Meg Stuart is a choreographer, director and dancer who lives and works in Berlin and Brussels.

With her company, Damaged Goods, founded in 1994, she has created over thirty productions, ranging from solos and duets such as Blessed (2007) and Hunter (2014) to large-scale choreographies such as VIOLET (2011) and CASCADE (2021), video works, site-specific creations like Projecting [Space[ (2017-2019), and improvisation projects such as City Lights (2016).

Stuart’s work moves freely between the genres of dance, theater and visual arts, driven by an ongoing dialogue with artists from different disciplines. Through fictions and shifting narrative layers, she explores dance as a source of healing and a way to transform the social fabric. Improvisation is an important part of Stuart’s practice, as a strategy to move from physical and emotional states or the memory of them. She passes down her knowledge through regular workshops and master classes in- and outside of the studio.

Meg Stuart received several awards in recognition of her oeuvre, among which the Golden Lion for Lifetime Achievement at the Biennale di Venezia in 2018.

Ginevra Panzetti and Enrico Ticconi, based in Berlin and Torino, have been working as a duo since 2008. Their artistic research interlaces dance, performance and visual art. Deepening themes related to the historical union between communication, violence and power, they draw on ancient imaginaries, creating hybrid figures or images between history and contemporaneity.

Both graduated from the Academy of Fine Arts in Rome and attended Stoà, School for rhythmic movement and philosophy in Cesena, led by Claudia Castellucci. In 2010 they moved to Germany and delved into individual, but mutually complementary paths: Ginevra studied Media Art at the Hochschule für Grafik und Buchkunst (HGB) in Leipzig and Enrico Dance, Context, Choreography at the Inter-University Center for Dance (HZT) in Berlin.

They gained international recognition with their choreographic work HARLEKING (2018) that, among some of the most important international festivals, has been presented at the European platform AEROWAVES Twenty 19, the New Italian Dance (NID) Platform and by Tanzplatform Deutschland 2020.

In 2019 they won the 13th Arte Laguna Prize for the site-specific performance JARDIN / ARSENALE, they received the Danza&Danza prize as emerging choreographers and were nominated “Promising Talent of the Year” by the Jahrbuch Tanz.

Their last artistic research investigates the symbolic power of the flag and took shape through the realization of a dypthic composed by two choreographic works (AeReA / 2019 and ARA! ARA! / 2021) and was concluded with a filmic work (Silver Veiled / 2021). With AeReA they won the first edition of Premio Hermès Danza Triennale Milano, while ARA! ARA! has been supported by the Fondation d’entreprise Hermès within the framework of the New Settings Program. The filmic work Silver Veiled was commissioned by the Dublin Dance Festival and will be presented at the Torino Film Festival.

In 2021 they have been commissioned by the Berlin based Dance On Ensemble to realize their last group piece MARMO, a choreographic response to the work of Lucinda Childs. INSEL their latest choreographic work for 4 performers premiered in 2023 at Tanz Im August Festival in Berlin.

www.panzettiticconi.com

Daniel Linehan first studied dance in Seattle and then moved to New York in 2004. As a performer, Linehan worked with Miguel Gutierrez and Big Art Group, among other artists. His own choreographic work first came to public attention in 2004 with the solo Digested Noise, presented in Fresh Tracks at Dance Theater Workshop. In 2005 and 2006, he worked with a team of four other dancers to create The Sun Came and Human Content Pile. Linehan was a 2007-2008 Movement Research Artist-in-Residence. In 2007, he premiered the solo Not About Everything, which has since been presented in over 75 venues internationally.

In 2008, Linehan moved to Brussels where he completed the Research Cycle at P.A.R.T.S. in 2010. His works created in Belgium include Montage for Three (2009), Being Together without any Voice (2010), Zombie Aporia (2011), Gaze is a Gap is a Ghost (2012), Doing While Doing (2012), The Karaoke Dialogues (2014), Un Sacre du Printemps (2015), dbddbb (2015), Flood (2017), Third Space (2018), Body of Work (2019), sspeciess (2020), and Listen Here: These Woods (2021) and Listen Here: This Cavern (2022).

