UdK Open Days - HZT Workshops and Studioshowings on 21.7.2018

©Gabriela Kapfer
>©Gabriela Kapfer

Traditionally, the UdK ends the summer semester with the UdK Rundgang. We invite all interested parties to workshops, installations and studio presentations on Saturday, 21 July from 4 pm to 7 pm at Campus Uferstudios.


Workshop with "dance for plants"
Teached by: Dance For Plants project
Studio 9,  16-17:30h
In the workshop we will working on tuning into both our individual bodies and into the inevitable inter-connection we have to each other, in order to find ways and strategies for dancing for plants. We will place the plants in the middle of our awareness and we will explore the meaning of dedicating, giving and receiving, dancing for and with. From sharing our personal stories and experiences with plants we will collect spells to make ourselves open to learn from plants and to co-conspire with them in making and understanding the world. We will actively ask the plants to affect our system (body) and thereby our dance through the use of a "midi-sprout" (a device that makes it possible to transform the electric signals inside of a plant's tissue into sound). We will be dancing, voicing, writing, drawing and resting and digesting in the "compost-pile". 
No specific dance (or other) experience is required. Just the curiosity to investigate and unfold your relationship to plants, no matter if you feel you have on or not.

BY & With Kimberly Kaviar 

Studio 11, 16-17:30

The seductive space of what is said and what is heard. The freedom of making the truths of others your own. The sparkling eyes of knowledge that is owned. The nasty moment of sharing the unforeseen. And the silence in a moment of marvel with an open mouth. 

This workshop explores [physical and spoken] narratives of one’s own history and myths that can be made out of them. The rules of revealing a fiction within a reality, of diving into its evil and its cuteness, and of its surrendering dynamic will fill time and space. The beginning will be decided by something else. The middle will be hardly recognized. However the end… The end will be felt





Dynamics of rain season
Studio 11, 18.00 h

This ritual opens the base knowledge of the Bolivian communities “to give in order to receive”. It represents a lot of my own decolonization and the acknowledgment of my own life andancestors “Death as a transition”. As a daughter of the mines, as a llama, as a woman, I acknowledge the desire of my futurepresent and I say THANK YOU for this situation, because there are censorships about dead that are made for the benefit of something else, let's exist, let's coexist as a reason for the next step.
Performer: Sharon Mercado

we are performing (something)
Studio 11, 18:20h
the image would make a quick drawing attempt it to carefully select a(n) unfinished body, fold the researchers of the unfinished edge of the paper to the continue the lines to so(DA) forth a collection of all.

Participants: Minna Partanen, Bernardo Chatillon, Jason Corff, Rhyannon Wagg, Ana Lessing Menjibar, Mariana Nobre Vieira, Nicola van Straaten, and Evgenia Chetvertkova, Kuba Borkowicz.

Intro - the fall (WT)
Studio 11, 18:40 h
You were becoming something mineral, something less fleshy, something that does not affect and is not affected.A lighthouse with a light that shines through me. Tractor beam pulling me into something and from here on we stop.
(Unknown author, edited by us)
A performance by Jelena Alempijević & Nuria Höyng In 



Seminarraum 2, ab 16h
The wormhole is a an ongoing project bringing together a mixture of  videos, made in china plastic toys and a worm who navigates through space and time spreading bits and pieces of a broken performance. It began with an intestine inhabited by pinworms and developed into a practice of parasiting the interstices of performative locations and gatherings where this one worm band invites itself into. People: Mariana Nobre Vieira (performance) Paul Wiersbinski (video) 

Supported by Fundação GDA

Seminarraum 2
To showcase some of their past and present perfomance|videoart, the SODA Class of 2020 has created a video loop with work from their individual archives. Comprised of ten films, this loop runs for roughly one hour. 

Participants: Kuba Borkowicz, Bernardo Chatillon, Jason Corff, Ana Lessing Menjibar, Minna Partanen, Rhyannon Wagg 

Vagueness: In defense of detached parts

Studio 10
“The virtual, strictly defined, has little relationship to that which is false, illusory, or imaginary. The virtual is by no means the opposite of the real. On the contrary, it is a fecund and powerful mode that opens up the future, injects a core of meaning beneath the platitude of immediate physical presence. “ P. LevyWhat about a leg as a body? This project is an installation that uses the virtual, mediatization of the body and vague experience to exhibit the power that the space in between carries. 
by: Camila Malenchini 

14. + 15. July 9PM PARMA di Vinibenedetti / summer project maChoreographie | Jasminka Stenz: may/be bodies

©Jasminka Stenz
>©Jasminka Stenz


Come and confront me

People become objects through interest



Do you see yourself?





Perhaps it is gone in the moment it happened.

Eaten. Enraptured. Melted away.

Like magic: untouchable, but there.


We confront ourselves



The choreography invites you to linger at a bar and experience performers who, in the fragile struggle between humanity and objectivity, descend into humorous alienation.


Outside and in every weather, fun for all the family.


Choreography/Concept: Jasminka Stenz

Performance: Marcelo Bizarri, Rowan Blockey, Maud Buckenmeyer, Amy Pender,Antonio Savoia, Leni Benedetti, Anna-Barbara Lehmann, Deva Schubert

Music/Sound: Andi Stecher

Dramaturgical Consultation: Juan Felipe Amaya Gonzalez


With the support of PARMA di vini benedetti, Kulturen im Kiez


PARMA di Vinibenedetti

Utrechter Straße 31, 13347 Berlin-Wedding

Free Admission


11. + 12. July 8:30 PM Floating University Berlin / summer project maChoreographie | Dina Sennhauser: Sol Eau

©Dina Sennhauser
>©Dina Sennhauser

Please note that the performance will be recoded and published online.


Choreography/Concept: Dina Sennhauser

Performer: Amit Abend, Audrey Burden, Yannis Mitsos


Floating University Berlin, Lilienthalstrasse 32, 10965 Berlin-Kreuzberg

7. + 8. July 8 PM Kleiner Wasserspeicher / summer project maChoreographie | Maria Rutanen: Unendlich

©Maria Rutanen
>©Maria Rutanen


If life never flows straight ahead, can I get through life without looking in a singular direction?
The circle is a geometric form that exists in everything. The cycle of natural life is an endless circle. Things are born, they live, they die, they repeat themselves.
In an old cistern, dance, sound and light reflect what it means to go round in a circle.

Please bring warm clothing as it is cold in the cistern.

Choreography and Concept: Maria Rutanen
Dancers: Sara Paternesi, Anni Lattunen, Sami Similä
Sound Artist: Marcello Lussana

Kleiner Wasserspeicher
Diedenhofer Str. 2-5, 10405 Berlin-Prenzlauer Berg
Free admission, Tickets only available at the box office 30 minutes before the performance begins.

04. + 05. July 8 + 9:30 PM Uferstudios / summer projects maChoreographie | Ashkan Afsharian: F e m t o s e k u n d e

©Ashkan Afsharian
>©Ashkan Afsharian


I identify myself by my language.

You identify me by …

He/she/it identifies him/her/its self by his/her gender.

We identify ourselves by our bodies.

You identify yourselves by…

They identify themselves by their occupation.


An Iranian choreographer invites you to an evening on borders and identity.


Dancers: Iris Gonzalez Crespo, Marcell Proske

Assistant: Irene Joa

Musician: Oliver Doerell

Stage and Costume Design: Shahrzad Rahmani

Choreography: Ashkan Afsharian



Uferstr. 8/23  - Badstr. 41a, 13357 Berlin-Gesundbrunnen

Free admission, Reservations necessary: tickets@hzt-berlin.de


30. June + 01. July 8 PM Großer Wasserspeicher / Summer projects maChoreographie | Svea Schneider: the spaces|          |in between

©Svea Schneider
>©Svea Schneider

It’s cold and dark. You dive into your own world of oppression and resistance. Spaces for action open and close themselves. You follow the immersive performance through the labyrinth of the old cistern and lose your bearings. Eleven performers, live sound, projections and a variety of materials immerse you in the different facets of a totalitarian system. What makes people resist? Where does the threshold between obedience and disobedience, between powerlessness and action, lie?

Choreography + Concept: Svea Schneider in collaboration with the performers

Choreographic Assistance: Isabel Antoniani

Performers: Amit Abend, Candas Bas, Claire Bathgate-Peterson, Giusy Cirillo, Dakota Comin, Tasha Hess-Neustadt, Veronica Lillo, Manuel Meza, Yannis Mitsos, Sabina Smith-Moreland, Ricardo Vera Afanador

“spaces|          |in between” was developed with the support of a 2017-18 CUNY Dance Initiative Residency at Queens College, Kupferberg Center for the Arts, New York City.  

With heartfelt thanks to the funding body e. V. Kulturbüro and to Kauf Dich Glücklich.

Großer Wasserspeicher

Belforter Straße, 10405 Berlin-Prenzlauer Berg
Free admission, Reservations necessary: tickets@hzt-berlin.de

28. + 29. June 6:30, 8 und 9:30 PM Noize Fabrik Berlin / summer projects maChoreographie | Katrina E. Bastian: Notions of Progress

©Svea Schneider
>©Svea Schneider


You go up five floors, 68 steps, the door is opened by a young blonde woman. Welcome to a world of projections and a sea of plastic! Notions of Progress is a three dimensional installation of bodies, plastic and video projections that oscillate between active and passive plasticity. With regards to the material itself, plastic reflects our idea of progress: examining the plasticity of our own habits.


see Trailer


Alice Botelho (Performance)

Lisa Homburger (Dramaturgy)

Dylan Gephart (Video & Sound)

Jan Lorys (Performance)

Melanie Müller (Performance)

Sunayana Shetty (Performance)

Katrina Elizabeth Bastian (Choreography, Concept & Text)


Noize Fabrik Berlin

Elsenstraße 52, 12059 Berlin-Neukölln

Free admission, reservations necessary: tickets@hzt-berlin.de

SODA 301 Research Presentations

The current students of the second year MA SODA give insights into their work on three evenings.


Monday 9 July:
18h00 - 19h00: Mmakgosi Tsogang Kgabi
19h30 - 20h30: Anjal Chande
21h00 - 22h00: Olympia Bukkakis

Tuesday 10 July:
18h00 - 19h00: Michiyasu Furutani
19h30 - 20h30: Nicola van Straaten 
21h00 - 22h00: Evgenia Chetvertkova

Wednesday 11 July:
18h00 - 19h00: Liadain Herriot
19h30 - 20h30: Mariana Vieira
(afterwards: Dj Set / wind down party)


Where? Studio 1 at the Uferstudios I Wedding Uferstraße 23 I 13587 Berlin 

Admission is free, please pick up your tickets at the Box office in Studio 13.

26. + 27. June 9 PM Sankt Canicius Kirche / summer project maChoreographie | Niels Weijer: the/Life/of/Fine/Lines 

©Dina Sennhauser
>©Dina Sennhauser


The sounds are muffled. The choreography uses the geometric architecture of the exterior of the St. Cassius-Church as a score for a game with light and reflection. Moving bodies and objects relate to the architectural space. What occurs will allow lines and perspectives to be discovered in extraordinary ways.

Concept + Choreography: Niels Weijer

Dramaturgy: Mike O'Conner

Performers: Charlotte Brohmeyer, Magdalena Dzeco, Laura Giuntoli, Manuel Meza 


Sankt Canisius Kirche

Witzlebenstr. 30, 14057 Berlin-Charlottenburg

Free admission, Tickets only available at the box office 30 minutes before the performance begins.

The performance will take place regardless of weather conditions.

SoDA summer 2018 LECTURES | In English

MAY 16, 2018 _ 18 h
Ana Vujanović | Performances that matter: From politics to creative labor and back


Critical writing in arts and culture today cannot avoid the issue of politicality of contemporary arts. However, it is an ambivalent topic: politics is one of the key issues of critical arts today, in the neoliberal capitalist context, where the politics as a specific social practice disappears and where the post-Fordist production firmly tie praxis and poieses on a macro-social scale.
During the lecture and the seminar I would like to examine this dialectic phenomenon. To start off, I would explain that the politics is here seen as an intervention of art practice or work into the public sphere, tending to re-distribution or contestation of its existing configuration and partitions.
The lecture will discuss how performing arts are political today. A significant obscurity lies in the new relation between politics and production in the society which is not only democratic but also neoliberal capitalist.
When speaking about the political dimension (politicality) of performance as a live public gathering of people in symbolic interaction today, we mustn’t neglect that virtual interactions by digital technologies are ever more dominating, while the political scene is configured by the system of representative democracy. Therefore, physical public space and live performance are not current social paradigms. On the other hand, in today's neoliberal society, politics has been immersed in capitalist production, which is post-Fordist and post-industrial. Therefore, we can say that performance today functions rather as a model of production. It does not mean that it is because of that apolitical, but that its politicality is now indirect and dubious, operating as 'the political unconscious' (Jameson).  

Ana Vujanović (Berlin / Belgrade) is a freelance cultural worker – researcher, writer, dramaturge, activist – in the fields of contemporary performing arts and culture. She holds Ph.D. in Humanities, Theatre Studies. She was a member of the editorial collective of TkH [Walking Theory], a Belgrade-based theoretical-artistic platform, and editor-in-chief of the TkH Journal for Performing Arts Theory (2000-2017). A particular commitment of hers has been to empower independent scenes in Belgrade and former Yugoslavia. She has lectured at various universities and educational programs throughout Europe, was a visiting professor at the Performance Studies Dpt. of the University Hamburg, and since 2016 she is a team member and mentor of fourth year students at SNDO – School for New Dance Development in Amsterdam. She participates in art projects in the fields of performance, theatre, dance, and video/film, as a dramaturge and co-author. She has published a number of articles in journals and collections and authored four books, most recently Public Sphere by Performance, with B. Cvejić (Berlin: b_books, (2012) 2015). Currently she is working on a research project Performing the Self in the 21st Century, with B. Cvejic and M. Popivoda, edited collection Live Gathering: Performance and Politics, with L. A. Piazza, and documentary film Freedom Lanscapes, with M. Popivoda. www.anavujanovic.net

MAY 23, 2018 _18h
Lina Majdalanie | I can find soemthing shorter if necessary


In 2009 Lina Majdalanie was asked to present a lecture performance on the role of the performer in the future. Since a number of years, and today more than ever, this question seems to deeply concern the artistic milieu – with the 'slight' difference that the question is now posed in terms of the urgency of 'today' instead of the future, given the disturbing changes that are taking place on the political, economic, social, climatic, … in fact, on all levels.
I don’t remember anymore, which artist retorted once that »artists don’t have to clean up the shit that politicians do«.



Lina Majdalanie, born in Beirut (Libanon), is an actress, director, and author.She has conceptualized numerous productions, including Do I Know you? (2017), A Drop of Sweat (2015), 33 rpm and a few seconds (2012), Photo- Romance (2009), Lina Saneh Body-P-Arts Project (a website project, 2007 and installation, 2009), Someone Must Have Been Telling Lies About Me (vidéo-installation, 2008), Appendice (2007), I Had A Dream, Mom (vidéo, 2006), Biokhraphia (2002), Extrait d’Etat Civil (2000) and others. Majdalanie was a member of the Curriculum Committee for the Home Workspace Program Ashkal Alwan (2010-2014). She has taught at Haute Ecole d’Art et de Design (Geneva, 2008-2013), DasArts (Amsterdam, 2012), and Goethe University (Frankfurt, 2016). She was fellow at the International Research Center “Interweaving Performance Cultures” at Freie Universität Berlin 2013/2014. She curated the programs Relatively Universal (HAU Hebbel am Ufer, Berlin 2017), Beyond Beirut (Mousonturm, Frankfurt a.M. 2016), Vues (Kunsthalle, Mulhouse 2015), and Motion-Less (Tanzquartier Wien, Vienna 2009).



The lecture by Giulia Palladini that was planned for June 13 had to be cancelled. 


8. + 9. June 20:30 PM Uferstudios, Studio 14 / Final Work maChoreographie | Annelie Andre: Laws of Power

(c)Annelie Andre
>(c)Annelie Andre

Power is everywhere. It penetrates societies, relationships and bodies. “Laws of Power” is a choreographic research that raises the question of manipulation: who pulls the strings?
In a manner both subtle and impressive, fragile and powerful, borders will be shifted and new spaces opened.

Concept & Choreography: Annelie Andre
In collaboration with the contributing artists
Nicole Berndt-Caccivio, Marc Lagies, Dennis Alexander Schmitz, Pauline Stöhr (Performance)
Jakob Blazejczak (Stage)
Charlotte de Montcassin (Sound)
Ludovit Kovacs (Light)
Telmo Branco, Vanessa Budai (Dramaturgical Assistance)

Uferstr. 8/23  - Badstr. 41a, 13357 Berlin-Gesundbrunnen
Entry: 4 Euro; no reservations possible, tickets only available at the box office from 8pm

15. + 16. June 20:30 PM Uferstudios, Studio 14 / Final Work maChoreographie | Anna Katalin Németh: Arbeit/Spiel/Muse

(c)Martina Thalhofer
>(c)Martina Thalhofer


An energetic artistic journey in which human nature, its awareness, individual and shared needs manifest themselves in a musical-dance-painting ritual. A group of artists explore the power of community, the acceptance and sharing. They open their process in order to awaken the flow of the joy of life through liberated energy, and in doing so allow themselves to celebrate eternity together.

Performance: Attila Andrási, Nico Arawá, Laura Beschi, Florencia Martina, Imola Nagy, Abraham Iglesias Rodriguez
Painting: Juana Anzellini, Mathias Pelda
Scenography: Janja Valjarević
Costumes: Bärbel Jahn, Ulla Hartmann
Music: Gábor Csongrádi
Dramaturgy and Light: Daniel Paiva de Miranda
Concept and Choreography: Anna Katalin Németh with the collaborators

Uferstr. 8/23  - Badstr. 41a, 13357 Berlin-Gesundbrunnen
Entry: 4 Euro; no reservations possible, tickets only available at the box office from 8pm

19. + 20. June 19:00 PM Parochialkirche / Final Work maChoreographie | Shiran Eliaserov: Beyond Control

(c)Shiran Eliaserov
>(c)Shiran Eliaserov


Ropes allow people to survive. Ropes bring people together, but also separate them as well. The performance “Beyond Control” interweaves the different symbolic and aesthetic dimensions of ropes, creating space for a contemporary myth.


Choreography: Shiran Eliaserov
Music/Sound: Or Solomon

Dramaturgy & choreographic advisor: Gal Naor
Dramaturgy: Valentin Schmehl
Performer: Egan Chan, Vanessa Cokaric, Jessica Comis, Alma Dolev, Ardian Hartono, Andre Lewski, Volker Sobottke



Klosterstr. 67, 10179 Berlin-Mitte    


Entry: 4 Euro; no reservations possible, tickets only available at the box office from 8pm

22. + 23. June 20:30 Uhr Uferstudios, Studio 14 / Final Work maChoreographie | Antoine Carle: Hollow Matters

(c)annelie andre
>(c)annelie andre


A choreography that itself becomes a sculpture. Using casting techniques as the design principle, the performers embark on an exploration of negative forms. Body sculptures are deconstructed and re-constructed in their materiality. In the confrontation of ones own corporeality with the hard limitations of form, it becomes necessary to question social norms and reformulate the body.


Performance: Hana Tefrati, Camille Käse, Josefine Mühle, Rafi Martin

Choreography:  Antoine Carle / Tchivett

Light: Elliot Blue

Music: Body Fool

Costume: Chaz Aracil

Sculpture: Jeremy Barzic

Text und Protheses: Zoe Lohmann

Dramaturgy: Vanessa Budai

Beratung Bildhauerei: Vasili Berela



Uferstr. 8/23  - Badstr. 41a, 13357 Berlin-Gesundbrunnen


Entry: 4 Euro; no reservations possible, tickets only available at the box office from 8pm

23. + 24. June 20:30 PM bat Studiotheater / Abschlussarbeit maChoreographie | Jara Serrano: Art.-Nr. 247Y36

(c)Jara Serrano
>(c)Jara Serrano


Anonymity diminished her self-esteem and liberated her simultaneously. How often did she want to be something different, and lost herself in the process?

A piece with five dancers and a musician that deals with loss of identity and estrangement from ones own body in public as well as private spheres.


Dancers: Sakurako Awano, Tiziano Portas, Yuri Shimaoka, Laura Signoriello, Ichiro Sugae

Musician: Snorre Sjonost Henriksen  

Scenography: Kjersti Alm Eriksen

Choreography: Jara Serrano


bat Studiotheater der HfS Ernst Busch

Belforter Str. 15, 10405 Berlin-Prenzlauer Berg



Entry: 10 € / red. 5 €; no reservations possible, tickets only available at the box office from 7:30pm

Final works maChoreography in June

In June, five students of the Masters degree in Choreography will show their graduation piece[1] . The works deal with power and manipulation, identity loss and estrangement from ones own body, the carrying out of a community building ritual, examining the metaphor of the rope and questioning social norms.


8. + 9. June 2018, 20:30 H, Uferstudios Studio 14
Annelie Andre: Laws of Power

15. + 16. June 2018, 20:30 H, Uferstudios Studio 14
Anna Katalin Németh: Arbeit/Spiel/Muse

19. + 20. June 2018, 19:00 H, Parochialkirche
Shiran Eliaserov: Beyond Control

22. + 23. June 2018, 20:30 H, Uferstudios Studio 14
Antoine Carle: Hollow Matters

23. + 24. June 2018, 20:30 H, bat Studiotheater
Jara Serrano: Art.-Nr. 247Y36


Uferstudios, Uferstr. 8/23  bzw. Badstr. 41a, 13357 Berlin-Gesundbrunnen
Tickets: 4 Euro; no reservation possible, tickets at the box office one hour before the performance | www.uferstudios.com

Parochialkirche, Klosterstr. 67, 10179 Berlin-Mitte     
Tickets: 4 Euro; no reservation possible, tickets at the box office one hour before the performance | www.parochialkirche.de

bat Studiotheater der HfS Ernst Busch, Belforter Str. 15, 10405 Berlin-Prenzlauer Berg
Tickets: 10€/erm. 5€; no reservation possible, tickets at the box office one hour before the performance | www.bat-berlin.de

With kind support of the Deutsche Bühnenverein, Landesverband Berlin.

30.4.2018_18:00_Studio 11 | Experimental concert with Alain Franco | Modernity / Contemporaneity and performative thinking: a differential neighborhood

Alain Franco
>Alain Franco

In our usual understanding of history there seems to be a consensus in considering contemporaneity as successive and consequential to modernity. But in doing so we actually assume that contemporaneity would have resulted out of an analytical process. Looking at the proliferation and the diversification of artistic practice at the turn of the 20th century, we do notice a juxtaposition, and not at all a succession between these 2 paradigms. Otherwise we can’t understand properly the "schismatic" legacy  of the 19th century, balancing between nation-bulding and "Ausdruckstanz". And otherwise we can’t neither be precise about the current discussion on composition and conjunction.   

Alain Franco was born in Antwerp. He graduated in piano and music theory in Belgium and Tel-Aviv and obtained as well a post-master degree at the IRCAM-EHESS institute of Paris in 20th -century Musicology. His genuine interest for Contemporary Music and Art (both as pianist and conductor) resulted primarily in collaborations with leading ensembles and musicians in Europe such as: ensemble modern, ictus ensemble, Liège philharmonic orchestra, Lyon opera orchestra, Brussels opera chamber orchestra, Champ d’Action Antwerp, National Orchestra of Belgium. In addition to that – and as an aesthetic and artistic extension of his practice - he progressively developed an original reflection on performance and stage theory. This lead to artistic collaborations with choreographers, theatre directors and performers such as: Anne Teresa De Keersmaeker, Meg Stuart, Thomas Plischke, Kattrin Deufert, Jan Lauwers, Romeo Castellucci, Isabelle Schad, Benjamin Vandewalle, Arkadi Zaides, Daniel Linehan, Karim Bel Kacem. He is currently lecturing at and curating the P.A.R.T.S Research Cycle (Brussels), the Liege Royal Music Conservatory, HZT Inter-University Centre for Dance, Berlin, and works as musician, performer and music dramaturge on several projects. He lives in Brussels and Berlin.


Admission free.


HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

SODA summer 2018 LECTURES | In English


JUNE 20, 2018 _ 18h
Tanja Ostojić | Crossing Borders and Development of Different Artistic Strategies


I recognise the field of art as a fertile ground for the exploration of different methodologies; and in recent years one has been able to observe visual and performance arts, philosophy and political activism, informing each other and adapting concepts, especially with regard to the use of public and social media. The whole concept of tactical media is rooted in a mutual learning process involving different disciplines.
I have often included myself as a character in performances and use diverse media in my artistic research, thereby examining social configurations and relations of power. I have worked predominantly from the migrant woman’s perspective, while political positioning, humour and ethical involvement of the participants and recipients define approaches in my work. My art practice is sometimes collaborative and most often related to human rights, issues of gender, feminism, critical thinking, issues of social and political justice, migration, economy, xenophobia, racisms, marginalization, emancipation and agency.


Tanja Ostojić is a Berlin based independent performance and interdisciplinary artist and cultural activist. She includes herself as a character in performances and uses diverse media in her artistic researches, thereby examining social configurations and relations of power. She works predominantly from the migrant woman’s perspective, while political positioning and integration of the recipient define approaches in her work. Since 1994 she presented her work in numerous exhibitions, festivals and venues around the world. She has given talks, lectures, seminars and workshops at academic conferences and at art universities around Europe and in the Americas.



JUNE 27, 2018 _ 18h
Igor Dobricic | Body of Data of Body


I desire to address and examine an apparent contradiction contained in the proposed title. My desire stems from a conviction that, without such an examination, understanding of the embodied artistic practice(s) will indefinitely stay `hostage to a fruitless binary argument that was, during last 30 years repeatedly mobilizing critical capacity against the immediate facts of a visceral experience.
Ultimately, my wish would be to approach a vantage point from which this apparent contradiction between body of data (facts) and data of body (sensations) can be reconciled. I believe that, if such a vantage point can be assumed and cultivated, embodied artistic practice(s) would gain capacity to release itself into the conceptual and experiential realm beyond a binary dead end which still threatens to immobilize it.


As history of ideas offers many avenues of approach to the chosen subject, in order to anchor myself in a body of thought that I find resonant with my intellectual interest, in my presentation i will dare to irreverently parasitize on the specific piece of writing by Alain Badiou - Fifteen Theses on Contemporary Art (http://www.lacan.com/issue22).

Igor Dobricic, 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 Soderberg, 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).


JULY 4, 2018 _ 18h

Hannah Hurtzig | The Milieu of the Dead

What you cannot see, you can talk about. What you cannot know, you should definitely talk about. Narrating, fabulating and hallucinating in all appropriate ambiguity: that’s the way to maintain relationships with things and beings that are not present.

Hannah Hurtzig founded the Mobile Academy Berlin in 1999. The MAB invents assemblies, installations and recording techniques for the voices and speech acts of science and non-knowledge. The conversations of these thematic essays are documented under audio-archiv.com. Since 2009, the life sciences have been the subject of many MAB works, such as the congress THE UNDEAD. Life Science and Pulp Fiction in Hamburg 2011, Last Minute Exercise, New Dehli 2014, The Immobilized or Salle des Pas Perdus, 2017 and the ongoing project The Milieu of the Dead, 2017.

Summer 2018_wednesdays_at HZT_Studio 9_Uferstudios Wedding_Uferstraße 23_13587 Berlin | Free admission

22. - 23.06.2018 | SYMPOSIUM ENERGETIC FORCES AS AESTHETIC INTERVENTIONS: Wahrnehmungspolitiken von Körper/Szenen

The scientific-artistic symposium organized as part of the DFG-research project 'Transgressions: Energetic Processes of Body and Scene' explores historic, contemporary, aesthetic and praxeological approaches to the energetic. The ways in which energies are mobilized, directed and addressed do shape the perceptual politics of performing arts. Energetic processes cross dance, performance art and installations. They transform the body, evoke specific states and, manifesting as choreographic structures, push towards intensities.

With contributions by Sabine Huschka (Berlin), Barbara Gronau (Berlin), Susanne Franco (Venedig), Meghan Quinlan (California), Lucia Ruprecht (Cambridge), Gerald Siegmund (Gießen), Christina Thurner (Bern), Susan Kozel (Malmö) und den Choreographinnen Margrét Sara Gudjónsdóttir (Reykjavík, Island/Berlin) und Kat Válastur (Berlin)

Conception: PD Dr. Sabine Huschka in Kooperation mit Prof. Dr. Barbara Gronau
Conference languages: English / German


Hochschulübergreifendes Zentrum Tanz Berlin (HZT) in den Uferstudios (Studio 11)


Go to Conferenzprogramme



12. + 14. 4. I 7 PM I SNDO GRADUATION WORKS 2018 I STUDIO 14

The visit of the SNDO graduates in Berlin is part of an exchange program between the prestigious SNDO - School for New Dance Development - in Amsterdam and the Hochschulübergreifendes Zentrum Tanz Berlin (HZT).


The 4th year students of the SNDO Amsterdam graduate by creating two works next to writing a thesis and completing their internship. The first works travel to Berlin, to be presented at Uferstudios within the context of an exchange between Berlin based BA program of HZT and SNDO.


This year’s SNDO graduates are Laura van Bergem, Andreas Chanis, Emma Gioia, Laima Jaunzema, Charlie Trier, Michael Scerbo, Antonia Steffens and Elisa Zuppini.


