setting encourages immersion, whether with eyes closed or open, allowing participants to dive deep into waves of intricate sounds.
For the performers, Schöne Bühne is a break from routine—an opportunity to explore the unknown and embrace spontaneity. The improvisation moves fluidly between form and formlessness, shaped moment-by-moment by the impulses of the artists. It’s an open, evolving space that welcomes familiarity, surprises, detours, and new connections.
Visit https://eigenarten-querbeet.de/ for more details and to learn about the other great projects hosted by this organization!Contrabass, piano, and dance creates one hour of mysterious, wild and unpredictable improvisation before your eyes.
Dancers: Isabella Boldt, Clàudia Ferrando, Julia Hehlke, Verena Piwonka, Larissa Potapov, Doria Worden, Jasmine Fan, Lina Lev
Contrabass: Macus Gnadt
Piano: Tomasz Kowalczyk
Photography © Patrick Sobottka
CONTROL IS A STATE OF CHAOS
Habits, rituals, routines; they are all inescapable parts of human nature. Within these natural rhythms we find comfort and security, but also often melancholy. In disorder our minds learn to listen to the moment through freedom and invention of the self with each new breath. It is a constant search for safety while still being open to growth. What is it that you wish for in your life, the ability to give in to the chaos of everyday or the control to find clarity in a common routine? As a newly formed collective of women with diverse movement backgrounds, Kollektiva. found searching for the balance between ritual and spontaneity gave the opportunity to explore mutual understanding and support between newly-united minds. Dancers Ann-Leonie Niss, Clàudia Ferrando, Doria Worden, Isabella Boldt, Jasmine Fan, Julia Hehlke, Larissa Potapov, Lina Lev, Nana Anine, Verena Piwonka, and Wiebke Schittway present Control is a state of chaos, chaos is a state of control, a work-in-progress of self-discovery with original compositions and live accompaniment by Jan Paul Werge.
Concept | Choreography: Kollektiva.
Dancers: Ann-Leonie Niss, Clàudia Ferrando, Doria Worden, Isabella Boldt, Jasmine Fan, Julia Hehlke, Larissa Potapov, Lina Lev, Nana Anine, Verena Piwonka, Wiebke Schwittay
Music: Diego Noguera
Music Edit: Ann-Leonie Niss
Photography © Johanna Vogel | Ariane Gramespracher | Andrea Fischer
Concept | Choreography: Kollektiva.
Dancers: Ann-Leonie Niss, Clàudia Ferrando, Doria Worden, Isabella Boldt, Jasmine Fan, Julia Hehlke, Larissa Potapov, Lina Lev, Nana Anine, Verena Piwonka, Wiebke Schwittay
Music: Diego Noguera
Music Edit: Ann-Leonie Niss
Photography © Johanna Vogel | Ariane Gramespracher | Andrea Fischer
BLUE SPACE
BLUE SPACE is a short movie directed by dancers of Kollektiva. It was based on improvisations in silence and with compositions of Jan Paul Werge. The improvisations were based on the regular practises of Kollektiva., that they cultivated within their weekly professional training together, in which they focused on the topic of femininity, matriarchy and growth or empowerment, as much as communal support of the individual within a tribe.
Kollektiva. was founded in 2018 and is comprised of international freelance dance and performance artists based in Hamburg. Consisting completely of women, the collective uses the diverse artistic backgrounds of its members, within a heterarchical system, to reach new possibilities of movement through research. With a contemporary dance basis, classical ballet roots, urban and afrodance influences, martial arts interests, and Feldenkrais expertise, the women of Kollektiva. find similarity through their feminine experiences. The differences in movement knowledge of the collective make the quality of their work richer, allowing for the open exchange of ideas on the stage, in the studio, and in interaction with the free scene in Hamburg.
Concept | Choreography: Kollektiva.
Dancers: Nana Anine, Isabella Boldt, Claudia Ferrando, Julia Hehlke, Lina Lev, Ann-Leonie Niss, Larissa Potapov, Wiebke Schwittay, Doria Worden
Music | Composition: Jan Paul Werge
Film | Editing: Larissa Potapov, Ann-Leonie Niss
Photography: Larissa Potapov, Ann-Leonie Niss, Lina Lev
© Kollektiva.