Linehan also developed Vita Activa (2013), a participatory project for 40 unemployed people culminating in a final public performance, co-directed with Michael Helland. In the same year he created, in collaboration with graphic designer Gerard Leysen, the book A No Can Make Space which gathers and organizes the traces of Linehan’s ten years of choreographic practice. Linehan is regularly invited as a guest teacher and mentor at dance institutions worldwide.

Lucinda Childs began her career as choreographer and performer in 1963 as an original member of the Judson Dance Theater in New York.

After forming her own dance company in 1973, Childs collaborated with Robert Wilson and Philip Glass on the opera Einstein on the Beach in 1976, participating as principal performer and solo choreographer for which she received an Obie award. Childs has appeared in five of Wilson’s major productions. Beginning in 1979, Childs collaborated with a number of composers and designers on a series of large-scale productions.

The first of these was Dance, choreographed in 1979 with music by Philip Glass, and a film/decor by Sol LeWitt. It continues to tour extensively in the United States and Europe and was cited by the Wall Street Journal (2011) as “one of the greatest achievements of the 20th century.” Since 1981, Childs has received a number of commissions from major ballet companies and has choreographed and directed several opera productions including: Gluck’s Orfeo et Euridice for the Los Angeles Opera, Mozart’s Zaide for La Monnaie in Brussels and a new production of John Adams’s Dr Atomic for the Opera du Rhin in 2014.

Childs received a Guggenheim Fellowship in 1979.  She is also the recipient of the NEA/NEFA American Masterpiece Award, and in 2004 was elevated from Officer to Commander of France’s Order of Arts and Letters.  In 2017 she received the Samuel H. Scripps award for lifetime achievement at the American Dance Festival in Durham, North Carolina, as well as the Venice Biennale de la Danse Golden Lion Award.

Merce Cunningham (April 16, 1919-July 26, 2009) is widely considered to be one of the most important choreographers of all time. His approach to performance was groundbreaking in its ideological simplicity and physical complexity: he applied the idea that “a thing is just that thing” to choreography, embracing the notion that “if the dancer dances, everything is there.”

Cunningham was born in Centralia, Washington, and attended the Cornish School in Seattle. There, he was introduced to the work of Martha Graham (he would later have a six-year tenure as a soloist with her company) and met John Cage, who would become the greatest influence on his practice, his closest collaborator, and his life partner until Cage’s death in 1992. In 1948, Cunningham and Cage began a relationship with the famed experimental institution Black Mountain College, where Cunningham first formed a dance company to explore his convention-breaking ideas. The Merce Cunningham Dance Company (originally called Merce Cunningham and Dance Company) would remain in continuous operation until 2011, with Cunningham as Artistic Director until his death in 2009. Over the course of his career, Cunningham choreographed 180 dances and over 700 Events.

Across his 70-year career, Cunningham proposed a number of radical innovations to how movement and choreography are understood, and sought to find new ways to integrate technology and dance. With long-term collaborations with artists like Robert Rauschenberg, Jasper Johns, Charles Atlas, and Elliot Caplan, Cunningham’s sphere of influence also extended deep into the visual arts world.

Cunningham earned some of the highest honors bestowed in the arts, and his dances have been performed by groups including the Paris Opera Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, the Lyon Opera Ballet, Ballett am Rhein, and Londons Rambert Dance Company.

Through the Merce Cunningham Trust, his vision lives on, regenerated time and time again through new bodies and minds.

Jan Martens, born in 1984, studied dance at the Royal Conservatoire of Dance at Artesis Hogeschool in Antwerp and at the Fontys Dance Academy in Tilburg.

He has performed with Mor Shani, Tuur Marinus, Ann Van den Broek and others. Since 2009 Jan Martens has been creating his own pieces, focusing on contemporary social topics with humor and a talent for gentle controversy, including Sweat Baby Sweat (2011), Victor (2013), The dog days are over (2014) and The common people (2016). He has been hosted in this capacity by Frascati, ICKamsterdam, CAMPO and DansBrabant.

