Antonia Baehr
Antonia Baehr is a choreographer, performer, filmmaker and visual artist. Her works explore the fiction of the everyday and of the theatre, among other themes. She works together with various partners, frequently in the form of switching roles: from project to project, each artist alternately takes on the role of either guest or host. Baehr is the producer of the horse whisperer and dancer Werner Hirsch, the musician and choreographer Henri Fleur, the composer Henry Wilt and the aspirant New Music composer and ex-husband Henry Wilde.
Silke Bake
Silke Bake lives in Berlin, and works as curator, dramaturge and mentor. In collaboration with collegues, artists, and institutions she develops topic bound programms, talk- and research formats in the field of performing art.
She has worked for diverse festivals (including Theater der Welt 1999 in Berlin) and institutions (including TAT Frankfurt, Hebbel-Theater Berlin) and realised programs for the House of World Cultures, the Academy of the Arts Berlin, Kanuti Gildi Saal Tallinn and Theaterformen Hannover/ Braunschweig. She worked as the dramaturge, responsible for new production and research development at Tanzquartier Wien, and as a full-time member of the board of curators for independent theater and dance in the city of Vienna (2002-06). She was the dramaturge and managing director of IN TRANSIT Performing Arts Festival at the House of World Cultures in 2008+09. As a free-lance dramaturge she has been involved in various contemporary performance and dance projects, and worked as a artistic manager with Anne Juren (F/A) and Claudia Bosse (D/A) as well as mentor and teacher in art educational environments. Together with Peter Stamer she was the curator of the biennial NU Performance Festival On Hospitality on the occasion of the cultural capital program of Tallinn 2011. She realised performance platform. body affects together with Bettina Knaup at Sophiensaele Berlin 2012. Together with a group of artists, dramaturges and architects she initiated and realised the space performance project A Future Archeology in Berlin, Vienna and Cairo 2012/13, and together with with Peter Stamer „A piece you remember to tell – A piece you tell to remember“ – a project on dance-history-telling. She is continuously working on formats for discussion and discourse as „from dusk till dawn and further“, a 12 hours talkshow together with Peter Stamer at ImpulsTanz Festival Vienna, „Studio 13 – Let’s talk about work and life“ a series of talks and „Visionärer Widerstreit“, a seven hours at Tanzfabrik Berlin, both together with Jacopo Lanteri. In 2016/17 she conceived with Alice Chauchat, Bettina Knaupt and Siegmar Zacharias „Ecologies of practice“, a talk & practice format with guests. She has been the artistic director oft he biennial programm Tanznacht Berlin in 2016, and will be responsible for the next edition in 2018. Recent publication: „How to collaborate? Questioning Togetherness in the Performing Arts“, edited together with P. Stamer and Ch. Weiler, Passagen Verlag Vienna 2016.
Martin Clausen
Martin Clausen is a Berlin based performer and director working at Hebbel Theatre, Sophiensaele, Vierte Welt, Tanzfabrik, radialsystem, Uferstudios, Theater an der Parkaue in and outside Berlin. As a performer he worked in different devising theatre groups, directors and choreographers like Gob Squad, Urban Lies, Nico & the Navigators, boesediva, Bairishe Geisha, Lubricat, post theater, SEE!, Santiago Blaum, and since 2015 at Theater Thikwa. Together with Angela Schubot he led the dance and theatre company TWO FISH (twofish.info) from 2000 to 2011 and continued his work as the company Martin Clausen und Kollegen at Hebbel Theatre Berlin. He studied Cultural and Theatre Studies at Humboldt Universty Berlin, and from 1999 to 2002 he trained to be a teacher of the Alexander Technique. Since 2008 he has been teaching devising theatre in text and movement at the Institut for Performative Arts and Education at HBK Braunschweig.
Dennis Deter
Dennis Deter is a native-born Berliner and works as a dramaturg, choreographer and performer. He studied philosophy and literature at the Freie Universität Berlin and has worked with artists like Gui Garrido, Begüm Erciyas and White Horse collective. As a member of the international nomadic band-collective John The Houseband he is touring Europe since six years and is playing the electric bass in rock band Kala Brisella.