12. April I 7 PM I studio 14 

The City by Andreas Hannes
An investigation on the notion of distances (relational, physical, and metaphysical), by bringing forwards the, in-development, practice of skipping (as in skipping down the street).

G a z i n g f r o m t h e e d g e o f b e d by Charlie Laban Trier

As they were lazily floating on a wave, letting the tip of the wave lick the back of their head. The wave at times got stronger, just enough to push them over, to get them completely under the surface. They could still look up,  but the sun was not as strong from under the surface, and their perception seemed altered.
How do u look through a glorious glory-hole?

Wild Infos by Laima Jaunzema
This piece deals with the medium of video as a material via another material/ty and position of gaze to become dance. It is yet Laima Januzema’s bewildered artistic desire not to lose both.


QR-Code by Michael Scerbo


14. April I 7 PM I studio 14  


Metamotion for 270degrees by Antonia Steffens
Departing loosely from the biblical story of Salome, the work uses the character of the young, dancing female body to touch upon myths around femininity in western art history.

A piece by Elisa Zuppini
A quest for darkness and complexity. The viewer is invited to slip between different dimensions of materiality.

While wondering about the colour of desire -Towards a material history of ceramics by Emma Gioia
An encounter of choreography and historiography. This piece focus on the frictions between the appearance and the disappearance of a theater piece, and propose a constellation of footprints of past, future and simultaneous events to be examined.

September and October by Laura van Bergem
“Do you think it would have happened again?”
― not Beethoven
“The guitar is a miniature orchestra in itself.”
― Ludwig van Beethoven
Well, I do not think like this about the guitars but it’s worth at least thinking again and again,
because I should listen a bit more to all musicians and their what they have to say

Entrance for each evening: 4 Euro
Tickets only at the box office. Ticket reservation is not possible

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


production: Charlot van der Meer;

Light design & technique: Martin Kaffarnik; Technische support: Vincent Romijn;

SNDO Production- und PR-coordinaiton: Stephanie Lühn;

Mentor SNDO 4: Ana Vujanović;

SNDO artistic direction: Bojana Mladenović








On the 26 and 27/2/2018, more than 100 students from eight German and five international dance education institutions will present choreographies with vocabulary that ranges from classical ballet to contemporary dance. The public presentations will be performed by third and fourth year choreography students. Alongside the dancers from German education institutions are guests invited from education centres in Egypt, Belgium, Iran, Senegal and the USA.


The two evenings will mark the beginning of the 6th Dance Education Biennial. Under the title “Dancing in the Street. What moves dance?” the 2018 Biennial brings into focus the reciprocal brelationship between dance and social and political themes. The Biennial exists to create a working platform for the exchange and networking between students and teachers and artists.




#BiennaleTanzausbildung#DancingInTheStreet#MattersOfEngagement #hztberlin



Tanzbüro Berlin with the module mapping dance berlin, Uferstudios with the project Life Long Burning and the Inter-University Center for Dance Berlin cordially invite you to a symposium on dance transfer on 19th and 20th January, 2018. In this frame, questions and approaches to art education, its artistic and social dimensions as well as quality standards in mediation work will be discussed, in order to think anew and to set standards.


for more detailed information: http://www.tanzraumberlin.de/Programm--2023-1.html

18. & 19.1. I Laboratory on Feedback in Artistic Processes #3 (closed group)

In the third Laboratory on Feedback in Artistic Processes an invited group of artists, theoreticians and dramaturges will be analysing feedback methods and languages and their effectiveness in artistic work processes. 


RESPONSES – HOW TO COMMUNICATE (ABOUT) DANCE Symposium on Dance Transfer and Education & Laboratory on Feedback in Artistic Processes is a collaboration of Uferstudios GmbH, Hochschulübergreifendes Zentrum Tanz Berlin (HZT) and Tanzbüro Berlin. It takes place in the frame of the project Life Long Burning / module teachback with the support of the cultural programme of the European Union and the module mapping dance berlin in the frame of Attention Dance, a project of the Tanzbüro Berlin, carried by Zeitgenössischer Tanz Berlin e.V. and Kulturprojekte Berlin GmbH in cooperation with the TanzForumBerlin. Attention Dance is being funded from 2016 to 2017 through the European Fund for Regional Development (EFRE) and the country of Berlin. The HZT Berlin is the joined resposibility of the Berlin University of the Arts and the Hochschule für Schauspielkunst ‚Ernst Busch’ in cooperation with the network TanzRaumBerlin.


Inter-University Center for Dance Berlin at Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


© Marion Borriss
>© Marion Borriss

The lecture elaborates on the notion of improvisation in urban design from a specific perspective. In that context improvisation is not intended as an informal, non-planning endeavor but as a way to re-use planning from a situationistperspective. Consequently design modulates to redesign. That means: the aim is not to follow the ideology of creativity and its teleological imperative of creating something new. It is not about tabula rasa but about working constructively with the "as found" ? including its indeterminacy ? in community to reassemble and to draw relationships (between actors and actants). In that process not only improvisation is defined as technology. It also also implies corollarries for the representational modes of design, that unveil their structural potential only from an improvisational perspective: representation changesfrom "Abbild", from a non-altering identity-form to a performative (re)presentationof structure and relationship as open notation. This notation enables action in order to provoke and produce meaning. The city cannot be grasped as an object but is to be read a performative process, in which we all take part, if we want it or not ? externalisation is over! It is about finding ways to internalize spatial relations, make them public and act from there. 


Prof. Dr. habil. Christopher Dell ist Theoretiker, Musiker, Komponist und Kurator. Zur Zeit lehrt er als Professor für Städtebautheorie an der HafenCity Universität Hamburg sowie an verschiedenen Hochschulen im internationalen. Dell ist zudem Leiter des ifit, Institut für Improvisationstechnologie, Berlin. Sein Interesse gilt Praxen und Organisationsverläufen der zeitgenössischen Stadt. In disziplinübergreifenden Arbeitskonstellationen sucht Dell relationale Handlungsformen als Verfahren zu konzeptionalisieren und für Forschung und Gestaltung fruchtbar zu machen. Dell gilt laut Reclam Jazzlexikon als der führende Vibraphonist Europas, seine Arbeit wurde mit zahlreichen Preisen ausgezeichnet, wie z.B. dem Downbeat Allstar Award, Preis der Deutschen Schallplattenkritik, dem JazzArt-Award - Musik des 21.Jahrhunderts, Grammy Nominierung und Musikpreis der Stadt Darmstadt. 

21.11. - 16.12. I SODA FINAL WORKS 2017 I STUDIO 14

In the frame of the four-week SoDA Works Festival, this year's graduates of the solo / dance / authorship master's program will be presenting their theses.


further informations: https://groupsolo.org/ // http://soda10years.dance/


21. & 22. 11. I 7 PM  I Maque Pereyra “TaypiMami//footnotes to myself”
21. & 22. 11. I 9 PM I Agata Siniarska “the soft act of killing” - CANCELLED 

27. & 28. 11. I 5 PM I Janine Iten "states of transition"
27. & 28. 11. I 9 PM I Felix Ofosu Dompreh “Laborlaboratory“

 3. & 4.12. I  7 PM I Pauline Payen “A Very Unique Gift”
 3. & 4.12. I 9 PM I Jan Rozman “ƒ(being)“

 9. & 10.12. I 7 PM I Alejandro Karasik  “Machine of Grace”
 9. & 10.12. I  9 PM I Larisa Navojec  “A Solo Together“

15. & 16.12. I 7 PM I Saori Hala “Da Dad Dada”
15. & 16.12. I 9 PM I Yaron Maïm “Material for Solometrics“


free admission

Inter-University Center for Dance Berlin at Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



50 artists from over 20 countries. Daily from 18th november till 16th december 2017.

MA SODA (Solo/ Dance/ Authorship) from HZT celebrates 10th anniversary with a wide range of works, performances and research by current and past students of the program.

For the festival former students return to the creative environment of HZT. Together with current students of the Master, they show a diverse program of performances, workshops and encounters, sharing the success of the program with contributors, supporters and the public.

The program shows about 50 performances by current and past students. Performances of the current students are free, all other performances cost 4 Euros. The entire program and information about the artists can be found at http://soda10years.dance/ 

For technical equipment, studio rental, advertising and catering for the artists, a crowdfunding campaign was launched. Support the SODA WORKS FOR YOU crowdfunding campaign on Startnext! bit.ly/soda4you


Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


In this lecture I discuss the motivation for three research projects:

"Dance in the City", which comes from the necessity, more than ever before, to experiment and devise resilient work practices and tactical approaches, for working as artists in an ever-changing cultural environment; "TROUBLE": a place in time, a large scale film installation project that supports distributed collaborative practices, whereby each artist is autonomous in relation to how they approach the initial stimuli provided by myself as director/facilitator;

and "Val", The Invisible, a durational performance, commissioned by and performed at the Museum of Contemporary Art Australia (MCA) that worked with the ambiguity of where the performance starts and finishes, moving in and out of the things we do in life that nobody notices, the things that are taken for granted while engaged in the business of everyday life. 


Julie-Anne Long is an award winning dance artist based in Sydney, Australia. Since graduating from the Victorian College of Arts in the early 1980s she has performed and choreographed on a wide range of projects with companies such as Human Veins, One Extra, Theatre of Image, Flying Fruit Fly Circus, Bell Shakespeare Company, Open City and Dance Works. From 1991-1996 Julie-Anne was Associate Artistic Director of One Extra Company with Artistic Director Graeme Watson. She has worked in a variety of dance contexts as mentor, dramaturg, curator and producer including Acting Director of dance research organisation Critical Path (2006/2007) and Dance Curator at Campbelltown Arts Centre (2009/2010).





free admission
Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


©Marion Borriss
>©Marion Borriss


The larynx as a central organ that gives us not only a voice but also movement unlocks in us a new functional understanding of our bodies. Vocal sound reflects the inner state of our movement and enables us to deploy the larynx as an organ of perception.

Ulrike Sowodnik, singer, voice anthropologist. Studied medicine, philosophy, Lichtenberger® Applied Voice Physiology, Slavic Belcanto, contemporary interpretation and sound studies. Numerous artistic works for voice and soundscapes; research on vocal sounds and movement, international teaching engagements, extensive publications on voice sense anthropology, among others the 2013 monograph “Voice Sound and Freedom - the Auditive Science of the Body” from the transcript from April 2013.


free admission
Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


©Marion Borriss
>©Marion Borriss

In the example of Gerhard Bohners Trilogy Im (Goldenen) Schnitt (1989), I would like to demonstrate, after an explanation of the overall structure and some particularly informative details on the interplay between body, sound and space, to what extent this is a matter of a staging of artistic research. In other words: here, a (music-)choreographic research process is not only the point of departure but the centre of a production that also invites the recipients to research in relation to their perception. Questions at once urge themselves forth: in which way is a stage space also a listening space, that co-designs movements when it does not even constitute of movement itself to begin with? How does listening change through seeing movements - and the other way round: the watching of movement through listening - and which consequences for the choreographic process does that have?

Stephanie Schroedter is above all interested in the intersection of music/sound and dance/movement (in choreography and improvisation). Her research focusses on the development of models for interdisciplinary analysis on the interaction of audible and visible movements. She qualified as a professor in dance and music technology in 2015 and currently teaches in at the Theaterwissenschaftlichen Institut/Tanzwissenschaftlichen Seminar of the FU Berlin.


free admission
Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


Julia Rodriguez
>Julia Rodriguez

All emerging artists, students, and recent graduates based in Berlin, working within the field of dance, performance and choreography are invited to participate in The Swinging Series. This event series is a bi-annual open platform that bridges the different fragments of the emerging dance scene interested in sharing their work. Here we will extend the notion towards work and its different approaches to include: methodologies of work, artistic practices, warm-up ideas, body care practices, strategies, questions, sustainability methods, struggles, works-in- progress, and everything in between and beyond. Together with the hosts, the participants will co-design the event, depending on the necessities, interests and urgencies they have. At each event, we will recognize and tap into the further support we, as the next generation of dance-artists, can provide ourselves and our emerging community.

Hosted by Zwoisy Mears-Clarke, Julia Rodríguez, and Guests; in cooperation with HZT and ZTB.

PLEASE RSVP at theswingingseries@gmail.com as space is limited to the first 15 people to register.



The team of VOLKSBÜHNE Berlin opens it´s new season with the marathon Fous de danse on sunday, 10 September. The Tempelhofer Feld will be turned into a giant stage for dance and choreography. Therefore the HZT Berlin would like to share the invitation to you.


We recommend wearing comfortable clothes and shoes and bringing a rain coat. Food and drinks are available for purchase. Please consider that glass bottles are not allowed on the property.


detailed programme and description here




There are things that we know we know, there are things we know we don't know, there are things we don't know we know, there are things we don't know that we don't know.

some shows
1 installation
2 nights
presented and curated by HZT Berlin students



Jonas Maria Droste tender patronizing / liebevolle Bevormundung (video installation)
Forough Fami Higher
Grėtė Šmitaitė What can I cry for?

Tickets: http://tickets.ahk.nl/ProgrammaDetail.aspx?id=630


Jonas Maria Droste tender patronizing / liebevolle Bevormundung (video installation)
Bella Hager Perlen von der Panke (pearls form Panke river) - revue in 4 scenes
Anna Fitoussi Dream on yellow poppy
Hanna Kritten Tangsoo Baby, don't hurt me

Tickets: http://tickets.ahk.nl/ProgrammaDetail.aspx?id=631


The visit of the HZT graduates in Amsterdam is part of an exchange program between the SNDO, School for New Dance Development Amsterdam and the Hochschulübergreifendes Zentrum Tanz Berlin (HZT).


RUSH-IN is a program curated and produced by HZT and SNDO, hosted by Veem House for Performance.





What does it mean for contemporary dance when other physicalities are added? Physicalities of people with disability, older people, with other cultural experiences?

The conference is directed towards people interested in dance of any age. Pre-experience in dance, cultural influences or handicaps of all kinds are not required, but welcome.The conference will be held in German, English and German Sign Language (each with simultaneous translation).Theory is expanded in practice. Directly after the conference, the international workshop festival MeetShareDance 2017 will take place in Berlin.



Organized by tanzfähig and the Dachverband Tanz Deutschland in cooperation with the Inter-University Center for Dance Berlin


Every year, Germany’s largest university of the arts opens its doors. Also the HZT opens its studios and invites you to a moving workshop. 


4 - 5.30 pm I movement workshop I studio 11

Anyone who is curious and interested in movement and dance is cordially invited. Previous knowledge in dance is not required. Please bring comfortable clothes. The workshop will be held in German and English. 

by: Nik Haffner, Johanna Ackva, Camille Chapon:


6 - 7.30 pm I studio showings I studio 11 

In this format, HZT students will show short choreographic pieces and sketches as “works in progress”.


5 - 8:30 pm I installation I studio 10

by Judith Förster


© Shiran Eliaserov
>© Shiran Eliaserov


The inner feeling of vision, that makes visual perception possible for blind people, will be presented as a borderless mental canvas. In her work with blind people, choreographer Shiran Elisaserov focusses on the potential of undepictable inner images. Her starting point is a sound pattern that liberates movement - a transformation of sound to images via the body.

Choreography: Shiran Eliaserov
Sound Design: Stefan Roslmair
Choreographic assistance: Nuphar Blechner
Performance: André Lewski, Silja Korn, Tarren Johnson, Dessa Ganda, Matan Goldenberg 

Free entrance, tickets available 30 minutes before the performance starts at the box office 

silent green Kulturquartier
Gerichtstrasse 35, 13347 Berlin



© Romy Schwarzer
>© Romy Schwarzer


A tunnel, a hole, a tent, a dead end.
Original, enclosed, intimate, restricted.
A protective roof, a confining bunker.
About a space and the people who move in it. At first glance, nothing unpleasent in this place. On closer inspection, shadows come to light. A space that moves.

Choreography: Romy Schwarzer
Scenery/ Costume: Jule Heidelbach
Sound/ Composition: Lukas Rabe
Dance: Cindy Hammer, Lisanne Goodhue

Entrance: 10 €/ 5€, no reservations, tickets only at the ticket desk.

bat Studiotheater der HfS Ernst Busch
Belforter Str. 15, 10405 Berlin-Prenzlauer Berg

A production of the MA Choreography Program of the Hochschulübergreifenden Zentrums Tanz Berlin in cooperation with LINIE 08. LINIE 08 is a shared project of TanzNetzDresden and HELLERAU - 
European Center for the Arts Dresden
, in cooperation with Projektschmiede gGmbH. 

Premiere: 29th June 2017 at HELLERAU - European Centre for the Arts, Dresden

© Roberto Duarte
>© Roberto Duarte

*America this is quite serious. - *Allen Ginsberg, "America"

After America is a choreographic installation which evokes the political urgency of the 1950’s Beat Poets in response to the current climate in the United States. Underground, three isolated poet-performers revisit the tools of their misfit predecessors: shameless confessions, mystical visions, and the unhinging of the senses. It is named after Allen Ginsberg’s poem “America” (1956).

Choreography /Concept: Kai Evans  
Dance and Creation: Johanna Ackva, Naama Ityel, Katrine Staub Larsen 
Music and Composition: Shasta Ellenbogen 
Dramaturgy: Alejandro Karasik, Pauline Payen
Light Design: Annegret Schalke 
Costumes: Lee Méir
Photo-/Video Documentation: Roberto Duarte
Translation: Nadav Anin 

Entrance: 4 €, no reservations, tickets only at the ticket desk.

ZK/U Zentrum für Kunst und Urbanistik
Siemensstr. 27, 10551 Berlin
S Westhafen


© Annelie Andre
>© Annelie Andre


Bare feet on a dusty floor. Bodies that twist in corners. Coloured crumbles of rough walls, one hears voices. Through sound, performance and the composition of objects, a poetic and complex space for experience is created within the rooms of an old brewery. 

Concept & Choreography: Annelie Andre
Dance: Telmo Branco, Pauline Stöhr, Aabshaar Wakhloo
Sound: Julien Herion
Play: Jasmin Loreen Besemer

 Cello: Izabella Herzfeld

Free entrance, tickets at the box office from 7 pm

Willner Brauerei Berlin
Berliner Straße 80-82
M13 Schönhauser Allee/Bornholmer Straße, U2 Vinetastraße




© Jara Serrano
>© Jara Serrano


Welcome home! A visit to an apartment becomes a confusion of fantastical and realistic everyday experiences. The vulnerabilities and fears we face in privacy will be made public. I welcome you.


Choreography: Jara Serrano
Set Design: Sanghwa Park, Miriam Schal
Dance: Blai Costa Ferrer, Lara Anais Martinez, Kiana Rezvani
Music: Sean Alexander 
Light Design: Stefan Schlagbauer

Free entrance, reservation required: tickets@hzt-berlin.de

Apartment in
Finowstrasse 10, 10247 Berlin




Neun Studierenden im dritten Semester des Masterstudiengangs Solo/ Dance/ Authorship (SODA) zeigen die Ergebnisse ihres Forschungssemesters.

An drei Tagen zeigen sie ihre künstlerische Forschung in Performances.

3. Juli

6 pm I Janine Iten I Studio 9

7 pm I Saori Hala I Studio 8

9 pm I Felix Ofosu Dompreh I Studio 8


4. Juli

6 pm I Larisa Navojec I Studio 9

7 pm I Jan Rozman I Studio 1

8:30 pm I Agata Siniarska I Studio 1


6 pm I Yaron Maïm I Studio 9

7  pm I Alejandro Karasik I Studio 1

9 pm I María Pereyra I Studio 1


further information: http://groupsolo.org/


© Kaisa Nieminen
>© Kaisa Nieminen

SomoS Art House, three dancers, one sound designer and whipped cream. A transformation between active and passive, liquid and solid.

Concept: Kaisa Nieminen
Choreography: Kaisa Nieminen mit Performers
Dance: Emilia Solvsten, Cajsa Godée
Sound-Design/Performance: Linda Ilves
Outside Eye/Mentor: Suvi Kemppainen
Announcement/Concept Text: Kaisa Nieminen & Suvi Kemppainen

Free entrance, tickets at the box office from 6:30 pm

SomoS Art House
Kottbusser Damm 95, 10967 Berlin



© Alexander Winder Liebermann
>© Alexander Winder Liebermann

Heterogeneity, that in our society is viewed as the norm, generates the feeling of fear and solitude from the human desire for acceptance and belonging. In the rough Mehrzweckhalle des Flutgrabens - once dominated by the Berlin Wall, today a public space for artists - a dance like, theatrical world of images is designed by “SoulFolk” through absurd humour and a mix of live and pop music. What will be considered normal, and who gets to decide?


Concept/Choreography: Anna Katalin Németh

Dance: Alexander Windner Liebermann, Aya Toraiwa, Deva Schubert, György Jellinek, Sophia Krüger

Music: Ilja Gussarov, Jan Hesmert

Choreographic assistance: Sophia Krüger

Sound: Hendryk K. Kar

Free Entrance, tickets at the ticket desk from 8:20 pm

Flutgraben e.V. BerlinAm Flutgraben 3, 12435 Berlinwww.flutgraben.org




© Nicole Frei
>© Nicole Frei


He lay like skinned flesh on the asphalt. Round, unearthly, tall and deep, all at the same time. Through him from the unseeable, a narrow boardwalk extends into the now. The rest becomes impulse. 

It’s about what remains, your presence, your nature, your quality and your power. 

Lilly Pöhlmann (Dance), Simone Detig (Dance)
Leonie Graf (Choreography)
Thomas Schaupp (Dramaturgy)
Marcus Thomas (Sound Design)
Nicole Frei (Scenography)
Carolin Herzberg (Costume)
Maria Graf (Mask)
Andreas Harder (Light Design)
Philipp Weinrich (Photo documentation)
Sebi Berens, Luca Boschen (Video documentation)

Free Entrance: advanced reservation is required: tickets@hzt-berlin.de

Großer Windkanal, entrance via Kroneckerstraße, 12489 Berlin-Adlershof
Tram/Bus Magnusstraße, S Adlershof



© Antoine Carle
>© Antoine Carle

An empty, abandoned parking lot in the heart of the city. Suspended in time, as if it is waiting for something. Thereon, a big real estate project. Five performers wander around, trying to make the space their own. As if they want to to collect memories, to reconstruct stories - their own stories, or those of the walls of Berlin. Thirst for belonging.Nightmare: Queer zombies penetrate the public space and have sex with the city.


Choreography : Antoine Carle

Performance: Camille Jemelen, Pina Brutal, Bishop Black, Sebastianovich, Fjóla Gautadóttir

Free entrance: advanced reservation is required: tickets@hzt-berlin.de

Parking lot in the back courtyard of Schönhauser Allee 9

Bus U Rosenthaler Platz Rosa-Luxemburg-Platz


© Jörg Metzner
>© Jörg Metzner

duration: 50 min.

An end-times atmosphere on earth;
A resistant leftover population expect, defy, wait steadfastly
How can they arm and make themselves impregnable for the next stage? How can they even the ground for those that will follow tomorrow?
Which palette of possibilities do people have access to in adverse circumstances?
And: are they dangerous or are they in danger?

Dance: Julia Schunevitsch, Liselotte Singer, Michele Meloni
Music: Daniel (Mando) Mandolini
Choreography: Janne Gregor
Dramaturgically support: Fee Römer
Scenery: Lena Mody
Scenery support: Julia Buntzel
Light design: Ľudovit (Luigi) Kovács

Carina Otte: Wo sie gestern sein werden
© Sabine Redlich
>© Sabine Redlich


duration: ca. 60 Min.


A peculiar world. Through broken connections, memories, and impressions linked to pictures I can barely sketch and fantasise in my imagination. Constant curiosity and a search for reentry into shared moments of reality. Moments of reality within a demented mind.

Idea / Concept / Choreography: Carina OtteCo-Choreography / Dance: Rachell Bo Clark, Katerina Delakoura, Mélanie Favre, Alba De Miguel Fuertes, Annekatrin Kiesel, Valentina Gaia Lops, Sarina Egan-Sitinjak, Julia Keren TurbahnMusic / Composition: Vince Paul Golly Szenography / Costum: Francesca Ercoli, Mona GlassMotion Design: Sabine RedlichLight Design: Severin Beyer

Entrance: 4 €, no reservations, tickets only at the ticket desk from 6:15pm.(Double Evening with Janne Gregor)

Uferstudios BerlinUferstr. 8/23 bzw. Badstr. 41a, 13357 Berlin-Gesundbrunnenwww.uferstudios.com


©Marion Borriss
>©Marion Borriss

The question of the future of art seems to be discredited nowadays. It is seen as unavoidably grounded in the modernist metaphysics of the last two centuries and therefore overdetermined by radical utopias, often with ambiguous outcomes, especially in their relation to 20th c. totalitarian political projects. As a result, by over-signifying the structural moment of “contemporaneity”, contemporary art in general neglects the question of the future for the sake of the present.

However - and this will be the starting hypothesis of this lecture series - the art practice can’t freeze as permanent “contemporaneity”. Neglecting its openness to the future would not only risk to erase history and therefore the subjective forces, but it would also mean that art wouldn’t have any transformative potential in itself, that it would be inapt not only to change the world but even to imagine other possibilities for existence, for acting in the world and making it.On the basis of the starting hypothesis of the lecture series, we will formulate the questions: What future of art could artists and theorists imagine? Moreover, what future of art do contemporary art practices imply or imagine themselves? The intensive seminar and lecture series will try to mobilize the collective forces of imagination in order to open space for critical discussion, for critical imagination of the future.

Boyan Manchev is philosopher, Professor at the New Bulgarian University and Guest Professor at the HZT/UdK (from 2011), Hollins University and Sofia University. He is also former Director of Program and Vice-President of the International College of Philosophy in Paris. His actual research, which advances the perspective of a dynamic ontology and transformationist materialism, is focused on the fields of ontology, philosophy of art and political philosophy. In the last years Manchev collaborates often to theatre, contemporary dance and visual arts projects.Manchev is the author of eight books and around two hundred book chapters, catalogues and other publications in various languages. In the last years appeared “Clouds” (Sofia, 2017), ”Logic of the Political” (Sofia, 2012), “Miracolo” (Milano: Lanfranchi, 2011), “L’altération du monde” (Paris: Lignes, 2009); “La Métamorphose et l’Instant – Désorganisation de la vie” (Paris: La Phocide, 2009). His book “The Body- Metamorphosis” (Sofia: Altera, 2007) deals extensively with contemporary art, performance and dance.




Yuko Matsuyama: SPUR[¨EN] - Between Dark and Light

© Yuko Matsuyama
>© Yuko Matsuyama


100 years after Goethe wrote the “Theory of Colors” by candle, moon and sun light, the Japa-nese author Tanizaki wrote “Praise of the Shadows” by the glow of a lightbulb. The dance perfor-mance “SPUR[“EN] - Between Dark and Light” researches the subjective aspect of the truth in col-oured light: Do you see colours out of darkness or out of light?

Concept, Choreography and Musik: Yuko Matsuyama

Co-Choreography and Dance: Carlos Osatinsky and Fernando Nicolás Pelliccioli

Music: Taylor Savvy

Visual Design-support and Performance: Safy Etiel

Lightdesign: Catalina Fernández

Scenery- and costume support: Silvia Albarella




© I Jung Lim
>© I Jung Lim

Why is it considered graceful to stand up vertically. The flesh, that in christianity symbol-ises desire, hangs from our vertebrae and hinders the upright form. Our flesh can wrap the verte-brae, supporting them and keeping them vertical. This performance is divided into vertebrae and flesh, and both hover like desire and a disembodied soul in the air. It is through the fusion of the vertebrae and the flesh that we will manage to stand vertically.

Entrance: 4 €, no reservations, tickets only at the ticket desk from 6:15pm. (Double Evening with Yuko Matsuyama)

Uferstudios BerlinUferstr. 8/23 bzw. Badstr. 41a, 13357 Berlin-Gesundbrunnenwww.uferstudios.com

Julia Rodriguez
>Julia Rodriguez



All emerging artists, students, and recent graduates based in Berlin, working within the field of dance, performance and choreography are invited to participate in The Swinging Series.

This event series is a bi-annual open platform that bridges the different fragments of the emerging dance scene interested in sharing their work. Here we will extend the notion towards work and its different approaches to include: methodologies of work, artistic practices, warm-up ideas, body care practices, strategies, questions, sustainability methods, struggles, works-in-progress, and everything in between and beyond. Together with the hosts, the participants will co-design the event, depending on the necessities, interests and urgencies they have.

At each event, we will recognize and tap into the further support we, as the next generation of dance-artists, can provide ourselves and our emerging community. 

Please R.S.V.P at theswingingseries@gmail.com as space is limited to the first 20 people to register. 

Hosted by Zwoisy Mears-Clarke, Julia Rodríguez, and Guests

June 11th , 1 PM & ; September 16th , 1 PM / Studio 11, Uferstudios


Kate Elswit
>Kate Elswit


This talk traces a broad disciplinary and interdisciplinary set of concerns to argue that artificial divisions between theatre and dance in both academic and artistic spheres have overshadowed the interdependence between them. Key areas of focus are first the expansion of theatre and dance forms in the present, then the interconnected ecosystems of practice in the past, and finally the disciplinary methods that scholars use to understand both. The ultimate goal is to demonstrate how such ampersands are more the rule than the exception they are often seen to be, and propose what recognizing this might mean to our work. 