Kollektiva. was founded in 2018 and is comprised of international freelance dance and performance artists based in Hamburg. Consisting completely of women, the collective uses the diverse artistic backgrounds of its members, within a heterarchical system, to reach new possibilities of movement through research. With a contemporary dance basis, classical ballet roots, urban and afrodance influences, martial arts interests, and Feldenkrais expertise, the women of Kollektiva. find similarity through their feminine experiences. The differences in movement knowledge of the collective make the quality of their work richer, allowing for the open exchange of ideas on the stage, in the studio, and in interaction with the free scene in Hamburg.
Concept | Choreography: Kollektiva.
Dancers: Nana Anine, Isabella Boldt, Claudia Ferrando, Julia Hehlke, Lina Lev, Ann-Leonie Niss, Larissa Potapov, Wiebke Schwittay, Doria Worden
Music | Composition: Jan Paul Werge
Film | Editing: Larissa Potapov, Ann-Leonie Niss
Photography: Larissa Potapov, Ann-Leonie Niss, Lina Lev
© Kollektiva.
KOLLEKTIVA.
Kollektiva. was founded in 2018 and is comprised of international freelance dance and performance artists based in Hamburg. Consisting completely of women, the collective uses the diverse artistic backgrounds of its members, within a heterarchical system, to reach new possibilities of movement through research. With a contemporary dance basis, classical ballet roots, urban and afrodance influences, martial arts interests, and Feldenkrais expertise, the women of Kollektiva. find similarity through their feminine experiences. The differences in movement knowledge of the collective make the quality of their work richer, allowing for the open exchange of ideas on the stage, in the studio, and in interaction with the free scene in Hamburg.
Video | Editing: Larissa Potapov, Ann-Leonie Niss
Music: Jan Paul-Werge, Diego Noguera
Video | Editing: Larissa Potapov, Ann-Leonie Niss
Music: Jan Paul-Werge, Diego Noguera
TENSEGRITY
What are tensional fields in body, movement, space and societal architecture? Where do we find them, what is their impact and what do we see if we move within them? Within the Tensegrity Performance Lab four artists and pupils of Oberstufenzentrum Handel 1 have been gathering their ideas around the topic in 6 sessions. They presented the results in the S27, Dance_lab27.
In the 50th the architect, philosopher and scientist R. Buckminster Fuller developed at the Black Mountain College the concept of Tensegrity. This new word (consisting of the words tension and integrity)describes the tensional fields and relations between elements of a network and is today widely used to describe and explain architectural, social and natural phenomena.
Concept & Choreography: Anna Katalin Németh, Max Makowski
Guidance & Organisation: Be van Vark & Sven Seeger
In the 50th the architect, philosopher and scientist R. Buckminster Fuller developed at the Black Mountain College the concept of Tensegrity. This new word (consisting of the words tension and integrity)describes the tensional fields and relations between elements of a network and is today widely used to describe and explain architectural, social and natural phenomena.
Concept & Choreography: Anna Katalin Németh, Max Makowski
Guidance & Organisation: Be van Vark & Sven Seeger
TRANSFORMANCE
Transformance is a 30-minute piece about the journey of connection. Five individuals share their process of building relationships within a confined space. As personal needs, desires, and conflicts arise, they seek a balance between preserving individuality and creating togetherness. Through observation, imitation, play, touch, conflict, reconciliation, listening, smelling, and looking, they deeply sense one another.
Created for the “48 h Wilhelmsburg” Art Festival in Hamburg, Transformance premiered at the swimming platform “Archipel.”
Dancers: Anna-Sophie Schönbeck, Charléne Hochet, Eva Streit, Lina Lev und Lucia Rademacher
Photography © J. Linnenmann
Created for the “48 h Wilhelmsburg” Art Festival in Hamburg, Transformance premiered at the swimming platform “Archipel.”
Dancers: Anna-Sophie Schönbeck, Charléne Hochet, Eva Streit, Lina Lev und Lucia Rademacher
Photography © J. Linnenmann
UNIFORM
Uniform is based on research about armed forces. How do soldiers feel in a uniform? What if individuals find themselfs in uniform formations? What happens inside of them when they are exposed to looks from outside? What if human beings melt into a formation as a small single part in a bigger framework? The piece addresses the contradiciton of positive and negative effects of “uniforming” individuals.