Igor Dobričić
Igor Dobričić
studied dramaturgy at the Academy of Dramatic Arts in Belgrade, (former) Yugoslavia and attended Master of Theatre at DasArts in Amsterdam, Netherlands.
He is working internationally as a dramaturg and artistic advisor, collaborating with a number of choreographers/makers (Nicole Beutler, Keren Levi, Guillaume Marie, Christina Ciupke, Jeremy Xido, Alma Sodeberg, Meg Stuart a/o). In a role of a teacher and a mentor he has a long term engagement with the Amsterdam School for New Dance (SNDO) Amsterdam Master of Choreography (DasDance), Amsterdam Master of Theatre (DasTheatre) and Choreographic Centre Hamburg (K3). From 2010 onwards he is also developing his own performative research project under the title TableTalks. During the last 7 years TableTalks is hosted and presented in Amsterdam, Berlin, Stockholm, Cairo, Sao Paulo and Vienna.
His long standing professional interests lie in the practice based exploration of parameters of a live event that exist in-between different fixed contexts (theatre and visual arts, professional and non professional status, individual and group work, aesthetics and ethics).
Diego Gil
Diego Gil is a choreographer, performer and philosopher that studied in Amsterdam at the School for New Dance Development (BA), Das Choreography (MA) and recently became a PhD candidate at the Interdisciplinary Humanities program of Concordia University in Montreal.
His current research focus in the exploration of sense perception inseparably from non-sensuous perception (a Whiteheadean concept that gives account of the anticipating concerns of perception beyond the actual body senses and beyond metric time) and on the development of a dramaturgy of affective signs (a concept developed through Deleuze, Guattari and Massumi theories on the signs of the events of change). His aim is to think alternative spaces for research creation for the performing arts.
At the moment he works at the Sense Lab (A laboratory for thought in motion directed by Erin Manning) organizing the ‘Schizo-somatic’ workshop series’ – inspired by the alternative psychology of Felix Guattari – and the ‘Minor Gesture exhibition’ as part of the Immediations Project: Art-Media- Event, across Canada, Europe and Australia.
Lina Gómez
Lina Gómez, Colombian choreographer and dancer based in Berlin. She received a MA degree in Choreography at the HZT-Berlin and a BA degree in “Communication of the Arts of the Body” with an emphasis on Dance and Theater from the Catholic University of Sao Paulo – BR. Her recent choreographic research was supported by the Einstiegsförderung 2017 and Einzelprojektförderung 2018 of the Berlin Senate. Furthermore, she is co-founder of the Cia. Aberta de Dança of São Paulo-BR (2008) and has been developing works col- lectively there ever since as a choreographer and performer. Beneath that, Lina has worked as a dancer with Yoshiko Chuma, Tino Sehgal, Edson Fernandes and Jorge Garcia among others.
Zoë Knights
Zoë Knights has performed dangling under helicopters high above the alps, danced alongside laamas in zoos, recorded vocals for award-winning electronic bands and a capella choirs, danced for royalty, toured with contemporary dance companies, and many more wild, wacky and obscure things. Zoë trained in Australia in performing arts, and in Europe in contemporary dance and choreography. She has worked extensively, as a choreographer, dancer, vocalist, both in her own work and that of others including Martin Nachbar, Brice Leroux, Jana Unmüssig, Mia Lawrence, Krystina Lhotakova, Lito Walkey, Cabula6, and LawineTorren. Zoë has created work in a wide spectrum of settings, ranging from stage and site-specific, large-scale outdoor productions, installation, opera, video a.o. and received various prizes for both her choreographic and vocal work. Zoë has worked as a guest professor in the dance dept. at UNM, Albuquerque, and regularly teaches professional classes in contemporary dance, choreography and composition, and mentors/advises BA and MA level students. She continues to perform with other creators and to explore other fields of presentation. Zoë’s more recent choreographic work has dealt with the abstraction of non-dance movement into a choreographic form. She is currently exploring how voice, sound and language emerge from the body.