Kate Elswit is Reader in Theatre and Performance at the Royal Central School of Speech and Drama, University of London and author of Watching Weimar Dance (Oxford University Press, 2014) and Theatre & Dance (Palgrave Macmillan, forthcoming Theatre& series). She has won three major awards for scholarly publications—the Gertrude Lippincott Award from the Society of Dance History Scholars, the Biennial Sally Banes Publication Prize from the American Society for Theatre Research, and honorable mention for the Joe A. Callaway Prize—and her research has been supported by many sources, including a Marshall Scholarship, a postdoctoral fellowship in the Andrew W. Mellon Fellowship of Scholars in the Humanities at Stanford University, the 2013 Lilian Karina Research Grant in Dance and Politics, and a most recently a Batelle Engineering, Technology, and Human Affairs (BETHA) Endowment Grant with Harmony Bench. Her essays appear in TDR: The Drama Review, Theatre Journal, Modern Drama, Art Journal, Performance Research, Dance Research Journal, New German Dance Studies, and The Oxford Handbook of Dance and Politics. She also works as a choreographer, curator, and dramaturg.


free admission
Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


Drawing: Tabea Xenia Magyar
>Drawing: Tabea Xenia Magyar



Presentation and introduction  about the publication of the series of 4 books extending from four HZT workshops.

Sneak Preview

What persists through the entanglement of artistic and pedagogic practices?
What was and is the workshop 'doing', and what can we create with it now?
How does a structure of excerpts, footnotes, invitations and responses produce a new order of connectivity?
How do processes of selectivity, discontinuity and proliferation invite experiences of what is still creating itself as if it's just about to happen?


Drawing: Tabea Xenia Magyar
>Drawing: Tabea Xenia Magyar

A collaborative writing project initiated by Litó Walkey, Florian Feigl, Sheena McGrandles and Britta Wirthmüller with drawings by Tabea Xenia Magyar and 50 contributions from colleagues, HZT students and alumni


Free Admission | Entry 6 pm | Starting: 7 pm


Venue: Galerie Strahler
Pflügerstr. 15 | U-Bahn Schönleinstrasse


Aya light green © C. Rosteck
>Aya light green © C. Rosteck


Within the framework of the DFG-research project Transgressions Sabine Huschka and Corinna Rosteck invite to an artistic-scientific salon engaging with photographic and aesthetic reflections of the fluidal and ephemeral. Amidst an exhibition of selected photographs by photo and video artist Corinna Rosteck the salon unfolds in-sights into the visual impressions of weightlessness and texture developed by means by means of lighting and print.

The reflective surfaces of Corinna Rosteck’s photo series „Liquid Dance/ Bardo/Pool/ Muma“ award a certain materiality of the image to the fluidal, evoking motions, seemingly transgressing the frozen moment of movement.

The metallically reflecting photometric material enhances the impression of the dancers with virtually sculptural qualities in their un-seizable movement in water and light. In such a way the photographs suggest reflections on energetic sensory perceptions and the ephemeral, as ascribed to dance.
Corinna Rosteck and Sabine Huschka will pursue these matters in a lecture and a conversation.

„My images are not calculated, the longing for the image remains. It is about the transition, the dynamic, ever unsteady equilibrium, visually intensified by multiple exposure, cross dissolve, traces of movement.“ (Corinna Rosteck)

Corinna Rosteck is an independent artist working with photography, video and installation. She lives and works in Berlin after having received grants in London, Paris, New York and Japan. She is a member of Deutsche Gesellschaft für Photographie (German Photographic Association), Cologne and of Deutscher Künstlerbund (Association of German Artists). Her works are nationally and internationally represented in numerous exhibitions, e.g. Sepukralmuseum Kassel („Dance and Death“) as well as fairs in the Arab world. Rosteck photographs major dance companies: Pina Bausch, „Rough Cut“, Haus der Berliner Festspiele, Staatstheater Kassel/ Johannes Wieland, „Orfeo“ and „Rites of Spring ‚Sacre‘“, and collaborated with solo dancers and performers like Aya Irizuki/Butoh, Hala Saori, Iris de Boor/Anna Halprin and Macha Melanie/Compagnie Puls’Art in
choreographies specifically created for exhibitions or come into being within personal encounters.

free admission
Inter-University Center for Dance Berlin at Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

© Dominik Mentzos
>© Dominik Mentzos

Conflict specialist, choreographer, and performer Dana Caspersen believes in the power of the individual to positively transform destructive systems, and the efficacy of artistic technologies in enabling that action. Experience the physicalized methods she has developed for learning and creating change in conflicts—from interpersonal to international—in a unique interactive event that demonstrates what choreographic thinking can illuminate about conflict.

Caspersen’s work draws on 40 years of experience as a performing-arts innovator and extensive international research and practice in conflict analysis and social action. She was a principal artist with Ballet Frankfurt and the Forsythe Company for 30 years, and has developed choreographic work, films, installations, stage texts, and 30 years worth of iconic roles in the oeuvre of choreographer William Forsythe. She is the author of Changing the Conversation: Changing the Conversation: The 17 Principles of Conflict Resolution.

free admission

Lecture in english language

HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

20. - 22. and 27. & 28.4 I Suddenly! HZT BA Festival

Suddenly! HZT BA Festival © Mira Hirtz
>Suddenly! HZT BA Festival © Mira Hirtz

In April the students of the BA "Dance, Context, Choreography" at HZT Berlin will open their studios, kitchen, yard, spacetime and psychosomatic systems to welcome guests for the annual student organised festival.


Suddenly! HZT BA Festival  has no specific agenda, no restrictions on content or aesthetics but celebrates the happening itself, expected and unexpected events taking place in the Uferstudios in Wedding. The Festival invites everybody to come and meet the students' works and bodies, desires and dreams, struggles and temporary states in a gathering of dance, performance, installations and all the yet unnamed forms and things.


Festival website


Free admission


HZT at the Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


WALRUS © Lester Arias
>WALRUS © Lester Arias


Mit der renommierten SNDO, der School for New Dance Developement aus Amsterdam pflegt das HZT seit vielen Jahren ein Austauschprogramm. Jedes Jahr reisen Studierende der SNDO für eine Woche nach Berlin und zeigen in den Uferstudios ihre Abschlussarbeiten. Am 6. und 8. April präsentieren nun sieben Absolvent*innen aus Amsterdam unter dem Titel „Welcome to the Walrus“ in zwei Programmen ihre Choreographien.  


Tickets an der Abendkasse: 4 Euro

Eine Reservierung ist nicht möglich


HZT in den Uferstudios, Studio 11, 

Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


Michael Thieke
>Michael Thieke

For centuries now, European music has been characterized by a well-tempered mood, while other systems have been used in other parts of the world. In the middle of the last century, western modernism rediscovered the diverse potentials of various tuning systems and the possibilities of sound that they offer. For instance, beat amplitudes were rediscovered.

In the lecture, examples from Indonesian Gamelan, Arab Maqam, Japanese Gagku, Jazz and music by Harry Partch, Gerard Grisey and John Cage will be presented.


Michael Thieke is involved in numerous projects whose focus lies on different and contrasting facets of his musical interests. These interests include experimental song forms, improvising collectives, collectively composed music to projects on the periphery of jazz. His musical research has led him to intensely address spectrums of sound colour and facets of simplicity, with a special interest in microtonality and the sound phenomena related to it. He prefers to work in long-term collaborations and collective contexts. Concert tours have led him to Japan, China, USA, Canada and Lebanon; his work is documented on numerous record releases. He plays with The International Nothing, The Pitch, Der Lange Schatten, The Magic I.D., Splitter Orchester, Porta Chiusa and Hotelgäste, among others, as well as in duos with Olivier Toulemonde and Biliana Votchkova.


free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen




Third and last lecture from Boyan Manchev's lecture series Human Transitions. Philosophy of Metamorphosis II

Dr. Frankenstein and his Nameless Monsters have been a paradigmatic figurative couple for the current critical debate on trans- and post-humanism. They will be the starting point of our meta-critical discussion as well. What are Frankenstein deeds in a world, which becomes a monster - a nameless hybrid - itself? Morton’s early work on Mary Shelley, as well as Manchev theatrical collaborations with Ani Vaseva (Frankenstein or the New Pandora) and Dirk Cieslak & Vierte Welt (Pandora’s Daughters) will provide the starting point for this discussion. 


This lecture will establish direct connection with the last two semester topics, Metamorphosis and The Romantic.


Timothy Morton is the Rita Shea Guffey Chair in English at Rice University. He is the author of Nothing: Three Inquiries in Buddhism and Critical Theory (Chicago, forthcoming), Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities, 2013), The Ecological Thought (Harvard UP, 2010), Ecology without Nature (Harvard, 2007), seven other books and one hundred and twenty essays on philosophy, ecology, literature, food and music. 


lecture in english language

free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


© Elisabeth von Samsonov
>© Elisabeth von Samsonov

This lecture will present a synthesis of the recent proposals of the philosopher and artist  Elisabeth von Samsonow and the philosopher Boyan Manchev on the body metamorphoses, taking as starting point Samsonow’s recent work “Transplants”.

The uncertainty of the borders between being alive and not alive, the hybridization of existing and new forms of bodies, the animation of inanimate matter and the creation of automata - techniques for overcoming the human condition, will be discussed.


Mehr zu Elisabeth von Samsonow: 



lecture in english language

free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


©Sven Hagolani
>©Sven Hagolani


The first lecture will aim to to approach first abstract ideas of time, therefore transition and change, in direct relation to early philosophical and aesthetic traditions, fundamental to understand the creation of abstract concepts of time and transformation, as well as dynamic bodies and objects. It will introduce conceptual horizon crucial for the understanding of the emergence of the idea of ‘art’.


lecture in english language

free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


© Marion Borriss
>© Marion Borriss


Unfortunately this lecture had to be cancelled.

© Stefan Pente
>© Stefan Pente


The visual artist and performer Stefan Pente creates abstract objects and object coalitions that he uses performatively to develop temporary architectures and landscapes to navigate through and to build narratives about personal as well as collective memories, identifications, categorizations and localizations that he cannot address elsewhere than outside of language. In his lecture performance, object coalitions, movement and text will let questions of his explorations emerge; How is one touched and moved by images (pictures, narratives, memories, imaginations) that are so outlandish, horrific or enchanting that one's jaw drops or, as is said in German—dass einem die Spucke weg bleibt? What movement is evoked by such a touch and where does its propulsion come from? Can that touch and movement be picked up and inform ones own (political) agency?  



Stefan Pente, born 1964, works as a visual artist, filmmaker and performer. Amongst others he collaborated with the artists, Sabian Baumann, Antonia Baehr, Discotheca Flaming Star, Ines Schaber, Natasha Sadr Haghighian, William Locke Wheeler and Xavier Le Roy and is part of the Belin based queer-feminist-collective The Swansong.


lecture in english language


free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



©Lisa Müller-Trede
>©Lisa Müller-Trede


Experiments on a multiplicity of perspectives on motion in the form of a cinematographic cubism: questioning the temporality of perception.

Leaking bodily fluids reveal processes happening simultaneously inside the body while the outside entity is moving. When these fluids leak out on camera, they open a virtual space at the site of the live body.

Thanks to: Ana Purwa, Anja Kolmanics, Benjamin Schälike, Christoph Limbach, Constanze Schellow, Felix Rombach, Francesca Ronai, Jan Rozman, John Bock, Julia Wallner, Katharina Grosse, Romy Schwarzer, Theo Adler

Free admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.

HZT in den Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



©Manuel Moncayo
>©Manuel Moncayo


                                this site in rest,

                          incite these sites, cited

                     and seen, these states sighted

                and unseen, a rest wrested from sighs

          arrested, laid calm, down, in spite of, in site of

    the past, these, to pass, then, down, incited, unresting 


Made by enrico d. wey

Dramaturgically supported by carolina ortega

Lighting supervised by benjamin schälike

Technical support provided by janine iten and felix dompreh
Mentored by aitana cordero


Free admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.

HZT in den Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


16.12.2016 | 10 PM | Studio 14 | LULU OBERMAYER: MANON LESCAUT, MANON LET'S GO (after Puccini, but not really)

© Lulu Obermayer
>© Lulu Obermayer

Performance and concept: Lulu Obermayer

Mentoring: Barbara Greiner, Wanda Golonka

Tutoring: Boyan Manchev

Lighting design: Benjamin Schälike

Sound: Benedikt Brachtel



Sola, perduta, abbandonata...
in landa desolata!
Intorno a me s’oscura il ciel...
Ahime, son sola!
E nel profondo deserto io cado,
strazio crudel,
ah! sola abbandonata,
io, la deserta donna!
Ah! non voglio morir!
No!non voglio morir!
Tutto dunque e finito.


Alone, lost, abandoned

 in this desolate plain!

Ah, the horror of it!

Around me the day darkens.

Alas I am alone!

And in the depth of this desert I fall what

cruel torment!

Ah! alone, abandoned,

a woman deserted!

Ah! I do not want to die,

no, I do not want to die.

So all is over.




©Luo Yuebing
>©Luo Yuebing

To sketch a landscape of planes, edges and openings contained inside an encounter, the piece is a shared space of abstraction between one human body and a “thing” body. It creates conditions in which movements and imagery are by-products of an exploration of the materiality of both bodies.

A work by Luo Yuebing

Music: Ulf Langheinrich

Video: Hannah Dörr

Lighting advisor: Benjamin Schälike

Outside eye: Maren Strack

Mentors: Constanza Macras, Siegmar Sacharias and Constanze Schellow


Free admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.

HZT in den Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


© Aviv Victor
>© Aviv Victor

Inspired by Palestine's “Intifada of the Knives”, this performance wishes to contest the stigmatizing term “terrorist”. The 'terrorist body' is then compared to queer performativity and the hyper-sexualized female body through the otherness of their performance in public space; the performance examines similarities to queer and feminist struggles. Can terrorism transcend into a powerful creative force?

Dramaturgy: Inka Paul Original music: Liad Hussein Kantorowicz and Moshe Kuttner aka Kutner Utopico

Additional performance: Idan Sagiv Richter

Mentoring: Sasha Marianna Salzmann, Siegmar Sacharias, Maren Strack 

Cultural and political advisor: Walid el Houri

 Costumes: Keren Korman


Free admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.

HZT in den Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



Boom Bodies © Sabine Burger
>Boom Bodies © Sabine Burger


Sabine Huschka und Doris Uhlich laden zu einem wissenschaftlich-künstlerischen Reflexionsraum über Rausch-Zustände als körperszenische Aushandlung von Kräften ein und stellen die choreographischen Arbeiten der österreichischen Choreographin Doris Uhlich zur Diskussion. Mit Videoausschnitten aus ihrer Techno-Trilogie Universal Dancer (2015), Boom Bodies (2016) und Ravemachine (2016) befragt die Lecture das kritische Potential ihrer bebenden KörperSzenerien eines ekstatischen Mit-Seins. Mittels körpermobilisierender und choreographischer Verfahren des Außer-Sich-Seins und Außer-Sich-Geratens drängen die choreographierten Körper auf eine Erzeugungen spezifischer Intensitäten. Beschreibbar als Kräfte des Ästhetischen realisieren Uhlich Arbeiten ein choreographisches Denken, das kritische und utopische Entwürfe körperszenischer Überschreitung und Entgrenzung in Szene setzt. Im Rahmen des am HZT beheimateten DFG-Forschungsprojekts Transgressionen: Energetisierung von Körper und Szene von Sabine Huschka und der Lehrtätigkeit von Doris Uhlich am HZT widmet sich der Abend damit Figurationen des Rausches als körperszenische Aushandlung von Kräften und Option einer ästhetischen Kritik. Die Tänzerin Ewa Dziarnowska und DJ Boris Kopeinig werden mit einer Performance-Demonstration den Abend abrunden.


Eintritt frei


HZT in den Uferstudios, Studio 12, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen




©Akseli Aittomäki
>©Akseli Aittomäki

We develop our capacities for actions and sensations to give rise to experiences and meaningfulness, to produce, execute, create and repeat. How does value enter the equation? Is measurable, comparable and exchangeable value, i.e. money, the abstraction of meaning? We move from singularity of experience to exchangeability of anything for everything. Which one is more miraculous, the body or money?

Director: Akseli Aittomäki

Performers, choreography, texts: Akseli Aittomäki, Cécile Bally and Maryanna Lachman

Video: Stefan Röben and Akseli Aittomäki

Sound design and live mixing: Paavo Malmberg and Ville Aalto

Set design and building: Surjan

Costumes: Judith Förster

Lighting advisor: Benjamin Schälike

Mentors: Sonja Augart, Constanze Schellow and Paola Calvo


Free admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.

HZT in den Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen




LULU OBERMAYER: MANON LESCAUT, MANON LET'S GO (after Puccini, but not really)
© Lulu Obermayer
>© Lulu Obermayer

Performance and concept: Lulu Obermayer

Mentoring: Barbara Greiner, Wanda Golonka

Tutoring: Boyan Manchev

Lighting design: Benjamin Schälike

Sound: Benedikt Brachtel


Sola, perduta, abbandonata...
in landa desolata!
Intorno a me s’oscura il ciel...
Ahime, son sola!
E nel profondo deserto io cado,
strazio crudel,
ah! sola abbandonata,
io, la deserta donna!
Ah! non voglio morir!
No!non voglio morir!
Tutto dunque e finito.


Alone, lost, abandoned

 in this desolate plain!

Ah, the horror of it!

Around me the day darkens.

Alas I am alone!

And in the depth of this desert I fall what

cruel torment!

Ah! alone, abandoned,

a woman deserted!

Ah! I do not want to die,

no, I do not want to die.

So all is over.


© Marion Borriss
>© Marion Borriss

"Time to Meet" is a series of open rehearsals and talks, a space for exchange and feedback for both artists and creative processes. The audience becomes part of the versatile artistic context and is kindly invited to join the conversation.
In December Susan Foster will talk with Deborah Hay and Rosalind Crisp: About exploring the connections between practicing dancing, practicing making dance, and how those practices lead to a particular form of audience involvement.

Rosalind Crisp

   is one of Australia’s foremost dance artists. Over 30 years she has created a substantial body of original dance work and a method for choreographic improvisation. From 2004 to 2012 she was the choreographic associate of the Atelier de Paris-Carolyn Carlson. She is an honorary fellow of the University of Melbourne-VCA and a Chevalier de l'Ordre des Arts et Lettres. www.omeodance.com

Deborah Hay

  lives in Austin, Texas, northern Vermont is her home and New York is her upbringing. She dances, choreographs, writes, directs, and coaches. She has an Honorary Doctor of the Arts Degree from the Theatre Academy Helsinki and is an inaugural recipient of a 2012 Doris Duke Performing Artists Award. Her 4th book, Using the Sky is published by Routledge Books and a documentary film, Turn Your Fuking Head, about Hay’s Solo Performance Commissioning Project is now available from Routledge Books. www.deborahhay.com

Susan Leigh Foster,

   choreographer and scholar, is Distinguished Professor in the Department of World Arts and Cultures/Dance at UCLA. She is the author of Reading Dancing: Bodies and Subjects in Contemporary American Dance, Choreography and Narrative: Ballet’s Staging of Story and Desire, Dances that Describe Themselves: The Improvised Choreography of Richard Bull, and Choreographing Empathy: Kinesthesia in Performance. She is also the editor of three anthologies: Choreographing History, Corporealities, and Worlding Dance. She is currently working on a book about dance and value. Three of her danced lectures can be found at the Pew Center for Arts and Heritage website danceworkbook/susan-foster


This project has been assisted by the Australian government through the Ministry for the Arts’ Catalyst – Australian Arts and Culture Fund.


Free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

7.12. - 16.12. I SODA WORKS 2016 I STUDIO 14


Zum Ende ihrer zweijährigen künstlerischen und theoretischen Forschungen über Solo, kollaborative Prozesse, Komposition und Performance innerhalb der zeitgenössischen Kunstpraxis präsentieren die Absolventen und Absolventinnen des Masterstudiengangs Solo/Dance/Authorship am HZT Berlin ihre Abschlussarbeiten.


7. & 8. 12. I 7 pm I Studio 14

Akseli Aittomäki, Actors of production

Lulu Obermayer, MANON LESCAUT MANON LET'S GO (after Puccini, but not really)


11. & 12.12. I 7 pm I Studio 14

Luo Yuebing, The Mesh Work

Liad Hussein Kantorowicz, Terrorist Superstars


15. & 16.12. I 7 pm I Studio 14

Lisa Müller-Trede, effusion01-06

Enrico D. Wey, ruhestätte | still lives


On performance days an installation by Luo Yuebing can be seen at seminar room 2.


Freee admission. Advance ticket reservation is not possible. The box office at Uferstudios opens at 6.15 pm.


© Jasmin Schaitl
>© Jasmin Schaitl

Scores, structures, and systems for movement and sound performances

William "Bilwa" Costa will share his different modes and methods for composing and structuring sound, dance, task-based movements, and/or movement-based tasks; both improvised and set material. He will present and explain several video and audio examples along with their coinciding graphic, thematic, and conceptual scores.

As part of the lecture, Bilwa will also present a live performance of his score titled phrase: memory – cycle, along with three dancers.


William “Bilwa” Costa is an artist who works in the performing, sound, and visual arts contexts. His work includes: graphic scores and conceptual structures for sound, dance, movement, and visual performances, improvisation, experimental/electro-acoustic music, and installation. Collaboration with other artists is essential to his work. He works internationally, generating research, labs, workshops, and performance projects, actively cultivating opportunities for artists to work together on new interdisciplinary experiments. Bilwa has performed, led workshops, and has lectured throughout Europe, US, UK, Mexico, and Australia.


lecture in english language

free admission


HZT in den Uferstudios, Studio 12, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


©Marta Popivoda
>©Marta Popivoda


"Nothing seems more appropriate today than thinking community; nothing more necessary, demanded, and heralded by a situation that joins in a unique epochal knot the failure of all communisms with the misery of new individualisms." (Roberto Esposito)


In this lecture I would like to discuss the notion of the transindividual (Gilbert Simondon, Paolo Virno, Jason Read) as a possible horizon for thinking the relationship between the common and the singular. The discussion will be focused on several dance and performance works wherein I will try to identify choreographic strategies in composing that in-between space and to ponder them in wider sociopolitical and everyday life perspectives.


free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



© Simon Rose
>© Simon Rose


Improvisation is central to our being in the world (Rose 2003, 2008, 2013). While recognised to some extent in performance arts (jazz, contact improvisation and so on) the processes of improvisation are far more pervasive and encompassing. Improvisation can be better understood as a human capability and as such should be at the heart of our understanding, learning and education.

The talk and discussion will be followed by a performance.



Dr. Simon Rose (UK, Berlin) is a performing and recording musician, researcher and writer whose early career was in drama and education. Rose’s numerous written publications have explored the phenomenon of improvisation, throughout experience.


lecture in english language

free admission


HZT in den Uferstudios, Studio 12, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



MA Choreography students Carina Otte and Romy Schwarzer are presenting their works


Carina Otte: Firn. Ein choreographischer Diskurs der Existenz

© Carina Otte
>© Carina Otte


It melts. It rumbles. It can destroy us. It needs firn. People in a world, in which firn has become the epitome of directions in its complexity and fragility, and in which independence becomes tangible. Or are the blue algae once again melting; is new life being created in a co-existence with stromatolites?



Idea/concept/choreography: Carina Otte

Dance/co-choreography: Justiina Arjanmaa, Selma Hopsu, Petra Kauppila, Roosa Kääriäinen, Eveliina Lehtiniemi, Petronella Lehtiniemi, Kirsi Määttälä, Suvi Palonen, Rianna Rintamäki, Wilma Seppälä, Maiju Tiuraniemi, Suvi Tuominen

Music/composition: Natalia Bustamante





©Romy Schwarzer
>©Romy Schwarzer



Isn’t life just a crazy dream? Just the world’s illusion from the world?

Hidden beings, invisible scurrying, insecure joy, connected fates, unfathomable forces. I try to escape the foreigner, approach him or to accept it. A confrontation seems pointless. I flee into the future and ask myself: Where does time begin? Where does space end?

As silence comes is a choreographic investigation of the connection between humans and nature. A story of foreign beings that bring joy and hope as well as pain and sorrow.


Choreography: Romy Schwarzer

Dance: Suvi Tuominen, Essi Koivula, Wilma Seppälä, Maiju Tiuraniemi, Selma Hopsu

Music/composition: Ilmari Tiitinen


The works by Romy Schwarzer and Carina Otte were created in cooperation with the dance programme of the North Karelia College Outokumpu/ Finnland.



With the kind support of the Deutsche Bühnenverein, Landesverband Berlin.


Uferstudios, Studio 12 & 14, Uferstr. 8/23 or Badstr. 41a, 13357 Berlin-Gesundbrunnen

S Gesundbrunnen, U8 Pankstraße, U9 Nauener Platz


Free admission. No reservations possible. Evening box office from 6:15 pm.


Syncopation makes one endlessly troubled. (Gertrude Stein) 


For this presentation Jonas Rutgeerts explores the potential of the usage of syncopation in choreography. Throughout the history of dance both theorists and practitioners have defined rhythm either as the metrical repetition of discrete units that follow a pre-established pattern, or as an organic, durational and free-flowing expression of the body. Syncopation, however seems to resist this ontological dichotomy in favor of a polymetric system in which rhythm is the result of different patterns that are played out at the same time. Drawing on the work of amongst others Gertrude Stein, Paul Gilroy, Steve Goodman, Jonathan Burrows, Matteo Fargion etcetera, Rutgeerts traces the history of rhythm in choreography and explores how syncopation enables a rethinking of the relation between dance, choreography and temporality.



Dramaturge and performance theorist Jonas Rutgeerts is working as FWO-fellow at the Institute of Philosophy (KU Leuven) making a PHD on the concept of rhythm as an artistic and theoretical tool in contemporary choreography. In the wintersemester 2016/17 he is affiliated researcher at HZT Berlin. As a dramaturge he collaborates amongst others with Ivana Müller, David-Weber Krebs, Clément Layes, Needcompany. He is the author of ‘Re-act: Re-enactment in contemporary dance’ (2015).


lecture in english language

free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



MA Choreographie students Katherine Evans and Yoko Matsujama are presenting their works.






In the dance piece In der Stube mit dem offenen Fenster, there are as many people as there are rooms. Their gaze out of the window projects a frame onto the world. There is place for family meals with sharpened knives in the frame, or for a long lost love that has settled into a heart chamber and pumped blood from there.

In der Stube mit dem offenen Fenster: here proximity and distance both have their place so that the omnipresent dissonance between physical and emotional sensitivity rises to the surface.


Choreography: Kai Evans

By and with: Yara-Li Mennel, Naïma Ferré, Lilly Pohlmann

Vocal coach: Robert Liethoff

Stage design: Carolina Duarte

Dramaturgy: Nadav Anin, Marie Yan

Sound: Amelie Neumann

Lighting: Catalina Fernandez


YUKO MATTSUJAMA: wʌn / tuː / fɔːr

>©H.Weiffenbach are only a few of the endless numbers that can be used to count rhythms. These four numbers are a common theme throughout the performance; they allow space for interpretation. By hearing the rhythmic numbers, the dancers and musicians have a multitude of associations and associated sensitivities are awakened.


By and with: Juan Felipe Amaya, Forough Fami, Ayako Toyama

Music: Taylor Savvy

Costume advice: Silvia Albarella

Lighting design: Catalina Fernandez

Dramaturgy: Juan Felipe Amaya

Idea, choreography and music: Yuko Matsuyama


Thanks to Kostümkollektiv e.V. for supporting the costume design with its pool of costumes.



With the kind support of the Deutsche Bühnenverein, Landesverband Berlin.


Uferstudios, Studio 12 & 14, Uferstr. 8/23 or Badstr. 41a, 13357 Berlin-Gesundbrunnen

S Gesundbrunnen, U8 Pankstraße, U9 Nauener Platz


Free admission. No reservations possible. Evening box office from 6:15 pm.





MA Choreography students Leonie Graf, Janne Gregor and I Jung Lim are presenting their works.





©Nicole Frei
>©Nicole Frei


An effervescent dome of water rises above the surface of the earth. Dozens of air bubbles eject from the depths with incredible speed. They explode through the dome of water and pull it up into the heights as a fountain. What follows is a view into the vertical and a state that allows for a new perspective. It expands and seeks balance. – What happens when four performers move and attempt to give the space a new dimension with their bodies?



With: Simone Detig, Tashina Mende, Felix Utting, Ingileif Franzdóttir Wechner

Music/composition: Tobias Vethake

Scenography: Nicole Frei

Lighting design: Christoph Bovermann

Choreography: Leonie Graf




© Martina Thalhofer
>© Martina Thalhofer



They don't see each other -
They‘re looking in the same direction.

They‘re sneaking around the house, breathing on the window, creating
a spot on your retina.

They‘re looking for a way.
And remain often.

Choreography: Janne Gregor
By and with: Lina Gómez, Jallow Mamudou
Sounds: Emilio Gordoa
Costume: Kim Scharnitzky
Dramaturgical Advice: Maja Zimmermann
Lightdesign: Ľudovit Kovács
Fotodocumentation: Martina Thalhofer
Videodocumentation: Katelyn Styles



©I Jung Lim
>©I Jung Lim


The human body is permanently subject to gravity. This results in exhaustion, expressed in body language that lacks tension and in sluggish movement. Why is the body also given the responsibility of representing identity?

