Nicolas Cilins & Tina Smoljko GE / VD
There is a fine line between personal interest and public responsibility: the prospect of profit alone can unsettle otherwise irreproachable ethical positions. In Nicolas Cilins and Tina Smoljko’s experimental set-up, our «capital» is at stake in two ways. As cash and as fuel for social rules and political decisions.
Gregory Hari ZH
He trusts the collective memory and draws on the narrative power of images and rituals. That is why Gregory Hari can elevate subjective experience – as well as splitters of popular and cinematic culture – to a programme. His presentations are affective, his material seductive and his identity porous. Neither rooted in theatre, nor completely at home in music, the performer dwells in the allusive.
Leo Hofmann ZH
Players are playthings. Technology is a prosthesis, and when the nomadic nature of music takes up its specific, cultural heritage nothing is more foreign than stylised feeling. When Leo Hofmann – inventor, interpreter and improviser – dismantles language, voice, movement and technique and re-arranges them, vulnerability also comes to the fore.
Jérôme Leuba GE
When reality is given a double bottom, the symptoms are inconspicuous. When Jérôme Leuba confronts you with a shift in place and time, very familiar gestures effectively subvert our patterns of perception. As «Living Sculptures», his performative compositions leave discreet traces behind. And since he does not stage them with his own body: couldn’t your partner, your neighbour be a performer?
Annina Machaz & Mira Kandathil ZH
Admiration can be an incentive and reflection a motor to make the most of one’s potential. In their last production, they had a go at iconic images of women – Marilyn Monroe, Amy Winehouse – as alter egos. Intrepidly, without shrinking from trash or glamour, Annina Machaz and Mira Kandathil flout the limits of shame – as if the dance between power and menace were their real expertise.
Dawn Nilo BL
The dividing line between improvisation, everyday life and poetry is fluid: how could these areas ever be kept apart? Performance always happens, the question is just what one isolates in time and space, and which tool mentally opens up new territories. And so the absurd comes into play in Dawn Nilo’s critical-creative analysis of the present – and a glimpse of the seeming insane.
Ramaya Tegegne GE
At the edges of focused attention, and at a remove from certified orders, there where things are still becoming, the material of shared attention proves to be malleable and negotiable. Ramaya Tegegne collects voices site-specifically, she takes on different attitudes empathetically and, while reading, becomes a mediator of opinions – of a social cartography.