Xavier Le Roy
Xavier Le Roy holds a doctorate in molecular biology from the University of Montpellier, France, and has worked as artist since 1991. Since 2018 works as Professor at the Institute for Applied Theater Studies in Giessen (Germany). He has performed with diverse companies and choreographers. From 1996 to 2003, he was artist-in-residence at the Podewil in Berlin. In 2007-2008 he was “Associated Artist”at Centre Chorégraphique National de Montpellier, France. In 2010 Le Roy is an Artist in Residence fellow at the MIT Program in Art Culture and Technology (Cambridge, MA). In 2012, he begins a 3 years residency at Théâtre de la Cité Internationale, Paris. Through his solo works such as « Self Unfinished (1998) » and « Product of Circumstances (1999) », he has opened new perspectives in the field of choreography.
At the same time, he initiated projects exploring the modes of production and collaboration in group works: “E.X.T.E.N.S.I.O.N.S.” (1999-2000), “Project” (2003) and “6 Months 1 Location” (2008).
His works such as the soli “Le Sacre du Printemps” (2007), “Untitled” (2014), the group piece “low pieces” (2011), and works for exhibition spaces such as “production” (2011) created together with Mårten Spångberg, “Untitled” (2012) for the exhibition 12 Rooms, “Retrospective” first realized in 2012 at the Tapiès Foundation-Barcelona, “Temporary Title, 2015” created at Sydney in the frame of John Kaldor Public Art Project or “For The Unfaithful Replica” (2016) in collaboration with Scarlet Yu at CA2M Madrid; produce situations that explore the relationships between spectactors / visitors / performers and the production of subjectivities.
His works produce situations that question, the relationships between spectators/visitors and performers and are attempt to transform or reconfigure dichotomies such as: object / subject, animal / human, machine / human, nature / culture, public / private, form / unform.
In 2017, together with Ensemble Issho Ni they create for the Ensemble Modern in Frankfurt: the exhibition “Haben Sie “Modern” gesagt?”, and he developped, together with Scarlet Yu, “Still Untitled”, a work for public spaces commissioned by Skulptur Projekte Münster 2017.
Sergiu Matis
Recently Sergiu Matis can often be heard saying: “I looooove dancing!”, trying to avoid any nuances of irony – which doesn’t come very easily to
him. He found this enthusiasm again in the last three or four years when he managed to trick himself back into dancing through a method or a way of thinking in motion that he came up with and calls the “visible thinking body”. His body was contaminated with ballet technique at an early age in freshly post-communist Romania. Without thinking too much, he fell in love with the discipline, precision and virtuosity which was still brought by Russian ballet teachers back then. All these, and pretty much everything related to ballet, were later on so easy to despise and to go against. Sergiu often asks himself what kind of dance he would make if he had stayed in Romania and not moved to Germany when he was 18, or if he had accepted the scholarship
at the Kiev Ballet Academy when he was 10. In that specific alternate reality he would have maybe ended up working with ballet companies, trying to reshuffle classics and invent a style of his own in parallel, using the institution and going against the institution at the same time. But now he is looking for
a new virtuosity, learning from the machines, scrambling fragments of history, skipping and swiping through archives – both personal or belonging to Western dance history. He likes playing with the English language in the form of performative texts, choreographing meaning and ideas, flirting with poetry and theory, with a pinch of visceral filth and groovy noises in there too. Sergiu believes the voice dances as much as the body.
Sheena McGrandles
Sheena McGrandles, born in Northern Ireland, graduated with a BA in Dance Theatre from Laban Center, London (2007). From 2008-2009 she was an artist in resident at Daghdha Church, Limerick Ireland, receiving a ‘Choreographic Bursary Award’ from the DanceHouse Dublin for her choreographic works. With a scholarship from Studienstiftung des deutschen Volkes in 2012 she completed her MA in Solo/Dance/Authorship at HZT/UdK, Berlin. In 2013 Sheena was selected for the 8month residency in Kampnagel Hamburg “K3” in which she developed the work ‘true balls’. She has been the recipient of the ‘travel and training’ grant from the Irish Arts Council for research projects in (2013, Vienna and 2015 San Francisco). Sheena is also a dance web scholarship holder attending in 2013. She has received production grants from the city of Berlin and commissions from the festival Tanznacht to create the work BOUNTY (2016) with Claire Vivianne Sobottke. From 2013-2017 she was artistic research associate at the BA “Dance, Context, Choreography” and MA SoDA at HZT Berlin. Sheena is currently Artistic Director of Agora Collective, Berlin’s Center for Contemporary Practices in Berlin and continues to make and tour her own work and collaborate with others.