The body is in a space without clear borders, in a space in between. This is where the people exist who are neither guilty of great sins nor have performed especially good deeds.

How can these human bodies be formed in this space? What do they look like?


Choreography/text/sound: I Jung Lim

Performers: Parwanhe Frei, Florence Freitag, Julia Turbahn, Simone Gisela Weder

Costume designer: Carolin Herzberg

Assistant: Camille Jamelen

Corrector for German expressions: Karim Alameddine, Witalij Frese



With the kind support of the Deutsche Bühnenverein, Landesverband Berlin.


Uferstudios, Studio 12 & 14, Uferstr. 8/23 or Badstr. 41a, 13357 Berlin-Gesundbrunnen

S Gesundbrunnen, U8 Pankstraße, U9 Nauener Platz


Free admission. No reservations possible. Evening box office from 6:15 pm.



© Ric Allsopp
>© Ric Allsopp


The Introductory session of the SoDA lecture series in the winter semester will start with a radical critical question : has the end of contemporary art come? If what we call 'contemporary art' is a historical category, then it has limited historical validity. Are we witnessing the exhaustion of this validity? 


The philosophers Ludger Schwarte and Boyan Manchev share the intuition of radical transformation if not gradual exhaustion of what was conceived and identified as "contemporary art" in the last half century. They will propose two perspectives to deal with the opening provocative question, which the theater director Dirk Cieslak  asked them at a previous panel in June 2016. The lecture panel will also introduce and engage conversation around the theses of Schwarte's new book, "Notate für eine künftige Kunst". 


lecture in english language

free admission


HZT in den Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


© Irina Demina
>© Irina Demina


Who is dreaming me? Am I myself when I’m dreaming? Is there a opportunity to dream together?


Traumlabor is located on the interface between reality and imagination.


A cabinet of wonder, in which dreams are getting decoded into a body language.


A machine of illusions which reflects the nature of dream.

What if there would be a small split in the common space-time-continuum and we could get into it?

A dance theatre piece for ages 13+


Idea, Choreography: Irina Demina

Co-Choreography, Performance: Carlos Aller, Sunghai Cho, Marco Di Nardo, Eli Cohen, Enrico Paglialunga

Dramaturgy: Anastasia Ioannidis

Sound: Matthias Erian

Video: Roberto Duarte

stage design: Dragan Denda

costume design: Ivana Vukovic


Irina Demina presents her graduation piece for her Master of Arts in Choreography.


Tues 13 September, 11.00am Open rehearsal
Thurs 15 September, 11.00am Open rehearsal
Wed 21 September, 7.30pm Preview
Fri 23 September, 7.30pm Première
Sat 24 September, 7.30pm
Tues 27 September, 11.00am and 7.30pm
Wed 28 September, 11.00am
Tues 13 October, 11.00am and 7.30pm
Fri 14 October, 11.00am and 7.30pm

Tickets: 030 695 99 222 and www.theater-strahl.de

An HZT Berlin and Theater Strahl co-operation. Theater Strahl is funded by the fonds darstellende künste 3 year concept fund.



The graduate Bachelor students from the HZT Berlin have spent the last three years exploring the possibilities and limitations of contemporary dance and performance practices. In Amsterdam, as part of an exchange programme between the SNDO (School for New Dance Development), they will present projects and ideas, combing performances and installations that will première in Amsterdam, as well as pieces that have previously been presented at Uferstudios, Berlin.

This is not the omega (Premiere)
by sandhya daemgen and stephanie quirola

a film by Wiebke Köplin, Lisa Mareike Poethke and Christina Wüstenhagen

nonproductive piece of clit (Premiere)
work in progress by Josephine Findeisen

S OR 8 sisy fos or eternity, economy of leisure
by Xenia Taniko Dwertmann and friends

Daughters of Lust
by Zuzanna Ratajczyk

Tickets und Infos: Veem House for Performance,
Van Diemenstraat 408 - 410,
1013 CR Amsterdam,


© Angélica Lizarazo
>© Angélica Lizarazo



4-5:30 PM I Movement workshop I Studio 9

In this workshop led by Johanna Ackva and Camille Chapon, currently students in the BA course "Dance, Context, Choreography", different movement material will be introduced, tested and shamelessly modified. Anyone who is curious and interested in movement and dance is cordially invited. Previous knowledge in dance is not required. Please bring comfortable clothes. The workshop will be held in German and English.

6-7:30 PM I Studio Showings I Studio 11
In this format, HZT students will show short choreographic pieces and sketches as “works in progress”.

Julia Turbahn, Adam Shpira: work in progress

Magdalena Meindl, Johanna Ackva: diagrams of dependency

Alejandro Karasik: Computer somatics
Artistic collaboration: Soledad Gutiérrez

Free admission.

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


© creative commons
>© creative commons


My talk will explore how Post-Civil Rights era black artists have used performances of sex to reimagine racial critique. Looking particularly at the film Sweet Sweetback's Baadasssss Song (1971) and essays by Robert Reid-Pharr, this lecture asks how sexual performance threatens, and potentially, undoes(abbinden) the racially(rassisch) essentialist frameworks that often guide cultural analysis.  


Lecture in English language


Free admission


HZT at the Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen




© Lisa Müller-Trede
>© Lisa Müller-Trede

What is meant when one speaks of research presentations in the case of artistic practice? What can it look like?


In the course of the two years of the MA Solo/Dance/Authorship (SODA), students are expected to find answers to these questions with the help of specific exercises and works. How can artistic practices be understood as knowledge, and how can gaining knowledge be shown and infused into a discourse? With what means can learning processes and realizations from artistic practice be made visible? In short: how do students learn what they learn?

On three evenings the students present their research processes in performative formats and give insight into their upcoming final project in the following semester. The presentations range from performances, discussions, installations and more.





Tuesday, 5.7.

7 PM I Akseli Aittomäki: Production desired value added (studio 9)

8 PM I Lulu Obermayer: ACT II // SCENE V (studio 8)


Wednesday, 6.7.


7 PM I Yuebing Luo: Modest Spectacle (studio 8)

8 PM I Enrico D. Wey: This feast once removed (studio 9)


Thursday, 7.7.

7 PM I Lisa Müller-Trede: z = x toward y + drive (Courtyard and studio 9)

8 PM I Liad Hussein Kantorowicz: 'terrorism' is for everybody (studio 8)


The audience is limited to 50. A registration list will be placed at the

entrance door 30 minutes before presentation. Unfortunately,

reservations are not possible.


Free admission.


HZT at the Uferstudios, Uferstrasse 23, 13357 Berlin

U8: Pankstrasse, U9: Nauener Platz, S-Bahn: Gesundbrunnen

©Other Spaces
>©Other Spaces

Contemporary performances experimenting with human – non-human relations inscribe themselves historically in the Western tradition of religious and political emancipation, based on the call for unconditional equality and liberty, or “equaliberty” (Balibar 2004) between species. In extending this call beyond the human sphere, “non-human performances” activate ideas concerning the closer analysis of this tradition as well as of present-day humanitarian catastrophes. 1) The claim of equality can be unconditional only if it extends beyond the human. 2) Equalization is not only a matter of rights and legislation (Hamacher 2014), but also an exercise of acquiescence, i.e. a bodily practice.

Lecture in English language

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

©Jim Coleman
>©Jim Coleman

7 PM I Mike Vargas Solo Piano Salon


Part improvised piano concert and part lecture about structured improvisation and the relation between music and dance improvisation structures with Mike Vargas.


8:30 PM I Talk with Nancy Stark Smith


A conversation with Nancy Stark Smith & Mike Vargas about a long standing collaboration in teaching and performance.



In cooperation with Tanzfabrik Berlin


Mike Vargas began studying music in 1959. He started specializing in music for dance in 1978. He works as a freelance composer across the USA and internationally performing, teaching, recording, and improvising. For the past 16 years, he has been working around the world with Nancy Stark Smith. He teaches on the faculty of the Smith College dance department. He has released 9 CDs of his music. www.mikevargas.net

Nancy Stark Smith first trained as an athlete and gymnast, leading her to study and perform modern and postmodern dance, greatly influenced by the Judson Dance Theater breakthroughs of the 1960s in New York City. She danced in the first performances of contact improvisation in 1972 with Steve Paxton and others and has since been central to its development as dancer, teacher, performer, writer/publisher, and organizer. She has performed contact and other improvised dance work with Paxton and many other dance partners and performance makers, including Ray Chung, Julyen Hamilton, Peter Bingham, Andrew Harwood, Karen Nelson, and musician Mike Vargas. She co-founded Contact Quarterly, an international dance journal in 1975 which she continues to co-edit and produce along with other dance literature. Her work is featured in several books and films, and she has been developing the Underscore, a long-form dance improvisation structure, since 1990. Her first book, Caught Falling: The Confluence of Contact Improvisation, Nancy Stark Smith, and Other Moving Ideas, came out in 2008. She lives in western Massachusetts. www.nancystarksmith.com 


©Ruppert Bohle
>©Ruppert Bohle



We are surrounded by invisible and inexplicable powers – by material that is constantly moving even though it appears static. Poeira Surda is ambivalence; it is an attempt at belonging to the remnants in a space. It is the willingness to thwart others. It is a renunciation of the self and a rebirth in the moment of desistance and perseverance.


STAUB is physical traces, immanence of memories, wishes. STAUB hovers; it constantly changes; reshapes, re-groups and re-invents itself anew and morphs; it feigns pauses, demands, disappears and stops.


Idea/concept/choreography: Lina Gómez

Dance and creation: Julek Kreutzer, Diethild Meier, Camille Chapon, Bella Hager and Yotam calo' Livne

Music: Michelangelo Contini, Gearóid Ua Laoghaire and Eurico Ferreira Mathias

Light design: Bruno Pocheron

Dramaturgic advice: Sandra Umathum

Costumes: Sandra Ernst

Assistant choreographer: Frederike Doffin 


Admission: 4 Euro, the ticket is valid for both performances of the evening (Lina Gómez and Anna Aristarkhova)  

The box office opens at 6:15 PM, ticket reservations are not possible. From experience, tickets are usually sold out quickly at the box office. Therefore we kindly ask you to arrive at the box office at least 30 minutes before the performance.

HZT at the Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


OBNIMASHKI© Philipp Weinrich
>OBNIMASHKI© Philipp Weinrich

Anna Aristarkhova: OBNIMASHKI

Instructions for friends – level of difficulty: easy

• Look at each other and possibly smile

• Possibly open your arms slightly to prepare your partner mentally

• Approach each other and put your arms around each other's neck, waist

or hips*

• Head is slightly tilted towards the left side, towards the right

shoulder of the partner

• Press yourselves to one another

• Stop the body contact before you feel uncomfortable*

*(The position of the arms and the duration of the hug depends on the

degree of friendship)                  


concept&choreography: Anna Aristarkhova

development&performance: Emma Tricard, Anna Fingerhuth, Grete Smitaite, Yuya Fujinami, Jonas Maria Droste

dramaturgy: Sandra Umathum

light-design: Gretchen Blegen

costume-design: Anna Philippa Charlotte Muller

choreographic assistant: Anna Fitoussi


Trailer: https://vimeo.com/169314052


Anna Aristarkhova: ZWEITES STÜCK

A piece without meaning


"Content is a glimpse of something, an encounter, you know, like a flash – it’s very tiny, very tiny, content." (Willem de Kooning)

"Obnimashki" & "Zweites Stück" sind koproduziert von der Uferstudios GmbH im Rahmen des Projekts Life Long Burning (www.lifelongburning.eu) mit Unterstützung des Kulturprogramms der Europäischen Union.


development&performance: Emma Tricard, Anna Fingerhuth & Grete Smitaite

music composer: Ferdinand Breil

dramaturgy: Sandra Umathum

light-design: Gretchen Blegen

costume-design: Anna Philippa Charlotte Muller

choreographic assistant: Anna Fitoussi


Trailer: https://vimeo.com/169314061


Admission: 4 Euro, the ticket is valid for both performance of the evening (Lina Gómez and Anna Aristarkhova)

The box office opens at 6:15 PM, ticket reservations are not possible. From experience tickets are usually sold out quickly at the box office. Therefore we kindly ask you to arrive at the box office at least 30 minutes before the performance.

©Felix M. Ott
>©Felix M. Ott

"Capturing Dance - dance documentation as artistic practice" sheds new light on an artistic approach to dance documentation. Since June last year, students from the MA SODA study programme of HZT Berlin and students from the Academy of Media Arts Cologne as well as colleagues from the professional dance world have been artistically examining and illuminating the interdependence between choreography, performance and documentation. 24 June sees the premiere of the film "Concrete Park", which documents the project's process and the different results of the intensive artistic encounters and exchanges between the project participants. On the weekend of the premiere there will also be a series of public dialogues with the artists involved.


Opening, Friday 24/6: from 7pm

7:30pm Film premiere "Concrete Park"

9:30pm DJane Bella Cuts

Saturday 25/6: 12 noon until 6pm

Supporting programme around the film

1:30pm Dialogue #1: Bettina Knaup (curator) in conversation with project participants

3:00pm Dialogue #2: Janez Janša (artist, theoretician) in conver-sation with project participants

4:30pm Dialogue #3: Sandra Umathum (professor for theatre studies, dramaturge) in conversation with project participants


A TANZFONDS ERBE project; presented by Tanzfabrik Berlin, Hochschulübergreifendes Zentrum Tanz Berlin (HZT - InterUniversity for Dance, Berlin), Kunsthochschule für Medien Köln (KHM - Academy of Media Arts Cologne) and the DFG Research Project “Verzeichnungen”; in cooperation with Galerie Patrick Ebensperger and Luxoom Lab Berlin, the DFG-Projekt “ÜberReste” and the Institute for Theatre Studies at the FU Berlin.

Supported by TANZFONDS ERBE – An initiative by the German Cultural Foundation and the Schering Foundation.


© Michael Weilacher
>© Michael Weilacher

Aus der Erfahrung meiner 15-jährigen Zusammenarbeit mit der belgischen Choreographin Anna Teresa De Keersmaeker spreche ich über zeitgenössischen Tanz im Zusammenhang mit neuer Musik.

Als Ausgangspunkt analysiere und präsentiere ich Steve Reichs Musik mit Fokus auf 'Drumming' und 'Music for 18 Musicians', zwei wichtige Stücke, zu denen Anna Teresa De Keersmaeker choreographierte. Die Zusammenfassung der Musik und Choreographie wird sowohl Texte von mir als auch von Anna Teresa De Keersmaeker beinhalten. Es geht darum ihren Arbeitsprozess in Bezug auf Tanz im Rahmen neuer Musik klar zu verdeutlichen, weshalb ich versuche durch Video und Ton Beispiele übersichtliche Antworten in Bezug auf ihre Herangehensweise zu geben.


Eintritt frei

HZT in den Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

©Mimi Jeong
>©Mimi Jeong


A choreographed solo performance between dance and music.
Who is Utku Yurttas, today, here on this stage? He moves through a system, a physical, spatial and musical score. In this way he simultaneously creates music and movement, movement and music. Dealing with the absurdity of the system challenges the performer’s identity.

Concept, choreographic composition: Mimi Jeong
Music composition & performance: Utku Yurttas
Scenery, light, installation: Julien Brun

Length: approx. 50 min
Reservations: karten@bat-berlin.de, tickets EUR 10, reduced EUR 5

bat-Studiotheater, Parkstraße 16
13086 Berlin-Weißensee
Public transportation: Tram 12, M13 and M4, Albertinenstraße, Bus 255, 158
Woelckpromenade, Bus 259 Berliner Allee/Indira-Gandhi-Str., Bus 156

©Nuri Oh
>©Nuri Oh

20 people at the Uferstudio 1:
A stage designer, a refugee, a graphic designer, two housewives, a kindergarten teacher, an artist, two musicians, a performer, three female dancers, a singer, four students (anthropology, choreography, art), a yoga teacher, a carpenter.
Now they will meet and create “contemporary gymnastics” together.

Concept, choreography: Jung Sun Kim
Music composition & direction: Matthias Erian
Stage, light design: Cheng Ting Chen
Music: Bo-Sung Kim, Hyo-Jin Shin
Dramaturgic advice: Jaelee Kim
Assistance: Alessandra Vasilieva, Viviana Defazio

Performers: Alessandra Defazio, Ayad Milko, Bo Sung Kim, Chiara Picotto,
Cristina Druga, Emily Jeffries, Gregor Gross, Hanna Shin, Hyo Jin Shin, Hyosil Lee,
Jonas Wentritt, Katarzyna Guzowska, Katerina Delakoura, Katharina Resch,
Kerstin Porges, Lisa Hofmann, Lucia Albini, Nicoleta Tutuianu, Polyxeni Angelidou,
Sanghwa Park

Length: approx. 60 min without a pause

Admission: 4 Euro
The box office opens at 6:15 PM, ticket reservations are not possible. From experience tickets are usually sold out quickly at the box office. Therefore we kindly ask you to arrive at the box office at least 30 minutes before the performance.

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

23.5. I 6 PM I HZT Open Lecture I Efva Lilja: beyond the ordinary. A performance lecture on art research and empowerment I Studio 11
©Viktor Andersson
>©Viktor Andersson

Why is the word being said? Why is the movement in motion? These are questions about the transmission of language, the politics of listening and about the role of representation in dance evolving on the basis of the linguistic perspective that constitutes its foundations. Through choreography, we come to rely on a broader definition of the concept of language: what we do not say may convey as much meaning as what we express in words. From this insight we nourish respect for our fellow human beings and we become not only better at expressing ourselves but also at listening. Dance becomes a political action.

Seeing the world with the eye of an artist entails finding a methodology for thought and meeting the politically complex challenges of modern society and cultural contexts. The art of choreography as action and thinking, allows us to be provocative, to question, to reflect or to test social ideologies, if we just dare to go beyond the ordinary. From my experience working with artistic research, I will talk about how artists can improve their abilities to interact in today’s multicultural and diverse society through research. Through dance, text and imagery, I invite all of you into a loving moment of action. I will chew at the edge of my worries and think up new shortcuts through the wilderness, amidst a headwind, discussing ideas of choreography. And I will dance.

In co-operation with AREAL - Artistic Research Lab and the !KF - Institute for Artistic Research.

Moderated by Julian Klein

Efva Lilja is an artist, activist and researcher; she works with choreography, visual art, films and writing. From 1985 to 2005 she was the Artistic Director of the E.L.D. Company, producing work in more than 35 countries around the world. For this she has been honoured and has received a number of prizes and awards. In 2003, she was named Professor of Choreography and 2006-2013 Vice-Chancellor of DOCH in Stockholm. Since the late 1990s, she has worked with artistic research and been an active force nationally and internationally, striving to improve the conditions under which artists can undertake research in their artistic practice. In 2014, she was the Expert Advisor on artistic research at the Ministry of Education and Research in Sweden. From 2016, she has been the Director of Dansehallerne in Copenhagen.

Event in English language

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

© Jorge Ruiz Abánades
>© Jorge Ruiz Abánades

In the last few decades, we have gone through a process of hyper-professionalization in the arts. The consequences are several: competitiveness rules social interaction; artists have become passive obedient agents who submit to the evaluation of professional control systems and public critical approval; and they surrender to the judgement of the mediators’ authority. Hence, professionalism has become the ultimate criteria in validating/legitimizing an artist, hijacking the public space and turning it into a space for publicity, individual achievement, a career ladder, profit seeking... Is “professional artist” an oxymoron? In that case, what exactly is the tension produced by an artist becoming more professional? How can one benefit from the tension of this contradiction? Can this tension constitute a playground/battlefield for artists to operate and produce work? How can an artwork dismantle the positions of privilege installed and perpetuated by professionalism? How does one reformulate the political body as the main tool for social transformation?

Lecture in English language

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

18.5. I 6pm I HZT Lecture-Series: New Music and Dance I Burkhard Beins


©Christoph Mevel
>©Christoph Mevel


Burkhard Beins:  „Adapt/Oppose“

In this lecture, Burkhard Beins will present the modular system of signs for the organisation and control of group interaction that he has been developing for the last 10 years. It is based on a limited number of signs with which he can – precisely because of their very specific meaning and function – compose complex graphic systems of relations. In workshops with musicians and/or dancers, these few clear specifications can reduce the otherwise often overwhelming complexity of evaluation and decisions contained within processes of improvisation to the point that the participants can improve their focus on the details of their material selection and shaping as well as on their interaction within a group. These are, due to graphic representations, observable, analysable and debatable; this makes Adapt/Oppose an excellent didactic instrument.

Burkhard Beins was born in Lower Saxony in 1964 and has been living in Berlin since 1995. Due to his individually developed technique, as a composer/performer he is considered to have had a lasting influence on style as a percussionist. He works as a soloist but also together with Keith Rowe, Sven-Åke Johansson, John Tilbury, Charlemagne Palestine and many more.

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


Ric Allsopp © Hagolani
>Ric Allsopp © Hagolani

Drawing on what has been called the 'turn to sleep' the lecture will refer to examples of historical and more recent performance practice as a means exploring states of consciousness associated with sleep and their relation to writing.

Lecture in English language

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

4.5. I 18 Uhr I SODA Lecture-Performance I 

Dani Ploeger I Studio 11


Daniel Ploeger „Flieg
>Daniel Ploeger „Flieg

Dani Ploeger: „Techno Fetish Party“


Considering consumer technologies in relation to different understandings of the concept of the fetish (Marxist, Freudian and post-colonial), I will speak about some of my digital performance work in relation to consumer technology and fetishism, performance and online sexualization, porn and hypermediacy. After the presentation the audience are invited to participate in a hands-on techno-fetish workshop (or party), where they are encouraged to explore their favourite personal digital device.


Dani Ploeger is interested in the spectacles of sex, violence and waste in techno-consumer culture. His work encompasses computer programming, electronics hacking, cultural theory and performance. He holds a PhD from the University of Sussex, UK, and is a senior lecturer in performance arts at The Royal Central School of Speech and Drama, University of London. Born in the Netherlands, he has lived in Switzerland, Norway, Germany, and Palestine. He is currently living and working in London and Vlissingen (NL).


HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8:Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


In the last two weekends of April the students of the BA “Dance, Context, Choreography” at HZT Berlin will open their studios, kitchen, yard, space/time and psychosomatic systems to welcome guests for the annual student-organized festival.

It's never whatever – this is an invitation to bring attention to the in-betweens, the seemingly unnoticeable and the too-obvious-to-see. An invitation to share those moments of twisted pleasure together.

The Uferstudios in Wedding will become the site of an ecology of performances, workshops, exhibitions, radio shows, installations, delicious meals and many other collective and individual works in all im/possible formats.

Admission is free. No ticket reservations possible. Tickets are available at the box office 30 minutes before each performance starts.

More information on the programme: www.hztfest.de


HZT in den Uferstudios, Uferstraße 23, 13357 Berlin
U8:Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

20.4. I 6pm I lecture series: The World must be Romanticised I Studio 9


© Marion Borriss
>© Marion Borriss


The World must be Romanticised


 The task of this lecture series, directly connected to the orientation of the lecture seminar series of the Winter Semester, is to approach not only the aesthetic dimensions of Novalis’ thesis but also its broader philosophical and political perspective, thus revealing what was profoundly at stake with the Romantic revolution of Art, the analogue of the French revolution for modern history.

Are we still acting today in accordance with the Romantic desire for transformation of the world? What is its legacy and metamorphosis in the present day? 


The lecture series will convey leading political philosophers and art theorists in the attempt to formulate possible perspectives for answering these questions.



20.04.2016 / 18 Uhr 

Lecture Panel: Chantal Mouffe & Boyan Manchev 


Boyan Manchev (opening): Agon and Transformation


 Chantal Mouffe: The role of affects in agonistic politics

The agonistic theory of politics and art of one of the leading political philosophers today, Chantal Mouffe (whose work, besides of being major point of reference for the left political movements in Latin America and Europe, is direct source of inspiration for many artists and various art forums, including the last Berlin and Venice biennale), has to face the challenge of transformation. How and why political agon and agon as artistic strategy could provoke movement and transformation instead of ending up in stasis and immobility? 


 Lecture in English language.


Save the date: 


27.04.16 I 18 Uhr: MA SODA Lecture mit Boyan Manchev: The Last Romantic


Eintritt: frei


©Esa Kirkkopelto
>©Esa Kirkkopelto


“Species-Beings, Human Animals and New Neighbours

Non-Human and Inhuman in Contemporary Performance”

Contemporary performances experimenting with human – non-human relations inscribe themselves historically in the Western tradition of religious and political emancipation, based on the call for unconditional equality and liberty, or “equaliberty” (Balibar 2004) between species. In extending this call beyond the human sphere, “non-human performances” activate ideas concerning the closer analysis of this tradition as well as of present-day humanitarian catastrophes. 1) The claim of equality can be unconditional only if it extends beyond the human. 2) Equalization is not only a matter of rights and legislation (Hamacher 2014), but also an exercise of acquiescence, i.e. a bodily practice.


Lecture in English language

Free admission

HZT at the Uferstudios, studio 12, Uferstraße 23, 13357 Berlin, U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


19.4. I 18 Uhr I HZT Lecture-Reihe: Neue Musik und Tanz I Wolfgang Zamastil 


„Nachdenken über Musik: Lachenmann und konkrete Musik damals und heute“


Die Musique concréte war an einer Erweiterung des Musikbegriffs interessiert, der es erlaubt, jedes akustische Ereignis zu Musik zu formen. Neue Überlegungen stellten zur Zeit ihrer Entstehung nicht nur nie dagewesene Anforderungen an die Hörgewohnheiten: Massive Eingriffe in die Spieltechniken der sogenannten Musique concréte instrumentale änderten auch den haptischen Umgang mit den traditionellen Instrumenten und damit das Verhältnis vom menschlichen Körper zum Instrument. Die Vorstellung der Musique concréte instrumentale und deren Nachwirkung auf die Musik des neuen Jahrtausends beleuchtet unter anderem den Begriff der Natürlichkeit in der Musik und den Bruch damit: sie soll als Anregung dazu dienen, Parallelen zu choreographischen Pendants zu finden bzw. schon existierende Modelle zu untersuchen. Lecture von Wolfgang Zamastil mit Live Musik. 


Wolfgang Zamastil, geboren 1981 in Salzburg, legte 2008 sein Konzertexamen im Fach Violoncello in Berlin ab. Als Komponist sammelte er zahlreiche Erfahrungen, u.a. bei Helmut

Lachenmann und Walter Zimmermann, komponierte u.a. für die Semperoper Dresden, die IEMA und das Orchester Pro Musica Chamber/Ohio. Er war von 2006-2009 aktives Gründungsmitglied der Formation für Konzertinszenierungen „bassgasse3“, die u.a. im ZKM Karlsruhe und in den Sophiensälen Berlin inszenierte. Seit 2007 musikalischer Partner des Choreographen Richard Siegal und hat u.a. mit Bill T. Jones, Stephanie Thiersch, Friederike Plafki, Omar Rajeh und John Neumeier gearbeitet. Als Musikproduzent veröffentlichte Zamastil sowohl im Bereich Neue Musik, als auch im Popbereich zahlreiche Produktionen, in denen er sowohl als Musiker, als auch als Tontechniker und Arrangeur fungierte. 2010–2014 war er Cellist des Asasello Quartetts Köln. Lebt und arbeitet in Berlin. 



15.6. I 18 PM I HZT Open Lecture by William Locke Wheeler: Three Image-Gestures for an Unnamed Student in a 1901 Photograph by Frances Benjamin Johnston Titled “Furniture Building Shop, Carlisle Indian School, Carlisle, Pennsylvania”I Studio 11

The American photographer Miss Francis Benjamin Johnston had a “talent for detail.” She possessed a choreographic sensibility which highlighted the deep contradictions underlying the social moments she photographed. Her commissions in documentary photography brought her into close proximity with some of the most controversial educational experiments in American History, including the Carlisle Indian Industrial School in Carlisle, Pennsylvania.


The Carlisle Indian Industrial School’s aim was to re-educate Indigenous American students for their forced integration into white capitalist society. These “progressive” pedagogical aims were carried out by this school and many others like it by punishing adherence to Indian ways and the practice of Indian languages or culture, while affirming the superiority, dominance and benevolence of the white race and its culture.


“Who are the students in this photograph? Can this photograph be viewed as a representation of Indigenous Americans? Can it be understood as a photo of students? And who am I to say if it can or can’t? What is my agency as a reader? While opening up complexities that lie between the image and the body in (im)motion, or, as I will refer to it, the dancing-body-resisting-in-stillness, in this presentation I will also discuss complexities related to the body-as-archivist and that body as agent in interaction with space-as-image-archive. My hope is that these complexities will offer us new ways of thinking the dancing body.”


In conversation with theories from art-history, philosophy, visual studies, theater studies and dance theory, William Locke Wheeler’s lecture will trace the history of the development, aims and failures of the Carlisle Indian Industrial School while exploring ways that we can “collect resistances” by collecting and re-mounting images on paper and in movement, bringing images into dissonantly harmonious relationships with each other – and with the bodies that handle them – through practices that tap the potential of the epic montage.