In 2014, together with business leader Klaartje Oerlemans, he founded the production platform GRIP in Antwerp/Rotterdam to organise and distribute his work. From September 2014 to June 2016, Martens was artist-in-residence at tanzhaus nrw in Düsseldorf. From the summer of 2016 to the summer of 2018, he will be Artist Associé at the CDC Le Gymnase in Roubaix, Nord-Pas de Calais, and he will be Creative Associate at deSingel International Arts Campus in Antwerp until 2021.

Mathilde Monnier is a role model in French and international contemporary dance’s landscape. From piece to piece she defies expectations by presenting a work in constant renewal . Her nomination at the head of the Choreographic Centre of Montpellier Languedoc-Roussillon in 1994 marks the beginning of a series of collaborations with personalities from various artistic fields (Jean-Luc Nancy, Katerine, Christine Angot, La Ribot, Heiner Goebbels…).

She created more than 40 choreographic works presented on the great stages of the Avignon festival, the biggest theaters of Paris, New York, Vienna, Berlin, London… and received several awards for her work: The French Ministry of Culture prize, the SACD Grand Prix. She was designated in 2014 to take the general direction of the National Dance Centre in Pantin until june 2019.

Rabih Mroué is a Berlin-based artist, actor and director who has caused a furore in visual art, in theatre and on the performance scene. The subject of his work is the ‘present reality’ that surrounds him, which he processes for the stage using fictitious and real – often everyday – materials, and using documents, photographs, videos and objects as his starting point. He is a co-founder and member of the executive board of the Beirut Art Center, co-publisher of TDR: The Drama Review (NYC) as well as director of the Munich Kammerspiele. From 2012–15, he was a fellow of the International Research Center ‘Interweaving Performance Cultures’ in Berlin.

His current stage works include Ode to Joy (2015) and Riding on a cloud (2013) as well as 33 RPM and a Few Seconds (2012) with Lina Majdalanie. His most recent exhibitions have included MOMA 2015, Mesnta Gallerija (Ljubljana, 2014), SALT (Istanbul, 2014), CA2M (Madrid, 2013) and DOCUMENTA 13 (Kassel, 2012).

A showcase of the artist’s most important works – entitled Outside the Image Inside Us (in partnership with Lina Majdalanie) – can be seen at HAU Hebbel am Ufer from
30 March to 4 April 2016.

Ivana Müller is a choreographer, artist and author of texts. Through her choreographic and theatre works, performances, installations, text works, video-lectures, audio pieces, guided tours and web-works she re-thinks the politics of spectacle and spectacular, re-visits the place of imaginary and imagination, questions the notion of « participation », investigates the idea of value and its representation, and keeps on getting inspired by the relationship between performer and spectator.

In her pieces she often creates states of “possible” inviting the spectators to collectively or individually engage in the experience of imagining, and in such a way re-invent that “possible” over and over again. Although she creates through various forms, theatre remains the principle context in which she develops and presents her work.

Her pieces – amongst others How Heavy Are My Thoughts (2003), Under My Skin (2005), While We Were Holding It Together (2006), Playing Ensemble Again And Again (2008), Working Titles (2010), 60 Minutes of Opportunism (2010), Partituur (2011), In Common (2012), We Are Still Watching (2012), Positions (2013), Edges (2016), Conversations Out of Place (2017) – have been produced and presented at some of the major theatre festivals and venues in Europe, USA and Asia. Her work has been occasionally presented in visual art contexts.

Ivana Müller was born in Zagreb and grew up in Croatia and in Amsterdam. She lives in Paris and works internationally.

Christos Papadopoulos studied dance and choreography in SNDO (School for New Dance Development) in Amsterdam (2003), theatre in the National Theatre of Greece and Political Sciences in Panteion University (2000). He is a graduate of the Drama School of the National Theater of Greece (GNT Drama School, 1999).

His previous choreographies ELVEDON, OPUS, ION and LARSEN C are critically acclaimed and have been presented at numerous international festivals. They are often described as minimalist and precise and are fed by an intensely observant approach to movement, which unfolds a lively and meditative power. ELVEDON was the first choice of the Pan-European network Aerowaves 16 Dance Across Europe and was later presented with equal success in Paris (Théâtre de la Ville and La Briqueterie), in Amsterdam and other European stages. OPUS – another work of distinction – was chosen by Aerowaves 18, while March 2018 marks the beginning of its international tour.