Juli Reinartz
Juli Reinartz works in Stockholm and Berlin. After her master in 2013, she received a residency at the Royal Institute of Arts Stockholm in which she researched on the concert format, music and collectivity. The pieces ‘we are not in this together yet’ and ‘Atlantic’ which developed in this research were shown in various international venues. ‘You said you’d give it to me – soon as you were free’ premiered in 2016 and the collaboration ‘Tanzabend 4’ with Theater Thikwa continued her research on cyborg feminism in November 2017.
Julia Rodríguez
Julia Rodríguez is a Mexican-born artist that lives and works between Berlin and Mexico City. Her artistic practice is situated within the performing arts field and unfolds in various environments. In her current work, she explores the gap between word and meaning, the politics of expectation, and the spaces between desires and routines. She choreographs speeches, situations, objects and dances. Furthermore she develops projects with other artists both as a collaborator and as a performer.
Angela Schubot
Angela Schubot is a dancer, artist, researcher and choreographer based in Berlin. She does Solo-works, most recent the trilogy “Körper ohne Macht“ ( bodies beyond power, 2015) and is co-founder of former group Two Fish (2000-2012) together with Martin Clausen and works since 2009 with Jared Gradinger, developing pieces about the topic of debordering of the body and plant consciousness and worked with and for Margret Sara Gudjonsdottir from 2011-2015 and with Robert Steijn in 2016. In addition to her most continuous collaboration partners she is deeply influenced by the artists Rosalind Crisp and Benoît Lachambre. Schubot is teaching movement research and is coaching a.o. at DOCH/University of Dance and Circus in Stockholm, ImPulsTanz Wien, HZT-Berlin and SMASH Berlin. She has developed a body state, that resonates with the inner flow in her body, other bodies, an interest that was deepened by her fascia therapy education and got intensified by working with healing rituals and plant consciousness.
Claire Vivianne Sobottke
Claire Vivianne Sobottke versteht ihre Arbeiten als Ort des Widerstands, an dem Normen des Sehens und Denkens hinterfragt werden können. Sie studierte Schauspiel an der UdK Berlin, begann aber schon bald im Bereich der Performance und des Tanzes zu arbeiten. 2013 erhielt sie das danceWEB-Stipendium des ImPulsTanz Festivals Wien. 2014/15 erarbeitete sie zusammen mit Tian Rotteveel „golden game“. Ausgehend von dem Begriff des „Ungezähmten“ erkundet das Stück die explosiven Zustände und Körper von Kindern an der Grenze zum ungebändigten Wilden. Die Stimme im Gesang oder beim Sprechen als Quelle für Bewegung ist der Ansatz ihrer aktuellen Arbeit, die 2016 am Tanzhaus Zürich und PACT Zollverein Essen zu sehen sind. 2016 gründete sie die interdisziplinäre Plattform „Amazonas“ zur Unterstützung junger Berliner Künstlerinnen und arbeitet an einer persönlichen Interpretation von Mary Wigmans „Witch Dance“. Sie hat u.a. mit Künstler*innen wie Meg Stuart/Damaged Goods, Tino Sehgal, Tian Rotteveel, Karol Tyminski, Institutet, Christoph Winkler, Theo Solink, Miriam Horwitz, Gaëtan Rusquet, Johannes Schmit, Jule Flierl zusammengearbeitet.
Peter Stamer
Peter Stamer is a theatre maker in the context of contemporary performing arts who shows his work in an international context. In his projects he is interested in exploring conditions for discursive and physical empowerment within given performative, social and narrative apparatuses. Next to his theatre projects, Peter teaches and gives workshops at various art institutions in Europe.