Free admission

HZT at the Uferstudios, Studio 11, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


13. and 14.4. I 7 pm I SNDO Graduation Works 


School for New Dance Development Amsterdam presents: SNDO 4 Graduation works 2016


Im April sind die AbsolventInnen der SNDO - School for New Dance Development Amsterdam zu Besuch am HZT. Wie in den vergangenen Jahren zeigen sie ihre Arbeiten als Teil des Austauschs zwischen HZT und SNDO in den Uferstudios. Die diesjährigen SNDO-AbsolventInnen sind: Maria Metsalu, Samira Elagoz, Tiana Hemlock-Jensen, Nadia Bekkers, Sabine Cmelniski, Lester Arias, Maciej Sado, Ida Katinka Fridan Pedersen und Pavlos Marios Ktoridis.


Produktionsmagagement: Nadja van der Weide; Lichtdesign und Technik: Koen van Oosterhout; Technische Assistenz: ATT, de Theaterschool; Produktion and PR Koordination: Stephanie Lühn; Mentor SNDO 4: Katerina Bakatsaki



Admission: 4 €

Ticket reservations: tickets@hzt-berlin.de


Due to usage of sexually explicit material, the performances on 13 April after the break (COCK, COCK, WHO’S THERE and Fuchsia version 2), are not suitable for minors.


HZT in den Uferstudios, Uferstraße 23, 13357 Berlin
U8:Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


Programm 1 I 13.4. I 7 PM [top]


Tiana Hemlock-Yensen: Welcome to the Gild

We val_U! Celebrating belief. An experiment with a deep investment in blinging. Invest today. Maybe this is the solution to what’s holding you back from an unfathomable metamorphosis. Be untraceable, become a pure movement. Be everywhere, get lost / lots.
This is the thing you want. This is the thing you can’t imagine. 
This is the mechanimalism.
This is my mother.
This was time.

Metallic gold is inert to all body chemistry. It has no taste, it provides no nutrition, and it leaves the body unaltered.

Choreography/ Concept: Tiana Hemlock-Yensen
Collaboration/ Scenography: Andres Novo
Performance: Sigrid Stigsdatter, Tea Teearu, Alondra Castellanos, Tiana Hemlock-Yensen

Nadia Bekkers: In Memory Of

Soothing censorship 
to block the silver corpses,
in triangle formation reflecting the sky
Flocks of warriors, birds of purple lights
landing on the deserted highways,
sculpting since forever every single night
Greeted by green-eyed dogs,
the burden dares to become a softer inhalation,
exhaling time as it warps around fish doing headspins

Performance: Paula Chaves, Rex Clemensia and Nadia Bekkers
Choreographer: Nadia Bekkers
Props: Arjan Cabellut and Raoul Zwart
Music: Chinese Man, Angel Haze, Mobb Deep and Nadia Bekkers (soundcloud.com/mc-mustaj)
Costume maker: Pepa Canel

Samira Elagoz: COCK COCK, WHO’S THERE? 

Everything you see tonight is true. 
Is the whole truth and nothing but the truth. 
Of course, there are no facts, only interpretations, 
whichever prevails, is a function of power, not truth. 
So, even though I’m the conductor, 
my words will leave that power in your hands. 

Cock Cock, Who’s There? a romantic black comedy crime drama, based on a true story. Written, directed and starring Samira Elagoz. 
This piece is accompanied by a book; you can find it at the bar during the intermission. 

Sound edit: David Krooshof 

Maria Metsalu: Fuchsia version 2 - the art gallery

here a tale of an art exhibition that didn’t want to be a show. it was a curious exhibition. it wanted to go beyond the obvious of showing but also be true to itself. (HARD-CORE)

Fuchsia version 2 - the art gallery is the second chapter of a project in three versions. In this version, Maria Metsalu proposes an investigation of modes of exhibiting and producing by taking a faux art gallery as a post-human character as the starting point. Within this setting, she continues to develop topics around her experience as a cam girl, relations between IRL and URL, her virtual obsession, hyperconsciousness and the influence social media and her life online has had on her persona, including the immense loneliness which this self-exposure has led to.
Throughout the Fuchsia project, Metsalu questions the arbitrariness of her working life through acts of self-display as an object of spectacle - something that she both embraces and refuses - and has an interest in creating an almost all-inclusive structure, which can accommodate both chaos and its refusal through an organising symmetry and iconography imagery. 

For the final version of the project, Metsalu will transform Fuchsia into a virtual gallery exhibition in August 2016.

Choreography: Maria Metsalu
Dance: Maria Metsalu, Charlie Laban Trier, Japheth Fenton
Set design: Nikola Knezevic
Styling: Viktorija Medvedeva


Programm 2 I 14.4. I 7 PM [top]


Ida Katinka: How do we define the parameters of space? What is the nature of a space? Body?

What does it mean to have a moving frame? Like a territory being defined and redefined by a flock of animals, creating a zone with distinctive features, which still overlaps with other zones. Did you already enter another zone without realizing it? How does the sensation catch up with you? Did you clearly feel your body passing from one texture to another? 

Like traveling in a foreign country, I want to reinvent myself in these realities, in these fictions.

So where do you place dance? A dance on stage? A dance in a bedroom? A dance in a staged bedroom? The bed, the room as the dancing element? Where do you expect the dance to take place? Where do you place the dance?

These are all questions that arose during Ida Katinka's two-month research trip to Japan, which mainly took place in Kobe, Kyoto and Tokyo. This was followed up by a two-month stay in Copenhagen, Denmark where Ida Katinka worked with clay and ceramic in the studio of her mother Helene Fridan Pedersen. 

One of the elements in the work is the question 'How do we define the parameters of space?' Ida Katinka worked with the idea that something has to pass through, be built simultaneously in more directions. She also worked with the awareness that the history of clay starts by building up from the ground, establishing the foot. The ceramic sculptures are combined with a study of rope bondage shows that she undertook in Tokyo; she transformed this knowledge into her own handling of rope, the body and sculpture. 

Lester Arias: The Wild Things

The Wild Things is the translation of a music album into choreography, of twelve songs that speak about migration, war, poverty, identity, love and sexuality into a journey of humankind. The songs are originals, with lyrics written by Lester Arias (vocals) and music composed in collaboration with Niklas Blomberg (electronics), who is also the music producer of the album. The piece’s narrative draws its inspiration from the Tarahumara people’s story of La Loba, where a woman—representing the archetype of the singer — sings to the bones of a wolf until they become blood and flesh again, new life. As the wolf jumps out of its cave, it runs into the desert and becomes a laughing woman. It is a transformative act of the body (audience/performer) through sound.

Moving from this inspiration, The Wild Things plays with the ambivalences and nuances between what a concert and a performance art experience is. 

Son of Mom: W3 

W3 is a creation by Son of Mom, and is co-created with and performed by Alya Hessy, Isadora Tomasi and Tiana Hemlock. W3 features textile concept and costumes by Alya Hessy, sound and music by Isodoea Tomasi and animations by Maragrita Iosif and Matias Daporta Gonzales.

Maciek Sado: Northing

Following a curiosity for the theatrical “gap in between”, Northing introduces an investigation of the oblique space of the performance, where unfulfilled expectations meet with an open space for unbridled interpretation. Here the temporality of the body does not equal the temporality of an object. Both can only share the 

the present, slowly becoming an artificial creation lost in the perspective of an endless landscape.

Northing is to give coordinates, to place a grid, to go alone.


No text in this language available



>© HZT


Performing Poetics


A poetics of performance begins to privilege the openness and indeterminacies of enactment versus the closures of explanation. Dance tends to enact something rather than explain, whilst choreography is a means of finding ways to transmit the forms of such enactments. The lecture contends that the continuing resonance of Judson Dance Theatre and a poetics of radical coherence are precise attempts (in Walter Benjamin’s words) ‘to wrest tradition away from a conformism that is about to overpower it’.


 Lecture in English language.



Hochschulübergreifendes Zentrum Tanz Berlin (HZT). Uferstudios. Uferstraße 8/23. Berlin-Wedding

Eintritt: frei





Uferstudios, Seminarraum 1 (1st floor), 6 to 7 pm


DFG research project “Records and Representations” double feature: the current issue of the e-journal MAP Media | Archive | Performance


The current issue of MAP is dedicated to the topic of recording/registering as a basis for archiving and historiography. Can the artifacts resulting from such practices be understood as documents, and which assertions do they allow to be made about 'their object?' Which are the shifts between artistic and scholarly procedures of writing and drawing, filming and digital visualization? If it is valid that, aside from its primary occurrence, art based on movement and temporality can only be made accessible through medial transformations, then the possibility of reading such artifacts of transformation as traces of past occurrences presupposes reflecting their technical and operative as well as aesthetic-discursive conditions. 

With contributions by Sabine Brantl, Scott deLahunta / Florian Jenett, Kathleen Heil, Elisabeth Heymer, Susanne Holschbach, Jasmin İhraç, Barbora Klimová, Ulrike Krautheim, Stefanie Schulte Strathaus, Laurent Sebillotte, and Isa Wortelkamp. The editors Barbara Büscher and Franz Anton Cramer present the issue together with contributors.


Uferstudios, Seminarraum 1 (1
st floor), 7.30 to 9 pm

Transformations and Masquerade #2: Digital Imaging and dance notation.

Anne Quirynen introduces the screening of her film “The Way of the Weed” (B, 1997, 52 min)

Belgian film-maker Anne Quirynen studied Art History and Video. She lives and works in Berlin.

Her films and video installations have been shown at festivals in Rotterdam, Split, Osnabrück, Den Haag, and Copenhaguen as well as in arts centres in Paris, New York, Amsterdam, and Tokyo. 

“The Way of the Weed” (1997) was realized in collaboration with Peter Missotten and An-Marie Lambrecht. It translates choreographic aspects of the work of William Forsythe in a sci-fi narrative.

Uferstudios, Seminarraum 1 (1st floor), 7.30 to 9 pm




©Lucy Cash
>©Lucy Cash


Augusto Corrieri: In Place of a show. 


What happens inside a theatre when nothing is happening? What do theatre buildings do?

In place of a show is a lecture-work exploring different theatre buildings around the world.
Turning attention away from the human element (the work of performers, artists, audiences, architects, etc), the lecture focuses on the buildings themselves: theatres stripped of their primary purpose, lying empty, preserved as museums, or demolished.
When the human element no longer dominates the space, non-human elements take centre stage: curtains, seats, balconies, doors, as well as animals, insects, air currents, dust.

Perhaps the art of theatrical representation can be best understood by attending to seemingly insignificant events: a swallow flying around an auditorium in a theatre in Italy; the swirls of dust motes on the site of a demolished London theatre; the darkness that fills auditoria once the show is over.


Free admission

HZT in den Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen




Five MA Choreography students will present their third semester works on two double evenings. 


PROGRAMME 23. AND 24.10.2015, 7 pm


Irina Demina: 360 degrees or today I almost puked the endolymph out of my ear canals


Irina Demina: 360 degrees or today I almost puked the endolymph out of my ear canals Foto: Dragan Denda
>Irina Demina: 360 degrees or today I almost puked the endolymph out of my ear canals Foto: Dragan Denda

Vertigo (Disturbance of a sense of balance. From the Latin «vertō» - „turn“, „dizziness“, from vertere „wenden“) is a feeling of dizziness or a feeling of disorientation. 


Idea, choreography, dance: Irina Demina



Anna Aristarkhova: score for a single movement


Design: Anna Aristarkhova
>Design: Anna Aristarkhova


a choreographic experiment. 


Idea, concept, choreography: Anna Aristarkhova



PROGRAMME 30. AND 31.10.2015, 7 pm


Mimi Jeong: Occursus 


Mimi Jeong: Occursus Foto: Gino Daloiso Bearbeitung: Julien Brun
>Mimi Jeong: Occursus Foto: Gino Daloiso Bearbeitung: Julien Brun


Concept, choreography: Mimi Jeong


Jung Sun Kim: Solo Für Lauf


Jun Sun Kim: Ein Solo für Lauf Foto: unbekannt Bundesturnfest in Milwaukee, 1893
>Jun Sun Kim: Ein Solo für Lauf Foto: unbekannt Bundesturnfest in Milwaukee, 1893


Concept, choreography: Jung Sun Kim


Lina Gómez: Träumerei des Verschwindens


Lina Gómez: Devaneios sobre o desaparecimento - Träumerei des Verschwindens Foto: Nina Cavalcanti und Noam Gorbat
>Lina Gómez: Devaneios sobre o desaparecimento - Träumerei des Verschwindens Foto: Nina Cavalcanti und Noam Gorbat

„Träumerei des Verschwindens“ investigates foreign bodies and their mortality. Where do the limits of these bodies lie? Where do they begin, where do they end? What qualities of movement do these bodies have? „Träumerei des Verschwindens“ attempts to dissolve these bodies, make them lose their contours, blur them, camouflage them. It is a continual transformation of bodies. „Träumerei des Verschwindens“ is like clouds: passing, ephemeral, mortal, slow, light, poetic, dense and with infinite forms; a stimulus for imagination.

Idea, concept, choreography: Lina Gómez


Free admission


Tickets: no reservations possible, tickets from 6:15 pm at the box office. Limited seating, please get your ticket early.


HZT at the Uferstudios, Studio 14, Uferstraße 23, 13357 Berlin



black and white photo shot in 1985 of Staging Lateral Pass, a choreography by Trisha Brown with set by Nancy Graves. Copyright © 1985 Babette Mangolte. Used with permission.
>black and white photo shot in 1985 of Staging Lateral Pass, a choreography by Trisha Brown with set by Nancy Graves. Copyright  © 1985 Babette Mangolte. Used with permission.


Capturing Dance” tries to shed new light on the mutually productive relation between choreographic performance and its documentation. While debates tend to go back and forth between ontological claims for authenticity and pragmatic needs for preservation, the symposium’s focus is on the artistic status of both performance making and documentation. This perspective calls for a revision of certain qualities often attributed to the document, such as “secondary”, “reductive”, or “arbitrary”. Considering that both choreography and documentation create artefacts with all of their authorial and medial specificity, the point of interest would be: what strategies can be put in place allowing for a non-hierarchical approach? An approach reaching beyond the commonplace of eternal declivity between these artefacts? Compared to practices in the Visual Arts, the interlace between curatorial valorisation and performative positions seems less developed in the field of choreography. By inviting curators, artists, and scholars active in the field, the symposium intends to investigate productive relations between the “event” and its trace, between authenticity and historicity, creation and dissemination.


The symposium will include lectures, presentations, panel talks and open discussions.


It is open to the public.


Philip Auslander (Atlanta), Barbara Clausen (Montréal), Phil Collins (Cologne), Susanne Foellmer (Berlin), Barbara Formis (Paris), Sigrid Gareis (Berlin), Babette Mangolte (San Diego, New York), Boyan Manchev (Berlin, Sofia), Eric P. Morrill (San Francisco); moderator: Franz Anton Cramer (Berlin)


Friday, 16 Oct

4 pm doors open and welcome

4.30 pm lecture Barbara Formis: Performing Lives” opening lecture and discussion

5.30 pm presentation of “Capturing Dance” 
(Phil Collins, Boyan Manchev, Sigrid Gareis)

6 pm Barbara Clausen: “The Becoming of Its Own Image“


Saturday, 17 October

10.30 am doors open

11 am Babette Mangolte: “New Perspectives on Filming Dance“

1 pm lunch break

2.30 pm brief lectures

Susanne Foellmer: “On Remnants and Vestiges. Strategies of Remaining in the Performing Arts”

Eric P. Morrill: “Photography: Subject to Experience“


3.30 pm Artist Talk: Babette Mangolte, Christina Ciupke, Hannah Dörr


4.30 pm quick coffee


4.45 pm Philip Auslander: “The Paradoxical Temporality of Performance Documentation”

5.45 pm closing panel

end of symposium around 6.30 pm



Uferstudios Berlin, studio #14

Uferstraße 23

13357 Berlin (Wedding)

subway U8 Pankstrasse




as of 17 September 2015
program subject to change




© Marion Borriss
>© Marion Borriss


BBC – in records | recollections, those are musical initials. Bach Beatles Cage. A triangle that triggers the lecture performance’s memory leaps and perforates the live mix of sounds, videos and texts.

From his childhood onwards, Mr. Cage had a great aversion to the radio. It almost induced a fear in him due to the constantly repeating music. But since it was hardly possible to ban the device forever from his life, Mr. Cage banned all radio music into a composition and gave it the name Radio Music. From then on, he could always be happy about the fact that his music could be heard on the radio when one was on somewhere. (Jörg Laue)

In English
Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

4 and 5 December I 10 and 11 December I 7 PM I SODA Final Presenations I Studio 14

At the end of their two-year artistic and theoretical research on solos, collaborative processes, composition and performance within contemporary art practice, the graduates of the MA Solo/Dance/Authorship program at the HZT Berlin will present their final projects.


4. and 5.12. I 7 pm I Studio 14

Andrew Kerton: The Work / _fieldnotes

Hwa Yeon Nam: Body of Time


10. and 11.12. I 7 pm I Studio 14

Joshua Rutter: Patterned Interference

Ivo Serra: P dance


4., 5., 6., 10., 11.12. I 10 am – 6 pm I Studio 9

Mădălina Dan: The Agency of Touch

Tactile one-on-one performance


Tickets for „The Agency of Touch" are only available online as of 24.11. Reservations at: https://theagency.acuityscheduling.com/



Free admission. Reserving tickets for the performances in Studio 14 is not possible. Tickets are available at the box office at the Uferstudios on the day of the performance from 6:15 pm.





The Work is an untitled interactive sculpture that can be considered a somatic structure. Spatially it proposes properties of division and integration, activity and observation; as a threshold it stages transition.

_fieldnotes is a solo performance that can be considered an exercise in embodiment. It is an exploration of inner and outer physical space that integrates movement, voice, audio loops and language. It is involved with the concept that cognition is a process of abstraction.



Can choreography be a human invention to make sense of how non-human bodies move in space and time? Halley’s comet is currently outside of the orbit of Neptune. It is orbiting around the sun. The comet will reach the furthest point from the sun in 2024. Then it will make a turn towards the closest point from the sun. As it gets closer to the sun, Halley’s comet will speed up. We expect to see it again in 2061.






When we first tried to remember it was at the end of every session, or halfway through. Now it is immediately, and this self-objectification, this communication of findings has become the practice. A game of languaging action and actioning language structures our relations, subjections, and objectifications. We deconstruct ourselves while we build a world around us.




Pagan, Pain, Parade, Paradigm, Paradox, Parallel, Parasite, Participate, Particular, Passage… 


P dance takes the folk costume from Podence in Portugal as a starting point to explore rites of passage and social practices still present in folk traditions in many European countries.

 The P dance is a suggestion on how I “author” the conditions of an experience to ritualize the production of a dance as a field of contemporary culture through sexual expectations, social traditions and historical heritages.


MADALINA DAN: THE AGENCY OF TOUCH I 4., 5., 6., 10., 11.12. I 10 AM TO 6 PM I STUDIO 9



The Agency of Touch, a one-on-one tactile performance is a social intervention utilizing touch, bodily-sensorial awareness and connectivity as a vehicle for corporeal communication. This space privileges touch and physical experiences over the visual experience that dominates contemporary technological society.


 HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

3., 10., 12.12. I 6 pm I Presentation: Who's the Party now, Sister? I Secondhome Projects I Reinikendorfer Straße 65 

© Eva Bertram
>© Eva Bertram


Students of the bachelor course “Dance, Context, Choreography” have a three weeks artistic residency at secondhome projects. Together with HZT staff members Sheena McGrandles and Britta Wirthmüller they will work in the secondhome gallery space and in two unoccupied shop fronts on Reinickendorfer Straße in Berlin-Wedding from 23 November till 11 December 2015. Following the motto "Who’s the party now, sister?“ they will focus on feminist performance art from the 1960’s and 70’s and they will research invisible, peripheral, forgotten and censored works, artists and practices from that time. Through modes of re-doing, like re-appropriating, re-enacting, tribute acts and artistic response, they will question the politics of redoing the already done. In doing so they ask what gets remembered, what gets forgotten, by whom and how?

During the residency the public is invited for three events:

3.12. I 7 PM:
 performance by Melanie Jame Wolf & Maria Francesca Scaroni
10.12. I 7 PM: performance by Sharon Smith & guests
12.12. I 6 PM: final presentation secondhome temp XXIV

Free admission

secondhome projects, Reinickendorfer Straße 65, 13347 Berlin
U9: Nauener Platz, S-Bahn: Gesundbrunnen



Phantom Ghost © Patrick Muennich
>Phantom Ghost © Patrick Muennich


The strangest thought came to me on this morning, as I awoke to greet the coming dawn. The sun was hardly peaking through the garden, it felt that with everything I was one. Then I wished that I could come back as a flower. (Stevie Wonder, The Secret Life of Plants)

Since the beginning of the 20th century a communication between humans and plants was attempted in a variety of technical, aesthetic and esoteric media. The lecture looks at the history of this presumably marginal endeavor in biology, modern dance and popular culture.

Eike Wittrock is a dance historian and curator, who tries to uncover the critical and utopic potential of dance history. He is co-founder of the Julius-Hans-Spiegel-Zentrum that is currently a guest at the Sophiensæle, and together with Anna Wagner is working on a performance circus to premiere in summer 2016. His research has been presented both in academic as well as artistic contexts, amongst others he collaborated with Jeremy Wade, Meg Stuart, Peaches, Cosima von Bonin, Danh Vo and Christodoulos Panayiotou.

In English
Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

24.11., 15.12., 3.2. I 6 PM I cross listening / quer hören: A Lecture Series of the MA Choreography with Michael Thieke I Studio 12


Michael Thieke
>Michael Thieke


Michael Thieke’s lectures in this three-part MA Choreography series are broadly grouped around the subject in order to allow for a connection between music of different styles, contexts, epochs and geographic zones. The point is not so much to establish a complete overview or a history of styles in accordance with musicological concepts; instead, the goal is to expand a (hearing) knowledge of the diversity and networking within music, find individual measures for one’s own preferences and awaken curiosity for individual research.


Music, as in the case of all other art forms, developed rapidly in the 20th century and diversified into numerous styles and contexts. One hundred years after the start of the documentation of music via audio recording, the field has become vast and unmanageable; this is amplified by constantly increasing access in the internet era. The problem is not so much finding something, but rather to know what one should – and can – look for.


Other events in the series:


15.12.2015 I 6 pm

Song Sung Blue, Every Garden Grows One: The Human Voice

With examples of traditional choral music from Europe, Asia and Africa; experimental and contemporary composed music, blues, Dada, pop, jazz, among others.


03.02.2016 I 6 pm

Étude aux chemins de fer: Field recordings, Sample Culture, Turntablism and Musique Concrète

With examples of contemporary pop music, musique concrète, new music, hiphop.


Michael Thieke

clarinet | composer/performer, *1971 in Düsseldorf, lives in Berlin and Rome. The Berlin-based clarinettist/composer/performer Michael Thieke is equally at home across a broad range of musical environments, such as experimental song forms, collectively composing projects, improvising collectives, and music on the fringes of jazz. He is exploring the minutiae of sound, timbre and noise, with a particular interest in microtonality and related sound phenomena, and with a preference for long-term collaborations and collective work.

 Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

13.1., 20.1., 27.1. and 10.2. I 6 PM I SODA Lecture: Boyan Manchev: Philosophy of Metamorphosis. Metamorphosis of Philosophy I Studio 8

© Marion Borriss
>© Marion Borriss


13.1. and 20.1. I Philosophy of Metamorphosis. Invention of Metamorphosis and Emancipation of Art

 In the first two lectures in this series, Boyan Manchev takes up a cultural historical analysis of the “invention of metamorphosis” in early cultures, with a special emphasis on the legacy of the Greek classics. On the basis of this genealogic perspective, a series of hypotheses can be formulated on a supposedly repressed “metamorphous” line of philosophy. Boyan Manchev describes them as “dynamic ontologies” – from Heracles and Aristotle, Nietzsche and Bergson to contemporary philosophy and art.


27.1. and 10.2. I Metamorphosis of Philosophy. How to Transform the Transformation?

 In the third and fourth part of the lecture series, Boyan Manchev discusses how philosophy and art are involved with, contribute to or contrast with the flexible schemes and production forms of a contemporary performative society. How do they react to the forms of existence that are increasingly reduced to standardized patterns, desirable forms and transformations? How can philosophy and art stem themselves against the modern imperative of transformation and – if at all – do it justice?


Lectures in English.


Free admission

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

13.2. I 18 Uhr I Let's fantasize about dance, baby! I Agora Collective 


Our guests have no dance background and bring choreographic ideas with them.

How do they imagine dance?

How would they translate their ideas into choreography?


 We, four MA Choreography students at HZT are opening a space to discover new possibilities and different 

ways of thinking about choreography. 


You are warmly invited to imagine dance together with us 

and spend an inspiring evening at Agora Collective 


Mittelweg 50, 12053 Berlin




free entrance!

talk will be held in English


moderation: Lulu Obermayer


please confirm your presence here:  a.aristarkhova@hzt-berlin.de



© Marion Borriss
>© Marion Borriss

When different disciplines collide, the result is not necessarily accident damage in need of repair. Primarily, something new or a third thing is created, an idea of provocation of disorder and reciprocal infection.

Two professors/teachers from different disciplines develop a format together for the collision of the UdK students in the first week of the year – and transcend their own departments. Thus a temporary campus emerges on which the teachers and the students can both meet in interdisciplinary constellations.

The final presentation of the Kollision 2016 will take place at Studio 14 in the Uferstudios on Friday 8.1.16. In addition, work results will be presented in the form of an exhibition in Studio 12.


Website  Campus Kollision

Free admission

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen



4:00 - 5:30 PM I STUDIO 9 


Movement Workshop
For anyone who is curious and interested in movement. Johanna Ackva, a BA Dance, Context, Choreography student, and Britta Wirthmüller, artistic research associate at the HZT Berlin, will teach this workshop together. Previous knowledge in dance is not required. Please bring comfortable clothes. 

The workshop will be held in German and English.



6 - 7 pm, Studio 11 and Studio 10


Studio showings and installations

In this format, students from all HZT programmes will show short choreographic pieces and sketches as “works in progress” (Studio 11) as well as installations (Studio 10). 


Information and the programme of the studio showings on the HZT website at the beginning of July.


Free admission.

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen



What is meant by the term research presentation when it comes to arts practice? What form could it take? Who and what is it for?

Over the two years of the masters program Solo/Dance/Authorship (SODA), students are asked to respond to these questions, through the specificity of their work and practice. How can art practice be considered knowledge, and, how can the acquisition of this knowledge be demonstrated and accounted for a discourse? What are the means by which learning procedures and insights of such knowledge production, can be made visible? In short how do the students learn what they learn?

Over the course of these two nights students will illustrate and elaborate their varied approaches to performance research in the form of performative formats and an artist workbook and give an insight into their final masters presentation in the following semester. This includes performances, discussions, installations, and more.



Mittwoch, 1.7.

7pm - Andrew Kertontowards a lateral organogram

7pm - Ivo Serraentitling „Le Sacre du Printemps“

7pm - Josh Rutter: unexpected behaviors


Donnerstag, 2.7.

7pm - Hwa Yeon Nam

7pm - Madalina Dan: The Agency of Touch


Due to restricted seating there is a maximum of 60 places.
An admission list will be at the door 30 minutes before each presentation.


Free admission 

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz,

S-Bahn Gesundbrunnen




>© HZT

What do we know of art as such? (Mais que sait-on de l’art comme tel)


Lecture on Philippe Lacoue-Labarthe's concept of art in relation to painting and performance.


Lecture in English | Free admission

HZT OPEN LECTURE | JEANINE DURNING | 26.5.15 I 6 pm | Studio 11

inging at American Realness, NYC, 2013: Ian Douglas
>inging at American Realness, NYC, 2013: Ian Douglas


To Being: a talk about nonstopping
Jeanine Durning in a discussion with Litó Walkey
(in English)

In interweaving anecdotes, telling stories, asking questions, attempting answers, reading from notebooks, reading reports of performances, video clips of performances, projecting images, projecting what was, what will be, or the hope of what could be, thinking about the movement of time, moving, or talking about movement, talking about making, about making performance, the practice of performance, and the nature of presence, and the being in being present, and the being in doing, and doing the being, the remaining present, and continuing to tense, continuing to speak and talking about speaking and thinking about choreographic thinking, Jeanine Durning will discuss the practice that she calls nonstopping through the lens of her solo performance “inging” and her current project “To Being”.

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA LECTURE SERIES ECONOMIES OF PERFORMANCE | Boyana Kunst and Sergei Pristats | 3.7.| 6 pm | Studio 8

© Marion Borriss
>© Marion Borriss


Micro-series "Economies of Performance" II & III : Bojana Kunst und Sergei Pristas.

The task of the series of 3 lectures given by Boyan Manchev, Bojana Kunst and Sergej Pristas is to establish interpretative frame to discuss questions of performance labour and forms of production, as well as their ongoing transformation. 

In his first lecture Boyan Manchev will introduce the question of non-human agencies in performance, respectively of new forms of production and organisation of labour.