“Uniform” was performed for the second time at “We Present” in Lichthof theatre.
Concept | Choreography: Anna K. Linke
Photography: Andreas Schlieter
“Uniform” was performed for the second time at “We Present” in Lichthof theatre.
Concept | Choreography: Anna K. Linke
Photography: Andreas Schlieter
CATAN ALLAY - A PIECE OF CAKE
Catan Allay is an intense mass choreography for 30 dancers that explores how people physically cope with exhaustion. The restless body expresses and communicates on two levels—both as an individual and as part of a collective. Struggling internally, these bodies reveal a delicate protective shell surrounding a powerful core. They fall, rise, press forward, and engage with one another in a continuous negotiation of control, collapse, stillness, and departure.
Concept | Choreography: Patricia Carolin Mai
Dancers: Lisa Adolf, Martina Ambrozio, Lucian Blaga, Theresa Blum, Maryam Bozorg, Karla Nilza Lieselotte Böhland, Faizel Browny, Alice Detjen, Swantje Christine Dod, Roana Salome Falkenbaerg, Si-Ying Fung, Eva-Maria Hasler, Laure Hoeppli, Charlotte Höflich, Daria Hudzik, Paul-Louis Lelievré, Lina Lev, Hanna Naske, Sina Placzek, Lucia Rademacher, Florian Rink, Jana Rothe, Anton Rudakov, Peter Scharonow, Anna-Sophie Schönbeck, Wiebke Schwittay, Anna Sennekamp, Serfiraz Vural, Teresa Weiermann, Joschka Wiebusch, Heidi Andrea Wucherpfennig, Christin Zarzinsky
Photography © Kerstin Schomburg
Concept | Choreography: Patricia Carolin Mai
Dancers: Lisa Adolf, Martina Ambrozio, Lucian Blaga, Theresa Blum, Maryam Bozorg, Karla Nilza Lieselotte Böhland, Faizel Browny, Alice Detjen, Swantje Christine Dod, Roana Salome Falkenbaerg, Si-Ying Fung, Eva-Maria Hasler, Laure Hoeppli, Charlotte Höflich, Daria Hudzik, Paul-Louis Lelievré, Lina Lev, Hanna Naske, Sina Placzek, Lucia Rademacher, Florian Rink, Jana Rothe, Anton Rudakov, Peter Scharonow, Anna-Sophie Schönbeck, Wiebke Schwittay, Anna Sennekamp, Serfiraz Vural, Teresa Weiermann, Joschka Wiebusch, Heidi Andrea Wucherpfennig, Christin Zarzinsky
Photography © Kerstin Schomburg
ABSURDLY NORMAL
What is normal and what is absurd?
Where do we draw the line between ridicule, praise and what commandment, granted the lot of society?
Lina Lev explores the relationship between "sick and normal", form / norm and the unconventional in search of values of equality, freedom inbetween a diversity in unity. Is what is considered normal actually healthy? Don't we live in a kind of perverted (=twisted) world?
She dives into everyday practices of health care system, questions the relevance of diagnoses, as quickly imposed stamps - which ultimately serve mainly health insurance companies and discrimination. Lina Lev stimulates a discourse on issues of exclusion, associated feelings or the state of being overwhelmed, and explores alternative paths, such as those of empathy and understanding for expressions of "otherness".
Concept | Choreography: Lina Lev
Photogrphy: Patrick Sobottka
Where do we draw the line between ridicule, praise and what commandment, granted the lot of society?
Lina Lev explores the relationship between "sick and normal", form / norm and the unconventional in search of values of equality, freedom inbetween a diversity in unity. Is what is considered normal actually healthy? Don't we live in a kind of perverted (=twisted) world?
She dives into everyday practices of health care system, questions the relevance of diagnoses, as quickly imposed stamps - which ultimately serve mainly health insurance companies and discrimination. Lina Lev stimulates a discourse on issues of exclusion, associated feelings or the state of being overwhelmed, and explores alternative paths, such as those of empathy and understanding for expressions of "otherness".
Concept | Choreography: Lina Lev
Photogrphy: Patrick Sobottka
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