Lectures in English



RARE TRACKS | 8.7. | 18 Uhr |

Studio 11


RARE TRACKS ist eine neue Präsentations- und Gesprächsreihe des HZT Berlin, in der außergewöhnliche choreographische Formate vorgestellt werden. Am 8. Juli berichtet die Choreographin Kat Valastur (ebenfalls HZT Alumni) über ihre Arbeit mit über 300 TänzerInnen für die Eröffnungszeremonie der Eurogames in Baku, Aserbaidschan. Zu diesen erstmals stattfindenden Spielen treten ca. 6000 AthletInnen in 20 Sportarten an. Im Rahmen der Veranstaltung RARE TRACKS wird Kat Valastur Video-Ausschnitte der Eröffnung vom 12. Juni zeigen und ihre eindrücklichen Erfahrungen, aber auch ihre kritische Sicht auf eine solches choreographisches Großprojekt teilen.



10.06.2015 um 18h00 im HZT/ Uferstudio 11 mit David Bloom, Moderation Nik Haffner

08.07.2015 um 18h00 im HZT/ Uferstudio 11 mit Kat Valastur, Moderation Nik Haffner

Mehr Informationen zu den eingeladenen KünstlerInnen:

David Bloom: http://davidbloom.info

Kat Valstur: http://www.katvalastur.com



23. - 25.5.15 | Workshop with Alys Longley and Paula Kramer | Studio 10

© Paula Kramer
>© Paula Kramer


moving – writing – living; experimental documentary practices in site-specific dance research


Workshop with Alys Longley (Aukland) & Paula Kramer (Berlin)

23 - 25 May 2015, Sat + Sun, 10 – 17, Mon 10 - 14


This intensive workshop joins methods of experimentation in site-specific movement practice and documentation. Through dancing, drawing, dwelling, writing, exchanging ideas and re/making choreographic scores, dancing from and in correspondence with sites on the HZT campus will be explored.


Alys Longley and Paula Kramer will share and expand their movement research in:

Working on-site with and through material agency and intermaterial confederations, proposing that dances come into being through collaborative processes that cross the human – non-human divide.

Working with movement-initiated writing, which treats writing as an expanded field of drawing and gestural mark making, emerging from sensoriums of embodiment and site. Together with the participants they will explore the role of things, objects and materials as well as tangential, non-linear and affective registers of writing as allowing for multiple kinds of thinking and being to co-exist in the making of dances.


This workshop takes place as part of a 3-week research phase Alys Longley undertakes together with Paula Kramer at HZT in May 2015. During this time anyone interested is invited to join Alys and Paula for half-day collaborative exchanges free of charge. Contact: paula@paulakramer.de


Paula Kramer is an outdoor movement expert, who researches, performs and teaches in both rural and urban sites. She has a background in political science and is currently in the process of submitting her practice-as-research PhD in Dance at Coventry University. Her work attends to materiality in the context of dance making, but also of living. More info: www.paulakramer.de


Dr. Alys Longley is a performance maker, researcher and teacher. Her interests include practice-led research, interdisciplinary projects, ethnography, narrative research, somatic practices, ecology and inclusive dance education. Her key area of expertise is in the relationship between performance writing and practice-led research. She is senior lecturer in Dance at the University of Auckland. Currently she is on a one year research stay in Europe, and a guest at HZT Berlin from May till July.


Registration and payment:

Early bird: until 05.05.2015: 70 EUR // after 05.05.2105: 100 EUR [cancellation until

15.05.2015 / 50% of fee refundable]. Free for HZT students!

More information & registration: Paula Kramer - paula@paulakramer.de

20. 5. | 6pm | HZT OPEN LECTURE | Tom Arthurs | Studio 6

©Remko Wieland
>©Remko Wieland


Improvised Music, Echtzeitmusik and Berlin



Tom Arthurs presents results from his ethnographic investigation into contemporary improvised music and Berlin’s Echtzeitmusik scene. Beginning with an observation of its emanation from 1960s Free Jazz up to current forms of reductionism and durational music, this lecture concentrates on the aesthetic, social and political developments that have made the city an international centre for innovation and ground-breaking music.

This lecture is made up of a short performance, a lecture and an open discussion. It will address questions of listening in relation to practices in improvised music and offer an inspiring starting point for those who are new to the topic.


Tom Arthurs (1980, UK) is a trumpet player, composer and internationally renowned for his research in the fields of jazz and improvised music. He is presently working on his doctorate at the University of Edinburgh with Prof. Simon Frith. He has published at the ECM, Intakt, Unit, Babel and Creative Sources labels, composed for string quartets and the BBC Concert Orchestra. He has worked with a variety of musicians, from John Taylor to Phil Minton, Eddie Prévost to Jan Bang and Julia Hülsmann to Ingrid Laubrock.

Free admission

HZT at the Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


6.5. | 6pm | HZT OPEN LECTURE | Alys Longley | Studio 6


Alys Longley: Straining to Translate You


In the frame of her research year in Europe, Alys Longley - performance maker, researcher and teacher, Senior Lecturer in the Dance Studies Programme at the University of Auckland New Zealand - is a guest at HZT Berlin from May till July. In her lecture she will give some insight into her research.



Radio Strainer premiered at Window Gallery and the Kenneth Myers Centre, Auckland in May 2013 in the forms of choreography, dance film and installation. The installation featured large-format photographs and three video works, alongside a thirty-minute choreography for three dancers. This project might be described as an exercise in ‘mistranslation studies’. It documents a process of experimentation with a wide range of conventional and experimental translation practices. These include the translation of ideas into different languages (Japanese, English, Maori, Italian), and forms (choreography, improvisation, contact improvisation, somatic investigation, poetry, monologue, drawing, print, binding, film, photography, critical theory).

In this lecture at HZT I will reflect on processes that enable a continuous fold between performance, page, digital archive and material object. My presentation will be in the form of a lecture demonstration, splicing together different versions of the work, and concluding with a broader discussion of experimental documentation as an iteration of performance.


Alys Longley’s research interests include practice-led research, interdisciplinary projects, creative writing, somatic practices, ecology and inclusive dance education. She has recently led the project fluid city, an art-science-education project on water-sustainability. Her artist-book The Foreign Language of Motion presents a series of experiments in choreographic writing, and was published in 2014 with Winchester University Press’s Preface Series.

27.5.15 | 6pm | MA SODA Lecture | Josefine Wikström and Constanze Schellow I Studio 8

© Marion Borriss
>© Marion Borriss


Josefine Wikström: Critique Light?

Some notes on critique and practice in current dance and performance practice 


In this lecture I want to address the stake of criticality and practice in dance and performance as it operates in higher education programs as well as in a broader artistic context. I want, in particular, to approach this topic by going into the close relationship between the concepts ‘practice’ and ‘critique’ as they appear in the history of philosophy – focusing on Immanuel Kant’s and Karl Marx’s understanding of these terms – and the conception of dance and performance as a form of ‘practice’ as it emerged in the 1960s and institutionalised itself in the 1990s. To what extent can current dance and performance practices be understood as critical? If dance and performance have turned into critical practices, does that mean they have replaced understandings of dance and performance based on notions of virtuosity and skill? And to what extent could it be argued that the current self-proclaimed critical practice within dance and performance has been replaced or been amplified with neoliberal values such as opinion making and processes of self-realisation and/or emancipation? 



Josefine Wikström is a PhD Candidate at the Centre for Research in Modern European Philosophy, Kingston University. In her thesis, supervised by professor Peter Osborne, she investigates the concept of performance within contemporary art and from the standpoint of concepts of labour in Marx, Adorno and other thinkers. Josefine Wikström teaches at DOCH, Goldsmiths University and Kingston University. She also writes for Afterall, MUTE, MAY Revue, Paletten, Frieze, Philosophy and Photography and Performance Research Journal. 

Constanze Schellow: Identity Games: What is your discourse?

A report from the brave new art education world.


Many recent dance and performance study programs emphasize the importance for artists today to either ‚participate in‘ or moreover to ‚create discourse‘. But what is exactly meant by that? Looking into the history of the terms usage in the context of dance and performance it surprises how blurry and colloquial the connotation of ‚discourse‘ often is. I want to shed light on the concept as it is developed by Michel Foucault, asking what its benefit in an art education might be. Superficially the separation between the discoursive and the non-discoursive seems to crumble since theory has become a new currency in the educational realm and since choreography embraces theoretical impulses as well as strategies that have been called ‚discoursive‘ since the 1990ties. On the other hand the daily practice of teaching shows that it is still very much unclear how the embedding of theory in the artistic study environment can work in a way that at the end of the day does not rest on the very same old opposition.



Prof. Dr. Constanze Schellow is currently a guest professor for Applied Dance Studies and Performance Theory at HZT. Her thesis „Discourse-Choreographies“, examining recent politics of theorization via ex negativo terminologies in publications on contemporary dance since the 1990ties will be out this year (epodium). She has also published in Performance Research, Frakcija, Theater der Zeit, Tanzjournal. As a dramaturge she has collaborated with Sara Manente, Doris Uhlich and Simone Aughterlony.



Free admission


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

15.4.15 | 6pm | MA SODA DOUBLE LECTURE | Helmut Ploebst und Boyan Manchev I Studio 8



>© HZT

The Body and its Extensions


In this panel Helmut Ploebst and Boyan Manchev will discuss the destiny of human and non-human bodies in their actual, technological or hyper-technological condition. Are we facing a transformation of the very idea of living body and organism?

Are we entering an era of radical dis-organisation? And how does this transformed situation affect the bodies that perform?  


Free admission


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

7.4. - 24.4.15 | BA-FESTIVAL POP! SHOW! FUCK! UP! |


The HZT is very much looking forward to the upcoming month of April. Since pleasant anticipation is part of the pleasure, one can hear it hustle and rustle in the studios, chatter and twitter in the courtyard. The BA Dance, Context, Choreography students are preparing their annual self-organised festival.

Under the motto POP! SHOW! FUCK! UP! hzt4love&art , this year three full weeks will be dedicated to art, collective experience, learning, dancing and eating. Besides cosy sauna sit-ins, big breakfast rounds and shared studio spaces, which are part of the internal program, the students would love to welcome you to a range of public events.

The festival kick-off will be on 10. April at 6 pm with an unforgettable DRAG FASHION BALL! Those of you who always wanted to present his diva or her mysterious Mr. Macho in a frenetic catwalk show are in exactly the right place. For last minute and spontaneous kings and queens, make up and costumes will be provided. Fun guaranteed. If you feel under-dressed, the follow-up slumber party might eradicate that feeling.

On the evenings of the 18th, 19th and 22nd, 23th and 24th of April , the students will show their works, ranging from one-on-one-shows, solos and group pieces to video screenings, installations and participatory open-air-actions.
For more information on specific events, please check www.hzt4loveandart.de. Stay tuned with our live-stream; it will announce additional events from the 7th of April on. The page is worth a visit.

Free admission to all events. Tickets at the box office. Box office opens 45 minutes before the show starts. Limited seats! Come early to avoid disappointment - it's first come first serve!

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

28. and 30.4.15 | A DROP OF TEAR IN THE FIELD OF GLORY | Graduation works of the SNDO 4 | Studio 14

As in past years, graduates of the School for New Dance Development Amsterdam will present their final projects at the Uferstudios on two evenings with two different programmes. Conversely, this year’s graduates of the BA Dance, Context, Choreography will present their works at the Het Veem Theatre in Amsterdam in September.


28.04.15, 7pm:



by Paula Chaves



by Burkhard Körner


Love Attempts

An Italian performance made by Italians

by Riccardo Guratti



30.04.15, 7pm:


PANDA EXPRESS - lotion for the intimate area -

by juicy n honey - Giuseppe Vincent Giampino and Oneka von Schrader



by Aleksandra Lemm



by Jija Sohn


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

Tickets: 4 Euro
Reservations: Ticket reservations up to 1 day before the event. Please indicate the day of the event: tickets@hzt-berlin.de It is possible to buy tickets at the box office.



Voice and movement as a functional unit – the larynx as an organ of movement


In her lecture, the voice anthropologist and singer Ulrike Sowodniok will present the larynx as the central organ not only for vocals but also for movement; it allows us to consider a new functional understanding of our bodies. The sound of a voice is a reflection of the interior condition of the larynx and makes it possible for us to develop it as a perceptive organ. In this process, we can develop new qualities of movement in which the voice and movement are coordinated effortlessly. We will get to know and discuss phenomenological and physiological perspectives.


Ulrike Sowodniok, Berlin-based voice anthropologist and singer, works with musicians, composers and sound artists - and with dancers and choreographers in the field of voice and movement. Her artistic research focuses on experimental music for voice and sonic environments. She teaches in her own studio in Berlin and at the career college of the University of the Arts, Berlin in the departments for music therapy and sound studies. Publications in the field of anthropology of the voice and the senses, monograph “Stimmklang und Freiheit - zur auditiven Wissenschaft des Körpers” at transcript in 2013. 


Free admission.




© Marion Borriss
>© Marion Borriss

re-materialisation of the social body”


This lecture will construct a little community. Starting from the fact that every community is a construct, and at the same time under constant re-construction, we will not only argue, but experiment on performing a social body during the lecture. By asking for a common reality, a situation of exclusion will unavoidably be created.


We situate the social body beyond the gathering of individuals and relocate it in the actual process of its own transformation. Knowing that the methods by which we authenticate things are invented and not given demands that we constantly re-materialize the subject within a process through which the social appears.


Applying a verbal ping-pong technique, we will gradually move from a dialogue into a group discussion. Through this movement of de-subjectivisation, the lecture tries to seek distance from what we are and leave the state of identification behind in order to create the prerequisites for a constant becoming.


Joël Verwimp is a Berlin-based Belgian artist who primarily works in the context of performance art, exploring the intersections of installation, language and performativity. Initially trained as a visual artist and cook, Verwimp co-initiated the MPA (Month of Performance Art) Berlin in 2011 as well as the APAB (Association for Performance Art in Berlin) in 2013. He is currently doing research into forms of complicity and has been developing the VerlegtVerlag as a framework for performance on paper with Nicolas Y Galeazzi since 2009.


Nicolas Y Galeazzi is a director, performance artist, theoretician and programme coordinator of a.pass (advanced performance and scenography studies) in Brussels. Since 2009, he has been developing the VerlegtVerlag with Joël Verwimp as a framework for performance on paper.


Free admission.




© Marion Borriss
>© Marion Borriss

This is what the audience brings with them – an artist lecture by Joshua Sofaer


Joshua Sofaer works with strategies that lie between visual and performing arts. His work is often completed with the inclusion of and participation by the audience. In his artist lecture, he will present a number of the works he has produced in the last few years in which the relationship between artists, artworks and the audience is addressed. The lecture is simultaneously an introduction to a HZT workshop that will begin on the following day.



Joshua Sofaer is very focused as an artist on forms of cooperation and participation. After completing a BA in drama and English at the University of Bristol, he completed an MA in visual arts at Central Saint Martins College of Art & Design and he attained his doctorate at Dartington College of Arts.

Free admission.



>© HZT



Martina Ruhsam: The revival of things. Affiliations of human and non-human performers in contemporary choreographies.

What is at stake if things perform? In various choreographies of things, formerly known as objects, play a main role. They are neither props nor part of the stage set and are not merely objects for the manipulation of human performers. Instead, one attempts to perceive them as equal players that – freed from instrumentality or functionality – open up a new scope of action, are granted a certain autonomy and are capable of undermining the intentionality of the subjects that depend on them. What is the political potential that these amalgamations and collaborations of human and non-human performers in these choreographies comprise? And what are the implications of an understanding of the social that includes the material world that surrounds us in its considerations? Could the choreographic critique of objects lead to a revised ecological and political awareness? I will pursue these questions by analysing and 'thinking with' concrete choreographic practices or projects.


Boyan Manchev: The community of things, or the general economy of performance

I will take this lecture as an opportunity to return to my first proposals (and respectively, texts) on dance, in which I formulated the question of things in performance in a direct connection with the economy of performance capitalism, and in the general perspective of the transformationist materialism I was articulating at the time.


How have the things changed in the past 10 years, and how did critical discourse react to their obscure movement?

My hypothesis is the following: in order to exceed the hegemonic economy of performance capitalism, contemporary performance has had to re-open the general economy of things, to re-form and re-compose their assembly. But what does “a thing” mean? And what is a community of things?


Martina Ruhsam is a choreographer, performer and author. In 2011, her book “Kollaborative Praxis: Choreographie” was published by Turia + Kant. Her artistic works and collaborations have been shown in diverse theatres and festivals in Europe (i.e., Blank_Protest, How Far Can We Talk?, For the Birds, a scripted situation). She is a member of the editors’ collective of Maska. Performing Arts Journal and has written essays for diverse publications that deal with dance, performance and choreography. She is presently writing a dissertation at the Institut für Angewandte Theaterwissenschaft an der Justus-Liebig-Universität in Gießen


 Prof. Dr. Boyan Manchev is a philosopher, professor at the New Bulgarian University, guest professor at the University of Sofia and the HZT Berlin. He is a previous vice president of the Collège Internationale de Philosophie. In his field of research in ontology, the philosophy of art and political philosophy, he developed the perspective of a radical materialism. Some of his most recent publications are Logic of the Political (Sofia, 2012), Miracolo (Milano, 2011), L’altération du monde: Pour une esthétique radicale (Paris, 2009); La Métamorphose et l'Instant – Désorganisation de la vie (Paris, 2009).

As a theoretician, dramaturge or performer, Boyan Manchev has participated in numerous theater pieces and contemporary dance projects.


Free admission.


©Kyla Avery Kegler
>©Kyla Avery Kegler

“Babies will fake a cry, pause, wait to see who's coming, and then go right back to crying.” (Pamela Meyer from her talk “How to Spot a Liar.”) We all have a mirror face. One of the first things we learn as expressive beings is to compose our appearance in order to manipulate how the outside world receives us. It is a daily practice so familiar that usually it is also an unconscious one. In the age of social media, identity construction has entered a new realm. The possibilities for self-editing, self staging and self presentation have expanded exponentially and consequently the relationship to the self has transformed. Constructing a virtual avatar is common practice for asserting one's identity. Histrionics of a Contortionist (Flip it and Reverse it) examines the moments in between and underneath those which are normally presented to the public. It contemplates the discomfort and vulnerability of exposing this in-between space. A performance of performance observes the dynamic between muse and creator, who are in this instance separate bodies sharing one inseparable identity.


Performance: Kyla Avery Kegler




Rodrigo Garcia | ©Zana Fontannaz
>Rodrigo Garcia | ©Zana Fontannaz

La Maison Baroque is a performance which explores and questions traces of otherness: an endless open chain of references, which develops fold upon fold, winding its way in five acts from Europe to Latin America and back.


While representing and 'transcreating', we performers unravel this yarn that insists on coiling itself, morphing into a new configuration. This Baroque thread entangles playfully and intimately with the maze that is this postcolonial territory.


New constellations, from which we cannot always catch an overall picture, constantly change into a fragmented whole which unfolds like a “parangolé”(1).


Ourselves – now – collected and assembled as a mosaic, hybrid and fragmented. On the road to the sea to Ouro Preto (the 'black gold' town), into the depths of the earth and back again, twisting around in our own labyrinth – what we find there is chance, challenge, risk and excess. What remains: Studio Disorder – and the laughter about it.


“... so much wasted work! So much play and squandering, so much effort without purpose.” - Severo Sarduy


(1) Brazilian artist Helio Oiticica's costume sculptures


Concept, Choreography & Performance: Rodrigo Garcia Alves

Performance: Mab Cardoso, Pedro Costa, Harvey Rabbit, Liz Rosenfeld


08.12. & 09.12. | 7 PM | ANDRÉ UERBA „TERRARIUM“

©André Uerba
>©André Uerba

To say that I work mainly with images is a “superficial” definition. It’s true that images are a main element, a starting point, but it’s just a part of a larger body that composes the whole structure. The image is used as a medium and the use of light, for example, is used to expose what is being shown. The focus is often on what cannot be seen and it is up to the viewer to unlock the cryptic images and to create layers of perception.


The piece is formed like a tree – shaped by time. The images portrayed are a suggestion of a terrarium in a constant state of transformation, where traces are left and layered as if someone had passed in between—between fragility, light and darkness. The stage is a sort of miniature terrarium, where form is ephemeral, appearing for a brief moment only to vanish again.


Sometimes it feels as if I can push my hands through my eyes and hold on to some of the images - bring them outside. Sometimes the brain gets stuck there, immersed. Sometimes the head becomes a camera obscura, and space a laboratory where the images are developed. But the work is not something done, rather something to do, to keep doing. Everything is interconnected with the remnants, like a seed, subterranean. (André Uerba)


Concept, performance, dramaturgy, lighting, stage design, video, sound and costume design: André Uerba




Ixchel Mendoza Hernandez | ©Roger Rossell
>Ixchel Mendoza Hernandez | ©Roger Rossell

There are no ghosts, yet they appear and they become. Once they are there, they disappear. They are do not last and at the same time, at the moment of appearance they fill the space with their time and their presence. A ghost is present but not visible, is not materialized in matter but tangible, even if only in sensations or thoughts.


Visual Ghost is something that appears between the performance and the audience, or we could say an event and a perceiver – without them nothing would come into being. During SODA, I engaged in investigations of how to provoke these phenomena through the body, sounds and text. Attempting to trigger the audience in the ways I mention, to experience certain kind of 'images' not present in vision but nevertheless still present.


I focused on contradicting body signals and on the use of sound in order to create mental images, or distorting the perception of actions. I worked with the idea of choreographing the eye using text and the use of it as an extension of perception. I embodied the “Visual Ghost” following traces that remained in the space.


In this final piece I compound all of those studies, approaching the concept of Visual Ghost in a different way to make reference to theater or performance itself. The space gets deconstructed, and this deconstruction comes as an attempt to 'dismantle' the performance. You could see it as the story of the story of the story, or the memory of the memory of the memory. There is a logic to it, a ghostly logic.


Concept and Performance: Ixchel Mendoza Hernandez

Music and live performance: Inon Peres




©Yusuke Kimura
>©Yusuke Kimura

In this piece, Yusuke Kimura engages in the development of a media performance based on film studies and the mechanism of film and introduces the knowledge and methodology of film and visual media into the context of performing arts. The starting point was research of the work termed structural/materialist film or expanded cinema as well as pre-cinema history, and tried to reproduce them by himself with the contemporary visual media technology. Those experimental films would now be associated with old and outmoded visual media technology, such as the film reel, film projector and editing technique of the time. However, they shed light on the phenomenon of “film” even now, and Kimura considers their knowledge and methodology still to be useful in order to review the current visual media environment.


After this process of reproduction, he developed performance fragments using personal memories about film. Introducing the concepts and ideas of film on stage, he aims to shift the audience's viewpoint between film and performance, and reveals the influence of the visual media environment in our perception of reality.


Concept, Direction, Multimedia Design: Yusuke Kimura
Performance: Tomoko Inoue, Yusuke Kimura


13.12. & 14.12. | 9 PM | DAVID POLLMANN "YUKO & VORTEX"

David Pollmann | © Anne-Lena Michel
>David Pollmann | © Anne-Lena Michel

I don't dream anymore. Zugangsbedingungen von Kunst. I love you, Yuko. Yuko, is everything under control? I thought sleep would do it. I don't know what my name is. I don't know who I am. I need a frame! I scream. Yuko Sato. Vortex is a condition. A rose is a rose is a rose is a rose. 50 minutes. You only live once. Rescue breathing. Let's talk about gender, baby. Bric-à-Brac. It's cold in here. Hiding under my bed. Popcorn all around me. I felt like I was in an avant-garde club in Tokyo in the 80s. Historic body. Hysteric body. Institutionalisierte Kunstwahrnehmung. We can use it as a lamp. Crystals. The spaceship has landed. Helmut Ploebst. You know the cat's poo-habits. I can be a flame. 15th November 1984. Stage performance. Das Kunstwerk als die objektivierte Erfahrung des Künstlers und seiner Zeit. Dance has become crucial. Don't talk so much when you are not paid. Mach Deinen Scheiß alleine. Punk is not dead. David Pollmann. I'm not everybody's darling. I was a bit disappointed with what you presented the other day after the whole summer, I felt more progress could have been made. Dark black thick leather. The mechanics of change. La condition humaine. Frames, skeletons. The performance is the object. Flesh, skin, muscles. Bones. Who is she? Organic elements. She fits herself into structures. This is your purse. Boogie-woogie.


Concept: David Pollmann

Performance: David Pollmann, Yuko Sato



Helena Botto | ©frame still from footage rehearsal
>Helena Botto | ©frame still from footage rehearsal

In the beginning was the Word, and the Word was with God, and the Word was God.(John 1:1) God created man in His own image, in the image of God He created him; male and female He created them. (Gen 1:27) God is spirit (John 4:24) obedience and good words. (Surat Muĥammad 47:21) And he is before all things, and in him all things hold together.(Col 1:17) All things were made through him, and without him was not any thing made that was made.(John 1:3) Truly the Lord has given all the land into our hands. And also, all the inhabitants of the land melt away because of us.”(Josh 2: 24) And the anger of the Lord burned against the people (Josh 7:1) And the Lord said “Do not fear and do not be dismayed. Take all the fighting men with you, and arise.” (Josh 8:1) When Israel had finished killing all the inhabitants in the open wilderness where they pursued them, and all of them to the very last had fallen by the edge of the sword,(Josh 8:24) Joshua built an altar to the Lord, the God of Israel.(Josh 8:30) Worship Allah, fear Him. (Surat Nūĥ 71:3) For his eyes are on the ways of a man, and he sees all his steps.(Job 34:21) So when you meet those who disbelieve [in battle], strike [their] necks until, when you have inflicted slaughter upon them, then secure their bonds, and either [confer] favor afterwards or ransom [them] until the war lays down its burdens. That [is the command]. (Surat Muĥammad 47:4) Whether on earth or in heaven, making peace by the blood of his cross. (Col 1:20) The eyes of the Lord are in every place. (Prov 15:3) God saw everything that He had made, and behold, it was very good.(Gen 1:31) Keeping watch. (Prov 15:3)


Concept, performance & space: Helena Botto

Sound design & performance: Joshua Rutter

SODA WORKS 2014 I 04.-18. Dezember I
final presentations MASolo/Dance/Authorship

SODA WORKS 2014 @TA-TRUNG (Montage)
>SODA WORKS 2014 @TA-TRUNG (Montage)


Thursday, 04.12. Opening and Friday, 05.12.2014 | Studio 14

7 pm Kyla Avery Kegler „Histrionics of a Contortionist (Flip it and Reverse it)“
9 pm Rodrigo Garcia Alves „StudioDisorder - La Maison Baroque“

Monday, 08.12. Opening and Tuesday, 09.12. | Studio 14

7 pm André Uerba „Terrarium“
9 pm Ixchel Mendoza Hernandez „Re-entering: Visual Ghost“

Saturday, 13.12. Opening and Sunday, 14.12. | Studio 14

7 pm Yusuke Kimura „I saw a shadow in the dark“

9 pm David Pollmann "YUKO & VORTEX"

Wednesday, 17.12. Opening and Thursday, 18.12. | Studio 14


7 pm Helena Botto „ABRAHAMIC WHOLENESS (or my god is better than yours).“



The admission is free. A ticket reservation is not possible. Tickets are available at the box office at Uferstudios 30 minutes before the start of the show.

In addition to the performances, documentation of the research process is on view at the exhibition SODA workbooks. This may be found in studio 16, at the opposite end of the Uferstudios courtyard. Opening hours are one hour before the first performance of the day until 9 pm. The SODA WORKS 2014 publication is  available at the ticket counter.

HZT Berlin at Uferstudios
Entrance: Uferstraße 23 or Badstraße 41a
, 13357 Berlin
Direction: U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

CHRISTMAS SPECIAL | 20 December, 8 pm | Double bill with HZT SODA Alumni Andrew Waas and Jee-Ae Lim | Studio 14


Andrew Wass “Libet’s Lag”
>Andrew Wass “Libet’s Lag”

Libet’s Lag is an investigation into the subjective feelings of volition and action by attempting simultaneously to discern the compositional limitations and freedoms suggested by the immediacy of the moment. As the sonic and corporeal palettes reveal themselves, an infinite number of ways of manipulating those palettes is also revealed.  By limiting their investigations to the immediate and not referencing anything outside the performance space, Wass and Rose do not impose any allusions or illustrative restrictions upon the observers.


Dance: Andrew Wass
Sound: Simon Rose

www.lowerleft.org,www.wasswasswass.com, www.nonfictionperformance.org




Jee-Ae Lim “Still Moving” ©Thies Raetzke
>Jee-Ae Lim  “Still Moving” ©Thies Raetzke

Throughout the years, during the education in traditional and modern dance, we embodied various stereotypes of movements and concepts of the body. “10 Years in a Minute – Still Moving” is a choreographic project that explores the idea of aestheticized bodies in the history of dance with the aim to reinterpret existing aesthetic concepts by uncovering their different culture/history/contemporaneity. It is a journey to revisit the dance that Jee-Ae Lim and Sergiu Matis were educated in, in order to unfold the complexity of body movements between traditional and modern notions and to re-situate the retrospective body images on today’s stage. 


Concept: Jee-Ae Lim
Creation and Performance: Sergiu Matis and Jee-Ae Lim
Music: Kyan Bayani 
Dramaturge: Thomas Schaupp, Matthias Quabbe
Mentors: Pirkko Husemann, Lito Walkey, Bush Hartshorn

Production: K3 Hamburg



The admission is free. A ticket reservation is not possible. Tickets are available at the box office at Uferstudios 30 minutes before show.


HZT Berlin at Uferstudios
Entrance: Uferstraße 23 or Badstraße 41a
, 13357 Berlin
Direction: U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

02.11.2014, 5 pm | Uferstudios, Studio 4 | Jeroen Peeters: Through The Back: Situating vision between moving bodies  (book presentation)

Sandro Botticelli, La Divina Commedia: Purgatorio XI, ca. 1490, Kupferstichkabinett Berlin
>Sandro Botticelli, La Divina Commedia: Purgatorio XI, ca. 1490, Kupferstichkabinett Berlin

The Belgian dramaturge and writer Jeroen Peeters presents his book on spectatorship in contemporary dance in conversation with the philospher and curator Stefanie Wenner and the artists deufert&plischke.

How does dance operate in today’s visual regime? How does it question dominant cultural ideals of the body? In his book Jeroen Peeters seeks to articulate the critical potential of alternative approaches to physical expression and the creation of body images that are vulnerable and permeable to the world. Experimental choreographers challenge and ex- pand spectatorship, including the corporeal, technological and cultural elements that support the ways we see, hear, sense and imagine.


The event is an cooperation between  HZT Berlin and Tanzfabrik Berlin, supported by Sarma (Brussel).

Editor: Theatre Academy of the University of the Arts Helsinki, 2014


In English, Free Admission

© Marion Borriss
>© Marion Borriss

06.11.2014, 6-9 pm | MA SODA Double Lecture

Constanze Schellow: Discourse-Choreographies.Two movements between dance(-theory) and philosophy

In the last years a close connection between dance and philosophy has been postulated in art theory particularly referring to the works of Jérôme Bel, Xavier Le Roy or William Forsythe. It is said that the pieces themselves were inviting theoretical reflection - ever since a boost in discourse in dance in the 1990’s made it a critical practice. This talk questions the relationship between dance studies, dance practice, and philosophy by tracing specific ‚discourse-choreographies‘ performed by scholars, choreographers and philosophers in two different historical moments. A case study from the early 20th recurrently century is contrasted with current debates: Friedrich Nietzsche, who ‚staged’ dance in his philosophy, became an important reference point between 1910 and 1930 for dance theory in Germany. Then as now questions of the sociopolitical relevance of dance as an artform play a role, as well as the necessity for theoretical discourse to reorient when being faced with a highly self-reflexive artistic practice. What must not be forgotten at the same time is that the reference to dance by philosophers also follows their own discourse-choreographical interests, if they call on dance heterotopically as the ‚other space’ per se or theorize it as a metaphor for thought (Badiou).


Boyan Manchev: What is Form in Art? On the Politics of Use of the Concept of Form in Contemporary Arts

The question of activity of form should be placed at the very heart of contemporary art theory. Form cannot be thought without its limit, therefore without trans-formation. It could reach its limit through its activity only; building upon the etymological potential of the Latin word, we could call this activity per-formance. In this way we could reach a possibility for enlargement of the notion of performance and transformation as central components of a new artistic conception of form, of a new philosophy of form. Poetics is impossible without the question of form; the question of form is impossible without the question of modality of form; the question of modality – without the question of activity of form and therefore of per-formance of form.

Uferstudios, Studio 11, Free Admission, in English


26.11.2014, 6 pm | Turbulence (a dance about the economy) by Keith Hennessy

In his lecture, which will contain elements of performance/image/action, Keith Hennessy will reflect on his project Turbulence (a dance about the economy). He will talk about politics and art, about poetics and limits of institutional critique, about collaboration/collectivity in improvisation, about queer as both an alternative perspective and a potential utopian space…


Keith Hennessy is a performer, choreographer, teacher and activist. Born in Canada, he lives in San Francisco and tours internationally. His interdisciplinary research engages improvisation, ritual and public action as tools for investigating political realities. Hennessy directs CIRCO ZERO, and was a member of collaborative performance companies: Contraband (with Sara Shelton Mann), CORE, and Cahin-caha, cirque bâtard. For his work he received several awards, including a NY Bessie, and two Isadora Duncan Dance Awards. www.circozero.org

Uferstudios, Studio 11, Free Admission, in English


03.12.2014, 6 pm
| solid or liquid: the shape of water a talk by Lucy Cash & Karen Christopher

Lucy and Karen will interweave their separate writings into a singular essay. Karen will speak about the shimmering between states of permanence and impermanence and focussing on a starting place for a new piece: the carrying of another on one’s back for pleasure or rescue. Lucy will consider empathy and gesture – what we hold onto and what we hold - whilst looking back at some previous work. 

solid or liquid: the shape of water invites the listener to consider the duration of the talk as a pleasurable period of "lost time", akin to a pause between one state and another.

Uferstudios, Studio 11, Free Admission, in English

Lucy Cash
’s practice involves an intimate, engaged and frequently playful process of research and collaboration. Using both documentary and associative processes she create accounts of the real world as well as self-contained fictions that augment or reveal aspects of the world around us. These become small interventions between the poetic and scientific, philosophical and humorous and intimate and political. The work developed often includes processes which combine text and sound, installation and photography as well as film/video. Her background in movement exploration and choreography provides her with a rich and unusual foundation from which to explore how we relate to one another, how we remember and forget and how we experience the world around us.www.lucycash.com    www.straybird.com

Karen Christopher
is a collaborative performance maker, performer, and teacher. She was with Chicago-based Goat Island performance group for 20 years until the group disbanded in 2009. Now London based, her company, Haranczak/Navarre Performance Projects, is focussed on collaborative processes. Her work includes a search for points of intersection and startling combinations that surprise and awaken the mind and allow people to experience shifts of understanding and awareness within the performance event. It includes listening for the unnoticed, the almost invisible, and the very quiet. Employing both historical and studio-based research she works toward discovering each piece by making it.




10.12 | 6 PM | HZT Open: Dr. Armin Chodzinski: Monkey 47 - About Artistic Networking And Underground Marketing And Alphabetization

Dr. Armin Chodzinski
>Dr. Armin Chodzinski

„Towards the end of the ‘80s the hilarious Fluxus pioneer Tomas Schmit threatened to take down his exhibition immediately if there was not enough beer provided for all visitors. The organizers rushed out, bought all the beer they could find in the local gas stations and the opening could start with only a little delay. Later that night there was a lot of dancing and shouting if I remember correctly.“ A lecture in a suit with and about alcohol, music, important objects and economy.


Armin Chodzinski studied art, worked as a manager and consultant and did his doctorate in Anthropogeography. He works on the relation between art and economy, that, as he states, crystallizes in the public space. In performance lectures, exhibitions, teachings and publications he uses self-experiment as his method.



Uferstudios, Studio 11, Free Admission, in English


20.-26.10.2014 | Take us for a walk - (De)synchronizing movement | Workshop, performance, symposium 

©Hamish Fulton / Maureen Paley, London
>©Hamish Fulton / Maureen Paley, London


Workshop, Performance, Symposium


Whether walking together or on our own, we are always synchronizing and desynchronizing: swinging limbs, adjusting muscle tone, heartbeat, breathing… Our bodies are defined by a multiplicity of rhythms, which permanently influence each other. If we look closer into the seemingly simple movement of walking, we discover a rich polychronicity and various forms of mutual attunement.


In a five-days workshop, an open-air performance, and a two-days symposium, artists and scholars from different fields will explore the dynamics of walking in respect to rhythmical self-organization. What are our techniques, our cultures, our ecologies, our politics of walking?


TAKE US FOR A WALK is a collaboration between DFG-Schwerpunktprogramm “Ästhetische Eigenzeiten” + Freie Universität Berlin, Institut für Theaterwissenschaft, Zentrum für Bewegungsforschung, Hochschulübergreifendes Zentrum Tanz Berlin, Universität der Künste Berlin, Hochschule für Schauspielkunst “Ernst Busch”, Tanzfabrik Berlin e.V.


Performance and Syposium are open to the public; free admission to all events.

Places in the Workshop are limited; registration required until Oct 13: Katja Münker, takeusforawalk-workshop@tanzfabrik-berlin.de.



Fri 24, Start 4pm (duration: ca. 1 h), Tempelhofer Feld

“The Object cannot compete with an Experience” - SLOWALK Performance 

Devised and led by Hamish Fulton, at Tempelhofer Feld. Besides the workshop participants are expected to take part, the walk is open to all, who would like to participate.

“The walking participants are also the art observers.” (Hamish Fulton)


Meeting point: main entrance Oderstraße / Herfurthstraße




Workshop Mo 20 – Fri 24, 10am – 5pm (Fri: 3pm), Uferstudio 14


Part I: The Art of Walking – with Katja Münker

The Berlin-based Feldenkrais teacher and performance artist Katja Münker will make participants re-discover walking. In playful, explorative and contemplative approaches, walking will be deconstructed into its constituent physical, rhythmical and spatial aspects and then reorganized in order to achieve a more varied walking experience and technique.

Mo 20 + Tu 21, 10am – 5pm, Uferstudio 14



Part II: One Step at a Time – with Hamish Fulton

The British land art and concept artist Hamish Fulton who has achieved international fame as a ‘walking artist’ will host the second part of the workshop, where participants can become familiar with his practice. With a series of small indoor and outdoor walks, and exchange of thoughts on communicating through walking, different states of togetherness and separateness and different options to frame walks will be explored.

Wed 22 – Fri 24, 10am – 5pm (Fri: 3pm), Uferstudio 14




A Symposium on Walking and (D­e‑)Synchronization

Sat 25 + Su 25, Uferstudio 14, Uferstudio 14, Uferstudios Berlin, Uferstraße 23, Berlin-Wedding.




10.00   Welcome and introduction (Gabriele Brandstetter + Kai van Eikels)

11.00   Daniela Hahn: Leaving the Factory. Walking Under Working Conditions

12.00   Ralph Fischer: Walking Together/Walking Against. Poetics and Politics of Pedestrian Movements


Lunch break


14.30   plan b (Sophia New + Daniel Belasco Rogers): Taking a Walk for a Line, presentation

15.00   Conversation between Hamish Fulton, Sophia New + Daniel Belasco Rogers

16.30   Martin Nachbar: Walking Around the Theater. On Possibilities to Share (Kin)Aesthetic Experience in the City, presentation and performance

17.30   Katja Münker: Invitation to Walk. A collective choreography, performance

18.30   Discussion



entire day: gehen exhibited, installation by Katharina Greimel


10.30   Introduction: ‘Synchronization’ as a concept in science and arts

11-13:00   Panel 1: Democracy and Poetry — Synchronizing Lives (Eva Axer)

14.30   Panel 2: Synchronization and (Im‑)Balance (Sabine Zubarik). Gesture as Desynchronization (Reinhold Görling)

16.30   Discussion (symposium ends ca. 17.00)


©Motion Bank ©NODE Forum for Digital Arts
>©Motion Bank ©NODE Forum for Digital Arts

CCL @ retune.14


Feel invited to the next Choreographic Coding Lab
Berlin, September 22nd-26th, 2014


Are you an artist working creatively with code and digital media with an interest in movement? Then come join us for the next Choreographic Coding Lab at Uferstudios in Berlin from September 22nd – 26thMotion Bank and NODE Forum for Digital Arts are inviting you to apply for a week-long gathering of movement hackers and practitioners to discuss and work on projects, ideas and challenges in a peer-to-peer setting.

The Lab will start before and run into the retune.14 conference (September 26th – 28th) and will be hosted by Hochschulübergreifendes Zentrum für Tanz Berlin.


What are Choreographic Coding Labs?

The "Choreographic Coding Lab" (CCL) format offers unique opportunities of exchange and collaboration for digital media ‘code savvy’ artists who have an interest in translating aspects of choreography and dance into digital form and applying choreographic thinking to their own practice. Working with patterns, structures and movement through finding, generating and applying them with results ranging from prototypes for artworks to new plug-ins for working with dance related datasets. CCLs also seek to initiate a sustainable collaborative practice among its participants encouraging ongoing exchange in an artistic research community of individuals.

CCLs are an outcome of Motion Bank, a four-year research project of The Forsythe Company focused on the creation of digital dance scores with guest choreographers.


CCL at retune.14 conference

The upcoming CCL is supported by retune.14. For the third time, the conference brings together artists, designers, technologists as well as researchers and scientists to inspire interdisciplinary thinking and making. This annual gathering of international creative minds seeks to explore, shape, and critically question the future of living, working, and expressing with technology.
The CCL will end with a round-up of results and discussion open to the public in the framework of retune conference.


Details & Application

The week will be enriched by lightning talks by members of the Motion Bank research team and network aimed to inspire and provoke participants with new perspectives and experiences. The space and basic equipment will be provided.

There is no fee for participation, but applicants are asked to propose starting points and ideas. Collaborative teams involving choreographers/dancers interested in the Motion Bank research approach are very much encouraged to apply.


Apply onchoreographiccoding.org

DEADLINE: August 13th, 2014

For documentation of previous events see:

Choreographic Coding Panel @ Resonate, Belgrade

Motion Bank CCL Report

Create Digital Motion Report


Contact: Jeanne Charlotte Vogt


This lab is being co-organised by Motion Bank and NODE Forum for Digital Arts.




The HZT graduates’ visit in Amsterdam is a part of an exchange program between the SNDO, School for New Dance Development Amsterdam and the Hochschulübergreifendes Zentrum Tanz Berlin (HZT). The exchange is not only about showing works: it is about creating conditions for an encounter between young makers from parallel institutions to reflect on their experience and perspectives on choreography today.

After performing for two nights, the HZT students will enter into a conversation and feedback session with their SNDO peers and with Irit Rogoff, professor at the department of visual cultures at Goldsmiths College, London University. 

On Friday September 12th, she will give a public lecture under the title ‘The Way We Work Now’. Afterwards there will be space for discussion and questions in a talk led by Bojana Mladenović. 


10.09.2014 | 7pm | Performance Programme 1

7:00 pm Ana Jelusic: "Room Series: Names"
7:30 pm Martin Hansen: "The Body Doesn’t Lie"
8:40 pm Ania Nowak: "Exercising Attention"
9:15 pm Katharina Greimel: "head on less" 
10:10 pm Inna Krasnoper: "Departing" 
Verena Sepp: (ongoing) entrance corridor: "aquí, ahí, allá"

11.09.2014 | 7pm | Performance Programme 2
7:00 pm Lea Moro: "a ballet for a single body"
7:40 pm Roni Katz: "Stilling" (limited audience)
8:15 pm Ellinor Ljungkvist: "Move like you have a purpose" 
8:40 pm Jozefien Beckers: "i.wanna.be.a.piece.of.nature"
9:00 pm Roni Katz: "Stilling" (limited audience)
9:35 pm Julia Rodriguez: "Flatlands" 
10:10 pm Roni Katz: "Stilling" (limited audience)
Verena Sepp: (ongoing) entrance corridor: "aquí, ahí, allá"

12.09.2014 | 8:30 pm | Public lecture and discussion
Irit Rogoff: “The Way We Work Now”

Performers: Derrick Amanatidis, Jozefien Beckers, Zinzi Buchanan, Sandhya Daemgen, Katharina Greimel, Martin Hansen, Mira Hirtz, Ana Jelusic, Roni Katz, Miriam Kongstad, Inna Krasnoper, Ellinor Ljungkvist, Marlene Melchoir, Lea Moro, Ania Nowak, Julia Rodriguez, Verena Sepp.
Technical director: Max Stelzl
Production: Annegret Schalke and Sheena McGrandles

AUS ZUCHT - HZT Berlin works in Amsterdam is produced by the HZT Berlin (Inter-University Centre for Dance Berlin); supported by SNDO Amsterdam and Het Veem Theater.



In this lecture, Olivier Marchat speaks about "The Art of Pre-Enactments". Recently, a new genre has emerged as an artistic sub-genre to the omnipresent genre of re-enactments: the pre-enactment. The talk will be focussed on the topic of performing – or pre-forming – political events through artistic practices. It will thus touch on questions of rehearsal, training, exercise, anticipation and what is called 'pre-figuration' by today's political activists (meaning the pre-enactment, in one's activism, of the future society one wishes to construct). While what was called 'the future' appears to have been ruined and abolished by the neoliberal austerity regime, it might still be here among us in the form of pre-enactments.

Oliver Marchart, born in 1968, studied philosophy, theory and discourse analysis. He did his doctorate in philosophy in Vienna on the theory and imaginary cartography of culture and media in 1999. In 2003, he added another doctorate in philosophy in Essex on the subject of "Politics and the Political“. Oliver Marchart directed the Education Project of the Documenta11 and worked at universities and research institutes in Essex, Vienna, Paris and Basel. In 2006, he was granted a professorship at the University of Luzern in the field of sociology. He has been a professor for sociology at the Kunstakademie Düsseldorf since 2012. The focus of his work lies in the field of social theory, political theory, the sociology of art and culture as well as political sociology and the research of social movements.

Moderation: Boyan Manchev

free admission.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen



What is meant by the term research presentation when it comes to arts practice? What form could it take? Who and what is it for?

Over the two years of the masters program Solo/Dance/Authorship (SODA), students are asked to respond to these questions, through the specificity of their work and practice. How can art practice be considered knowledge, and, how can the acquisition of this knowledge be demonstrated and accounted for a discourse? What are the means by which learning procedures and insights of such knowledge production, can be made visible? In short how do the students learn what they learn?

Over the course of these two nights students will illustrate and elaborate their varied approaches to performance research in the form of performative formats and an artist workbook and give an insight into their final masters presentation in the following semester. This includes performances, discussions, installations, and more.

Showings 15.07.2014:

Yusuke Kimura

6:00pm, studio 8

Helena Botto
7:10pm, studio 9

David Pollmann
8:20pm, studio 8

Showings 16.07.2014:

Rodrigo Garcia Alves

5pm, studio 9

Ixchel Mendoza
6:10pm, studio 8

Kyla Kegler
7:20pm, studio 9

Andre Uerba
8:30pm, studio 8

Due to restricted seating there is a maximum of 60 places.
An admission list will be at the door 30 minutes before each presentation.
Free admission I Studios 8 and 9

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


©UdK Berlin
>©UdK Berlin
Studio 9 | 4 - 5:30pm
In studio 11 of the HZT Berlin, the "Movement Workshop for All" invites everyone with interest and curiosity for movement and choreography. The workshop will be run by Jenni Ramsperger, student of the master program "Choreographie“, and Britta Wirthmüller from the BA "Dance, Context, Choreography" Course. Dance experience is not necessary. Please bring comfortable clothes.

Studio 11 | 6 - 7pm
Afterwards, there are the studio showings by students from the BA "Dance, Context, Choreography" course. A focus of all HZT Berlin courses is the development of the students' own choreographic and artistic work. With this in mind, the students share short choreographic pieces and sketches as work-in-progress presentations.

Bling bling recycling collective "Arriving on time", with: Anna Lena Lehr, Tabea Magyar, Emma Tricard
Ellinor Ljungkvist "untitled“
Mira Hirtz "Bounce it, Baby!”, with: Frederike Doffin, Mira Hirtz

In the frame of the program Open Spaces#1 of the Tanzfabrik Berlin you can see as well at Uferstudios:

"The Iliad", 7pm, a piece by Felix Ott, graduate of the BA pilot program at HZT Berlin (on July 17 as well)
"niemandszeit”, 8:30pm, a piece by deufert&plischke, who has been guest teacher at HZT Berlin for many years (on July 17 and July 18 as well)

free admission.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen



Adriano Wilfert Jensen: Spending Time With Dinosaurs ©Adriano Wilfert Jensen
>Adriano Wilfert Jensen: Spending Time With Dinosaurs ©Adriano Wilfert Jensen

Clara Saito: # 3, variation 1, 30 mn

CHAOS NEVER DIED. Chaos comes before all principles of order and entropy. It's neither a god nor a maggot; its idiotic desires encompass and define every possible choreography, all meaningless aethers & phlogistons. Its masks are crystallizations of its own facelessness, like clouds. Everything in nature is perfectly real including consciousness; there's absolutely nothing to worry about. Not only have the chains of the Law been broken; they never existed. No, listen, what happened was this: they lied to you, sold you ideas of good and evil, made you distrust of your body and be ashamed of your prophecy of chaos, invented words of disgust for your molecular love, mesmerized you with inattention, bored you with civilization and all its usurious emotions. There is no becoming, no revolution, no struggle, no path.

Choreography and concept: Clara Saito

Yui Nakagami: Weaverbird

Silence Painful Breeze Step “No” Embrace Together Grey Rhythm Chocolate Distance Mellow Safety Partner Between Float Home Wall Tick-Tack Adventure Love Mix 

Acting and receiving, leading and following, saying and listening, positive and negative space... Those are not only functioning on one side, but also have a synergetic effect. 

Performance: Louis Vanhaverbeke, Yui Nakagami
Advice: Ria Higler


There are places we go and people we meet along the journey we take; we transform stories and store memories inside our minds and body. We choose what our focus is every moment in time… and my body does not belong to me; there are spirits inside of me, guiding me, telling me which way to go, where to stop and who to invite along to dance and join me on the amusement ride.

Choreography and performance: Ana Romih
Advisor: Matej Kejzar

Thanks to: Matej, The crew and Love around

- - - break - - -

Simon Asencio: Jessica!

"Jessica“ is all of these characters who could play roles in another story.
"Jessica“ is this person in all of Roy Anderson’s movies. She is there in the frame, but from outside of it: appearing in the window, in the doorway or in the background. She is always part of the whole picture; she looks familiar but no one is really sure who she is and what she is doing here. 

Advisor: Krõõt Juurak

Adriano Wilfert Jensen: Spending Time With Dinosaurs

“Agents in a metaphysical laboratory. We bounce off the walls like balls in a computer game, never arriving anywhere, never losing or gaining any momentum. We move steadily, guided by a force we cannot perceive intellectually. There is no struggle and no emotions. Darkness and light leave us unaffected. Our needs are primal but alien."
- Sandra Lolax on Spending Time With Dinosaurs

Choreography: Dinosaurs Dance
Production and PR management: Emma Daniel and Adriano Wilfert Jensen
Coaching: Krööt Juurak


Louis Vanhaverbeke and Luca Hillen: KNOWING WHAT YOU DON'T WANT ©Louis Vanhaverbeke
>Louis Vanhaverbeke and Luca Hillen: KNOWING WHAT YOU DON'T WANT ©Louis Vanhaverbeke

Matias Daporta: A documentary theatre performance

We, real people, perform the moment and propose a fiction about a social fiction, in a fictional context, to reflect about the reality of each of them.

Matias Daporta & Esther Arribas with Maciej Sado
Advised by Deniz Buga
Thanks to Nico for being at the beginning, and Maria in the video.

Maria Peralta: HIP HOP

The willingness to produce dance is the fundamental drive of HIP HOP; the dance is triggered by the practice of movement in relation to movement. The whole body, space and time are treated as movement within the practice. The encounter between the actual movement of the physical body and the invisible movement of thought, imagination, attention and perception will define the final outcome of the dance.

- - - break - - -

Louis Vanhaverbeke and Luca Hillen: KNOWING WHAT YOU DON'T WANT

The mind is a divider. Either a liker, or a disliker.
The unpredictable nature of the mind turns life into a game. Constantly winning and losing.

Louis Vanhaverbeke (SNDO) and Luca Hillen (Mime) met each other at Theaterschool Amsterdam. They share an interest in specific awareness training. With this background they investigate movement, explore the notion of 'space' and question what 'an audience' could be...

Simon Asencio: Jessica!

"Jessica“ is all of these characters who could play roles in another story.
"Jessica“ is this person in all of Roy Anderson’s movies. She is there in the frame, but from outside of it: appearing in the window, in the doorway or in the background. She is always part of the whole picture; she looks familiar but no one is really sure who she is and what she is doing here. 

Advisor: Krõõt Juurak

Nicolás F. Rosés Ponce: O MEGA MANTRA

"O Mega Mantra“ is an exploration of the strong bond between dancers and music, a primitive relationship between movement and sound. The existence of both movement and sound in the same space creates a relation. The body transforms itself into an instrument that allows us to see sound and to listen to movement. Choosing a traditional form with the ability to give spontaneity to these complex motions allows one to transform purely physical actions into intellectual and aesthetic values. The audience is led through different landscapes and emotions. 

Performer: Nicolás F. Rosés Ponce
Music by Mountain



As in past years, graduates of the School for New Dance Development Amsterdam will present their final projects at the Uferstudios on two evenings with two different programmes. Conversely, this year’s graduates of the BA Dance, Context, Choreography will present their works themed "AUS ZUCHT - HZT works in Amsterdam" at the Het Veem Theatre in Amsterdam in September.

Program 1 of July 11 at 7pm:
Clara Saito: # 3, variation 1, 30 mn
Yui Nakagami: Weaverbird
- - - break - - -
Simon Asencio: Jessica!
Adriano Wilfert Jensen: Spending Time With Dinosaurs

Program 2 of July 12 at 7pm:
Matias Daporta: A documentary theatre performance
Maria Peralta: HIP HOP
- - - break - - -
Simon Asencio: Jessica!
Nicolás F. Rosés Ponce: O MEGA MANTRA

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

Tickets: 4 Euro | studio 14
Reservations: Ticket reservations up to 1 day before the event. Please indicate the day of the event:tickets@hzt-berlin.de It is possible to buy tickets at the box office.


©Tanzfabrik Berlin
>©Tanzfabrik Berlin

The 8th Tanznacht Berlin, organized by the Tanzfabrik Berlin, presents the German capital’s diverse contemporary dance scene with 100 artists in 30 dance shows, performances, video installations and artistic practice. The artistic director Heike Albrecht focuses on the relationship of contemporary dance to its traditions and cultural signatures, and on making the connections visible that international choreographers who live in Berlin have to their backgrounds. 

HZT Berlin students and alumni are also represented at the Tanznacht with their own pieces, or they are involved as performers, co-authors or advisors in their artistic colleagues’ pieces.


Videos from the "Those three little words“ series by Agata Siniarska can be seen; she has been working on them with Diego Agulló since 2012. (28. – 31.08.2014) *** "Spectators 2.0” by speechproject is a collective video work, in which Felix M. Ott and Camille Louis pose the question: what can you still do on a stage today? Ehud Darash, among others, was also involved. (28.-31.08.2014) *** Video works will also be showed at the Galerie Patrick Ebensperger, among them "Shifting the burden”, a cooperation between the choreographer An Kaler and the video artist Anne Quirynen, in which they investigate the perception of movement in the painting, video art and choreographic media. (27. - 31.08.2014) ***



Juan Gabriel Harcha will present two projects: the solo "Angela Loji“, in which he sets himself in scene as an exotic being, an explicitly “other”, and "Tulle Labyrinth“, in which he choreographically examines the simultaneously stabile and fragile material tulle. (28.08.2014, 17:00 Uhr) *** In their new work "Where is the Zombie?“ Episode 2, Dragana Bulut explores strategies of survival and escape. Cooperation: Ana Monteiro, among others. (28.08.2014, 8:00 pm) *** 


Together with Niels `Storm’ Robitzky and Louise Wagner, in DIALOGIC MOVEMENT Raphael Hillebrandt offers a forum for contemporary urban culture. (29.08.2014, 8:30 pm). In addition, he is also involved as a choreographic associate and dancer in the Krump'N'Break Release of the shifts - art in movement company. (29.08.2014, 7:00 pm) ***


In his solo "Monumental", Martin Hansen looks at the tension between the creation of authenticity and identity, history an contemporaneity on the basis of Anna Pavlova’s pioneering solo "Der sterbende Schwan“ from 1905. (30.08.2014, 4:15 pm) *** In her solo "GLAND - The marginal Sculptures of Newtopia“ Kat Válastur transforms the known into the unknown and confronts perception with constantly new challenges. Ania Nowak assists her. (30.08.2014, 5:00 pm) *** In the new work "Hardcore", Tian Rotteveel examines processes of movement and sound that slowly develop into a concert. (30.08.2014, 8:00 pm) *** Nils Ulber is a performer in Begüm Erciyas’ piece HYPNOSIS. (30.08.2014, 6:30 pm and 31.08.2014, 5:00 pm). *** Mirko Winkel is a creative consultant in Christoph Winkler’s "Dance is not enough - Das wahre Gesicht“ (30.08.2014, 8:00 pm) *** Asaf Ahronson, Evamaria Bakardjiev and Sonja Pregrad dance in Frédéric Gies’ social dance of the future "Seven Thirty in Tights“ (30.08.2014, 9:30 pm). *** Sergiu Matis premieres "Fake - the real deal“ at the Tanznacht; it’s an installation that develops speculative scenarios of our direct future and dance in a “darkroom”. Celine Cartillier performs in the piece, among others. (30.08.2014, 10:30 pm) ***


Alexandre Achour presents "This isn't gonna end well“, a work in which he has dancers appear as two-dimensional images by way of stop-motion techniques: it’s a game of fictional and real bodies. Sonja Pregrad is involved, among others. (31.08.2014, 6:30 pm) ***

More information here


18.06.14 | 6 pm | Antonia Baehr and friends: book presentation and sneak preview | studio 11

©Antonia Baehr
>©Antonia Baehr

The publication of “Abecedarium Bestiarium – Portraits of affinities in animal metaphors“, a book by Antonia Baehr and friends, will be celebrated at the HZT where artists Antonia Baehr, Steffi Weismann and Isabell Spengler, all of them contributors to the book, are teaching during the summer term. 
The book presentation coincides with their workshop at HZT but is not linked to its contents. In a conversation with Franz Anton Cramer, Antonia Baehr will talk about the relation of choreographic work and documentation, about scores, partitions and displaced authorship. This is followed by a signature session. During the event the original engravings and drawings that served as illustrations to the book will be on exhibit.

The second part of the evening is dedicated to a s neak preview of the 2014 film “Inside the Tiger“ by Steffi Weismann, Isabell Spengler, Georg Klein, Sigrid Keil and Antonia Baehr. “Inside the Tiger“ is a documentation of the “Tasmanian Tiger Immersive Self-Therapy Program (TTIST)“, during which participants are invited to put on a costume and become the Tasmanian Tiger, a species extinct in 1936. The project to this film has been inspired by Steffi Weismann’s partition "T is for Tasmanian Tiger", written for Antonia Baehr’s piece “Abecedarium Bestiarium“.

In German language. Free admission.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen



Today's bourgeoisie plays some of its most important scenes in a living room, equipped with a screen. This talk is an attempt to suggest that this scene has a history that reaches back three hundred years, to a theatre designed for the entertainment a new social class whose wealth and whose leisure comes from colonial expropriation. 

Nicholas Ridout is Reader in Theatre and Performance Studies in the Department of Drama at Queen Mary University of London. He is the author of Stage Fright, Animals and Other Theatrical Problems (2006), Theatre & Ethics (2009) and Passionate Amateurs: Theatre, Communism and Love (2013). With Joe Kelleher he co-edited Contemporary Theatres in Europe (2006) and co-authored The Theatre of Societas Raffaello Sanzio (2007) with Chiara Guidi, Claudia Castellucci and Romeo Castellucci.

Moderation: Boyan Manchev

free admission.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


©Andre Wunstorf
>©Andre Wunstorf

The seven students of the MA Choreography programme (MAC) warmly invite you to come see the presentations of their final works. Two students share every evening to present their pieces. 

Except for the piece by Matteo Marziano Graziano, the presentations will take place at the Uferstudios (Uferstr. 23, Studio 14, 13357 Berlin-Wedding). The location can easily be reached with the U8 (U Pankstraße) or U9 (U Nauener Platz). For the Uferstudios presentations, tickets are 4 EUR per evening; shows start at 7:30 pm. Reservations are not possible, the box office opens at 7 pm. More information on Matteo Marziano Graziano’s presentation below.


23./24.06. at 7:30 pm:
Steffi Semdner: Mund
Karina Suárez Bosche: Grau

29./30.06. at 7:30 pm:
Raphael Hillebrand 'POW 2045' - Proximity of self and machine
Jascha Viehstädt: N

04./05.07. at 7:30 pm:
Rosalind Goldberg: Jump with me!
Polyxeni Angelidou: Co-

TAK Theater Aufbau Kreuzberg:
02./03./06.07. at 9:30 om
Matteo Marziano Graziano: Orbis Tertius


23./24.06.14 | 7:30 PM | STEFFI SEMBDNER: MUND | STUDIO 14

©Matthias Erfurt
>©Matthias Erfurt

"Mund“ is a meditation on the never-ending effort to develop a language for the body that makes the hidden visible; it is existential research about the body and space. The three performers in "Mund“ attempt to describe a body within a space and a space within a body.

Concept: Steffi Sembdner, Cecilia Tselepidi, Andrea Steves
Choreography: Steffi Sembdner 
Stage design/lighting design: Cecilia Tselepidi
Composition/sound: Andrea Steves
Dance/choreographic collaboration: Laressa Dickey, Jacques André Dupont, Barbara Berti

Costumes: Katrin Fürst


23./24.06.14 | 7:30 PM | KARINA SUAREZ BOSCHE: GRAU | STUDIO 14

©Karina Suárez Bosche
>©Karina Suárez Bosche

Grey. The daily battle against grey. The non-colour that conceals emotions, the colour that leaves us numb, dull and baffled. Grey people are those who no longer look directly into your eyes, who do not see, who do not watch, who do not comprehend anything. Just walking fast, saving time, stealing time. Then perhaps: breathing deeply, standing still, listening, moving slowly and no longer fearing silence — defeating grey with dance. It is a battle against the grey that is within us all. Inspired by Michael Ende’s grey men and our current lives.

Concept/choreography: Karina Suárez Bosche
Performer: Carolina Bavio, Thea Faerden Bringsvaerd, Daniela Fuentes Marín, Bernhard Richarz
Sound/performance: Wu Yunpei
Stage design: Cheng Ting Chen
Lighting: Catalina Fernandez
Costumes: Vera Römer


29./30.06.14 | 7:30 PM | RAPHAEL HILLEBRAND: ‘POW 2045’ – Proximity of Self and Machine“ | STUDIO 14

©Raphael Hillebrand
>©Raphael Hillebrand

Human – machine – who sets the pace? Inspired by Bauhaus and Oskar Schlemmer’s Stäbetanz aesthetics, the two urban dancers pick up on early modernism’s enthusiasm for technology. Rhythm, acceleration, silence, control, movement - which takes the lead? Who programs whom? By the year 2045, man and machine will have merged into a trans-human body that seemingly dissolves the boundaries between the body and the system. POW – an artistic outlook into the culturally unknown.

Choreography: Raphael Hillebrand
Dance: Christian Mio Loclair, Raphael Hillebrand
Projection: Christian Mio Loclair
Music: kling klang klong
Stage design: Janja Valjarevic


29./30.06.14 | 7:30 PM | JASCHA VIEHSTÄDT: N | STUDIO 14

©Jascha Viehstädt
>©Jascha Viehstädt

Night, nudity and comics. Pictures of naked and dissolving bodies on gleaming surfaces. The question arises how to be naked within a hyper-sexualised adulthood. Or whether our clothes provide us with a sense of real freedom. By focusing on the coexistence of perversely exaggerated means of representation and the infantile/powerful naiveté found in comics, a collage and episodic dance piece develops. By using the emotional mechanisms of comic art, music and dance, the work encompasses the right to be shameless through probably exhausting and sweat-inducing rehearsals.

Dance: David Vossen, Philipp van der Heijden
Stage/costumes: Hou Hsiu-Ying
Guitar: Tobias Hanel
Dramaturgy/documentation: Signe Koefoed, Balz Isler
Choreography/concept: Jascha Viehstädt



©Matteo Marziano Graziano
>©Matteo Marziano Graziano

ORBIS TERTIUS is a real/fictive "Play of Alignments" inspired by the short story "Tlön, Uqbar, Orbis Tertius" by the Argentinean author Jorge Luis Borges. A conspiracy of artists led by choreographer and filmmaker Matteo Marziano Graziano stands behind this machine. The spectator will be sent on a multi-level journey through the labyrinthine building Aufbau-Haus at Moritzplatz. Dance meets architecture, sound meets construction. Your personality is no status; it’s a good. Solve the mystery and achieve your upgrade for the ultimate activation.

with: Matteo Marziano Graziano, Adela Bravo Sauras, Benedetta Baiocchi, Laurent Pellissier, Francesco Cavaliere, Danielle Fagen, Johannes Weiss, Hannes Oppermann, Marc Philipp Gabriel, TanzZeit-Jugendcompany, Juan Benito Corres, Tarren Johnson, Judith Seither, Andrea Parolin and many others.
Stage: Adela Bravo Sauras, Danielle Fagen
Art Direction: Laurent Pellissier
Costumes: Benedetta Baiocchi
Sound: Francesco Cavaliere, Johannes Weiss
Dramaturgy: Hannes Oppermann
Concept/choreography: Matteo Graziano * CASA MARZIANO
Kindly supported by: TAK Theater am Aufbau Haus, Modulor Material Total, couturereal, Just Music, PRINCE CHARLES, Tuschkasten e.V., Aufbau Haus.

The Performance will take place at TAK Theater Aufbau Kreuzberg (Prinzenstr. 85 F, 10969 Berlin-Kreuzberg). The location can be reached by U8 (U Moritzplatz). Tickets are 10 Euros, 7 Euros reduced price. For reservations, call 030 343 912 91 or mail karten@tak-berlin.de.


04./05.07.14 | 7:30 PM | ROSALIND GOLDBERG: JUMP WITH ME! | STUDIO 14

"Jump with me!" is about being together by jumping together. For the length of the piece, Goldberg explores jumping as a means of production of relations by only jumping; no other acts or tools are applied to be together. In this work, Goldberg is interested in the creation of relationships as a phenomenon. It’s an evening during which relationships can be experienced and visualised.

Concept/choreography: Rosalind Goldberg
Dance: Anne-Mareike Hess, Søren Linding Urup
Lighting Design: Sandra Blatterer 
Musical consultation: Wanja Slavin 
Outside eye: Enrico Ticconi 
Fitness consultation: Malin Träff


04./05.07.14 | 7:30 PM | POLYXENI ANGELIDOU: CO- | STUDIO 14

©Polyxeni Angelidou
>©Polyxeni Angelidou

“Co-“ is a laboratory on human interaction. We try to see what is not visible from the outside. We try to investigate the invisible bonds that interconnect people with each other in timing, coincidence, action, reaction and affect. There is not just one point of view.

Choreography: Polyxeni Angelidou
Performance: Andrea Krohn, Susanne Eder, Mab Cardoso, Antonio Onio, Salvatore Siciliano, Klaus Bitto, Alexandra Bódi
Stage: Michaela Muchina
Costumes: Kunji Baerwald
Sound: Felipe Sanchez Luna
Supported by IKY – Staatliche Stipendienstiftung Griechenlands (Fellowships of Excellence for Postgraduate Studies in Greece).



AREAL (Artistic Research Lab) is an initiative of presently 11 artists, who are engaged in a variety of artistic research topics related to dance, somatics, body and perception. The members are based in Berlin, some of them actually doing a PhD at different European universities. AREAL offers a context to meet with peers in Berlin on a regular basis for sharing, experimenting, feedback and discussion. 

Open Studios are held on a regular basis to make AREAL-participants’ work processes tangible for an audience and to enable a discussion.
The Open Studio on May 24th is a cooperation between AREAL, the HZT Berlin and Tanzfabrik Berlin.

paces & traces choreographic research on walking with Katja Münker & Colleagues

With this open studio Katja Münker will deliver insight into her actual studies of basic compositional elements within the act of walking by practical scores and experiments. She emphasises on rhythms, paces, traces and directions. Her particular interest follows the questions how such a repetitive, simple and relatively uninform movement like walking is generating different physicalities and thereby different emerging experiences by changing the basic elements above and how (self)organization occurs within collective walking situations. Further on she will together with her colleagues reflect her work within the context of artistic research and put this up for discussion.

Katja Münker, dancer/choreographer/Feldenkrais-practitioner (Berlin), develops choreographic research- and performance-works on walking since 2010. Previous projects and formats based on walking included workshops, solo- and group-performances, installations, contributions for conferences and walks.www.movement-muenker.de/ and www.kunst-im-gehen.de/

Free admission

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

BA Views on Dance 2014


Jonathan Burrows in conversation with Nik Haffner

7  May 2014 I 6 - 7 PM I Studio 11


In this edition of "Views on Dance" Nik Haffner will be in conversation with choreographer Jonathan Burrows, who is currently teaching in the BA programme at the HZT Berlin. The conversation will cover topics of Jonathan Burrow's own artistic practise, his interest in the topic of mentoring as well as his more recent involvements as a curator for the festival Dance Umbrella London. Nik Haffner will also present some excerpts from the the 'Seven Duets' project of Jonathan Burrows and Matteo Fargion that was part of the Motion Bank Online Score publication.


Free Admission.


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture I summer term 2014

>© HZT

In this summer semester the SODA lecture series takes on the question of the subject in its relation to choreographic and contemporary artistic practice in general. The question of the subject is once again a central aspect of philosophical, artistic and critical/ political discourse; this is why it is the starting point for dealing with the three central concepts of the SODA study programme: solo, dance and authorship.

14.05. I 6 PM I Studio 9
Boyan Manchev: Labour, Production and Creation in Contemporary Art. Creative Subjects vs. Subject of Creation

In his introductory lecture, Boyan Manchev will relate the question of subjectivity to the question of creation while trying to propose an alternative to the radical critique of the notion of the subject in the last century. What we need after the "death of the subject" is nothing other than a new emancipated subjectivity as a force of transformation and justice.


Free Admission.


21.05 I 6 PM I Studio 9
Ric Allsopp: 'On the Page: modalities and subjectivities of writing as practice-based performance research’

'On the Page' focuses on how the material page has been used as a site, not only for forms of performance but for the 'materialisation of thought' and new subjectivities in relation to the practices of performance. Drawing on examples from recent (and not so recent) issues of the journal Performance Research, the lecture explores relationships between modes and subjects of writing (critical, subjective, poetics, descriptive and documentational) and forms of performance, that can link both page-based and screen-based modalities of practice-based performance research.

Ric Allsopp is currently Professor of Contemporary Performance and Head of Dance & Choreography at Falmouth University, UK. He is a co-founder and joint editor of the international journal Performance Research.


Free admission



28.05. I 6 PM I Studio 9
Franz Anton Cramer: “Documenting Performance-Based Art: New Ontologies of The Artefact?”

For a long time, it was accepted beyond doubt that dance be an art form defined by its ephemerality and cannot be reproduced. Both historic and contemporary attempts to resist this ontological assignation therefore have been and are confronted with a twofold challenge: They have to reverse the question of substance and need to transform any ›objectivity‹ of the ›work of dance‹ in other states of aggregation. One could say that dance, in order to enter the archive, needs “medial transfer”. And it is in this transfer of mediatic appearance that the immaterial of performance is hoped to gain material visibility.
Only by understanding the genuine kinetic qualities of the archive, so the lecture will try to demonstrate, is it possible to give proof of “that what is”.

Moderation: Boyan Manchev

Franz Anton Cramer is Senior Researcher at the Inter-University Centre for Dance / University of the Arts, Berlin, where he co-directed the BA course „Contemporary Dance, Context, Choreography“ from 2007 till 2010, together with Gisela Müller and Boris Charmatz. Between 2007 and 2013 he was a Fellow at the Collège international de philosophie in Paris.

Free admission


Further SODA lectures in the summer semester:
24.06. I 18 Uhr I Nicholas Ridout
9.07. I 18 Uhr I Oliver Marchart

Uferstudios, Uferstraße 23, 13557 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

BA Festival IN ZUCHT

>IN ZUCHT 2014

IN ZUCHT Festival 2014 is happening - the 4th edition of the self-organized festival by the students of the BA programme "Dance, Context, Choreography" at the HZT Berlin.

The festival is conceived and realized by the students from all three years and tempts to share and show collective and individual art works in all im/possible formats.

IN ZUCHT Festival is a ground for meeting, mating and mutating.

This edition seeks to broaden the dimension of  f e s t i v a l  to a 4 day long festivity of expanded choreography within the playgrounds of the Uferstudios in Wedding.

From 24.-27. of April we invite you to IN ZUCHT - where food, yard activities, works in progress, installations, exhibitions, artist talks, interventions, stage works, performances, and audiences are merging into a festival.

Free admission - no reservations. Tickets can be obtained at venue 30 minutes before each block.

For further information and details on the program keep updated here:



IN ZUCHT festival website

Maria Baroncea A certain togetherness - try-outs to be synchronized ©Marion Borriss
>Maria Baroncea A certain togetherness - try-outs to be synchronized ©Marion Borriss

We have no public events at the moment.

17.01.2014 I 6 pm I Feedback in artistic processes: DasArts & Design Thinking I Studio 11

©Thomas Plischke
>©Thomas Plischke

Presentations: Jörg Koslowsky: Design Thinking I Siegmar Zacharias: DasArts Method
Lived feedback culture has an increasingly important role in artistic environments as well as in society in general. The appreciation of feedback is equally high among artists and students. How can we learn and expand the possibilities of feedback in artistic processes? How are feedback methods enshrined in the practice of art and artistic studies today? What could the next steps be in the development of feedback?

From 17. to 19.01.2014 a laboratory will provide a platform for exchanging feedback methods, applications and visions. The lab consists of an internal working platform and two public presentations (17.01. at 6 PM), introducing two established feedback methods: Siegmar Zacharias - DasArts method, Jörg Koslowsky - Design Thinking.

Participants (a.o.): Siegmar Zacharias, Jörg Koslowsky, Charlotte Vandevyver, Steve Purcell, Eva Meyer-Keller, Frank Bock, Dejan Srhoj, Nik Haffner, Frederik Le Roy and Inge Koks.

The research laboratory "Feedback in artistic processes" is a collaboration between the Uferstudios Berlin and HZT Berlin. The event takes place within the framework of Life Long Burning (LLB), a project supported by the Culture Programme of the European Union. www.lifelongburning.eu


Free admission

Uferstudios, Uferstraße 23, 13557 BerlinU8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

SODA lecture series I 6 pm I Studio 9 I Uferstudios

13.11.2013 I Joe Kelleher: 'Why doesn't he dig her out?': the ridiculous subject, the burning subject

In his lecture, Joe Kelleher will address a small number of theatrical, choreographic and film examples, so as to consider certain questions around the image of one who appears to act - or perform - 'alone'. For instance, how is the performer who stands out from others also embedded in social and historical situations? What might it mean to be the author of an irrevocable action? And what role might such actions play in the imagining of futures, other worlds worth striving for?

Moderation: Boyan Manchev

Professor Joe Kelleher is Head of Department: Drama, Theatre and Performance at the University of Roehampton (UK).


15.01.2014 I Boyan Manchev: Composition vs. Collaboration. Artistic Subjectivity and Collective Creation
In this lecture, Boyan Manchev, guest professor in the MA Solo/Dance/Authorship programme, will approach the problem of cooperation/collaboration from two perspectives, which are determined by necessity by two crucial aspects of the critical ontology of actuality: namely the question of labour and the question of artistic subjectivity, both of which are undergoing crucial transformations. There is no doubt that today we are witnessing a discursive fetishization of ‘collaboration’ – we could even speak of a ‘collaborative’ turn. What are the reasons for it?


Free admission

Uferstudios, Uferstraße 23, 13557 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

Views on Dance I winter term 2013/14 I Uferstudios

Etienne-Jules Marey: High Jump, Juli 1886, Chronophotographie
>Etienne-Jules Marey: High Jump, Juli 1886, Chronophotographie

Artists and thinkers hosted by HZT share their current views on dance. Free Admission.


29.01.2014 I 6 pm I On choreography and its agency I Studio 11

Sandra Noeth in conversation with Lina Saneh & Rabih Mroué

Relating to their individual artistic and theoretical projects and practices, Lina Saneh, Rabih Mroué and Sandra Noeth will give insight into their political and aesthetic approaches.

Sandra Noeth is a dance scholar, curator and presently dramaturge at the tanzquartier Wien: in January she will be offering a three-week block seminar "Slow violence. On choreography and its agency“ at the HZT. Lina Saneh and Rabih Mroué are authors, directors and actors from Beirut who are living in Berlin. Lina Saneh teaches at the Université Saint-Joseph (USJ) in Beirut, among others, and at the Haute Ecole d'Art et de Design in Geneva. In 2009/2010 she was a fellow at the International Research Centre "Interweaving Performance Cultures“ at the FU Berlin where Rabih Mroué 2012/13 also received a fellowship. His installation “Double Shoot” and the lecture performance "The pixelated revolution“ were both invited to the documenta13. In the performance works they created together – Biokraphia, Photo-Romance, Who’s afraid of representation and most recently 33 rounds and a few seconds – they deal with the limits of representation and the construction of reality.


06.11.2013 I 6 pm I Open ended – some thoughts about the making of choreography I Studio 10

Britta Wirthmüller in conversation with Carlos Oliveira


On the basis of examples from their artistic practices and research, Britta Wirthmüller and Carlos Manuel Oliveira discuss the indivisible nature of movement and experience and speak about the irreducibility of experience to the images of representation. Habit and novelty, pattern and change will be further discussed in regard to their affective and effective realities in artistic processes.


Britta Wirthmüller, dancer and choreographer, is on HZT Berlin’s artistic staff; Carlos Manuel Oliveira is a graduate of BA Dance, Context, Choreography and is presently working on his PhD on Digital Media at the UT Austin|Portugal International Collaboratory for Emerging Technologies, CoLab. and is an associated research fellow at the HZT Berlin.



Free admission

Uferstudios, Uferstraße 23, 13557 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

ACHT - MA Choreography students show their third semester projects 

Eight MA Choreography students will present their semester projects. We would like to invite you to four evenings of double showings. Be inspired by these international dance artists’ different signatures and contexts!




31.10. & 01.11.2013

„Zelten" Jenni Ramsperger

in / the / back / effect / no / words / hearing" Karina Suárez-Bosche

14.11. & 15.11. & 16.11.2013

„Mein Fell" Steffi Sembdner

Analog Voids: Reloaded" Matteo Graziano


22.11. & 23.11.2013

„Cut and Pasted" Polyxeni Angelidou

„newwarofhumankind" Jascha Viehstädt


bat-Studiotheater, 10405 Berlin/Prenzlauer Berg, Belforter Straße 15, U2 Senefelder Platz, Tram M2 Metzer Straße


Erasmus Intensive Programme I 21. October - 02. November I Uferstudios

From October 21st to November 2nd, the Erasmus Intensive Programme “Practicing Composition: Making Practice” will take place. Students and teachers from seven European MA programmes will meet at the HZT Berlin to work together for two weeks. It’s the last Intensive Programme (IP) in a series on this subject. Building on the two previous IP 2011 and 2012 in which aesthetic, dramaturgic, collaborative and social aspects of composition were investigated, the focus of Erasmus IP 2013 “Composition: Poetics and Procedure in Individual Performance“, is on notions of structure (poetics) and making (composition) in individual artistic and solo work. The IP enables the sharing of different perspectives on artists’ subjectivities in relation to different contexts; on methodologies of presentation in specific thematic and performative modes; on compositional and procedural strategies and tactics in solo work.

Erasmus IP 2013 participants:
MA Choreography of the TeaK / Helsinki, MA Choreography t ArtEZ / Arnhem and at the University Falmouth / UK, MA Dance Theatre: The Body in Performance t TrinityLaban / London, MA Dramaturgy at the Academy of Dramatic Arts / Zagreb, MA Solo/Dance/Authorship at the HZT Berlin and, as a new partner in 2013, MA in Performing Arts Practice and Visual Culture, Madrid at the Universidad de Castilla-La Mancha - UCLM.

We would like to invite you to the public lectures and presentations of the IP:

21.10.2013 I 8:30 PM Performance
Sheena Mc Grandles: “TRUE BALLS”

TRUE BALLS is an artistic research project that combines both a performative and visual practice, attempting to queer the body, drain it from recognition and push it toward absurdity. An intertwining sensorial landscape echoes and morphs in constant motion. Through the physicality the performers shift between the associate and abstract body, working toward the unfamiliar, unspeakable and uncanny. 

True balls comes 4th in a series of works on the queer and uncanny that Sheena began during her studies on MA SODA.

Sheena McGrandles studied dance at the Laban Centre London; 2011 she graduated from the MA SODA at HZT Berlin. 2012/13 she has been residence choreographer at k3 Centre for Choreography I Tanzplan Hamburg, where she created True Balls. It is 4th in a series of works on the queer and uncanny. Tonights True Balls is an adaption, which was originally conceived in a parallel space with an exhibition at K3, Hamburg.

Concept and creation: Sheena McGrandles I Co-creator: Anna Nowicka I Dramaturg: Ivona Šijaković I Costume Design: Michiel Keuper I Light: Henning Eggers I Mentors: Sharon Smith, Maria Francesca Scaroni and João da Silva
Produced within the residency program of K3 – Center for Choreography | Tanzplan Hamburg and partially supported by the Hamburgische Kulturstiftung.

21.10.2013 I 11 AM - 1:00 PM keynote and discussion
Ric Allsopp: “Notes on Poetics and Choreography“

This initial keynote asks what might be at stake for individual solo work, signature and authorship, and provides a background to what might constitute a poetics of radical coherence for individual practice. It aligns a poetics of writing with a poetics of movement and draws on work in both mid-twentieth century projective and contemporary poetics (Olson, Bruns, Fisher, Nichols) and a poetics of contemporary dance (Louppe) that suggests that both poetry and dance are 'languages' that operate in excess of the functions of language, and open the possibilities of radical approaches to coherence and affection.

Ric Allsopp is currently Professor of Contemporary Performance and Head of Dance & Choreography at Falmouth University, UK. He is a co-founder and joint editor of the international journal Performance Research. 

22.10.2013 I 11 AM - 1:00 PM keynote and discussion
Sandra Umathum: “The Art of making a Performance – Xavier Le Roy’s Product of Other Circumstances“

In his performance Product of Other Circumstances Xavier Le Roy not only presents the result of a working process. Instead, the working process itself becomes the subject of presentation and reflection. Le Roy gives insight into the particular circumstances he was confronted with and, in doing so, he also addresses general conditions of contemporary artistic production. In my lecture I will, on the one hand, focus on the way this performance deals with the challenges of performance making. On the other hand, I would like to bring into discussion nowadays’ artistic labour with respect to questions of research, professionalism/dilettantism, economics of time, etc.

Sandra Umathum is professor for theatre studies and dramaturgy at the Hochschule für Schauspielkunst 'Ernst Busch' since April 2013. She collaborated in various projects of Christoph Schlingensief, and she was an assistant of Tino Sehgal for the exhibition „This situation“ at Hamburger Bahnhof Berlin. 

23.10.2013 I 11 AM - 1:00 PM keynote and discussion
Miika Luoto:

24.10.2013 I 11 AM - 1:00 PM keynote and discussion
Elena Giannotti: “Rider in Arena - A history of contingency”

Rider in Arena is the title of a series of solos and also a personal history of practicing ‘making dance’. My experience of practice can be narrated through anecdotes and storytelling, recalling a personal story, where a natural attitude to isolation and a recondite approach to dance is also contaminated by the crowd. Rider in Arena is also a jump into future. The work is not finished yet: the capacity of imagination and dreaming is a primary tool for me to diverge creation from conceptual thinking. (Elena Giannotti)

Elena Giannotti is an independent dancer. Besides working with several companies, she has been Rosemary Butcher’s main Interpreter for more than 10 years. She started to make her own work in 2008. Elena is a Chinese Medicine, Tuina and Qi Gong Practitioner and a Social Dreaming Facilitator.

28.10.2013 I 6:00 PM Artist Talk 
Vaginal Davis: “Beware the Holy Retarded Whore -The Temporary, Contemporary Contemporaneous Free Style of Vaginal Davis“

Like a Bull in a China Shop Ms. Davis will righteously rant about her three decades long career as an underclass, underground artist breaking all the rules of propriety and politeness as she unsettles middle class notions of civility and structure in discourse. Prepare yourself for some tense and awkward moments as she unleashes her Black Madame Mao wrathe.

Vaginal Davis is a performance artist, film director, musician and zine editor. She is an originator of the homo-core punk movement and a gender-queer art-music icon. She is the key proponent of the disruptive performance aesthetic known as terrorist drag. www.vaginaldavis.com

Free admission

Uferstudios, Uferstraße 23 oder Badstraße 41, 13357 Berlin, 
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen

This project was financed with the support of the European Commission. The responsibility for the content of this publication lies solely with the authors; the commission is not responsible for the further use of the content found within this publication.

SODA WORKS 2013 I 03.-18. December I Uferstudios

After two years of artistic and theoretical research about solo work and collaborative forms of dance in contemporary art practice and performance art the graduates of the MA Solo/Dance/Authorship present their artistic MA projects.

Parallel to the presentations the research process will be documented in an exhibition in studio 16 on all performance days between 6 -21 pm at Uferstudios as well as in the SODA WORKS 2013 publication.

Go to publication




03.& 05.12.2013 I Studio 14

7 PM Niels Bovri 

9 PM Allison Peacock

08. & 09.12.2013 I Studio 14

7 PM Lisa Densem 

9 PM Maria Baroncea

12. & 13.12.2013 I Studio 14

7 PM Céline Cartillier

9 PM Sergiu Matis

15.12.2013 I Studio 14

at 3, 4, 5 and 7, 8, 9 PM Katrin Memmer

17. 18.12.2013

4 - 8 pm exhibition PM Kiran Kumar I Studio 8 and 15

9 PM Flavio Ribeiro I Studio 14


Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Please note: Due to limited seats for the performances by Katrin Memmer on 15 December a reservation in advance is need. Please write until December 14th to tickets@hzt-berlin.de


Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen 


Niels Bovri: The theatrophone
03. and 05.12.2013 I 7 PM I Studio 14

Niels Bovri The theatrophone ©Marion Borriss
>Niels Bovri The theatrophone ©Marion Borriss

Throughout the SODA program I have tested a few dependencies between the body and tools or instruments. They aimed for a confusion between presentation and preparation. For the final public presentation I have chosen to install different acoustics in a sonographic theatre performance, where the choreographic task exists in the live construction, patching and presentation of those installations.

Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Allison Peacock: Zebra
03. and 05.12.2013 I 9 PM I Studio 14

Allison Peacock ZEBRA ©Marion Borriss
>Allison Peacock ZEBRA ©Marion Borriss

Inspired by the extraordinary camouflage of the zebra, this work continues a line of investigation into the question of visibility and performance. It also seeks to deal with the tension between the body’s presence and imagined possibilities. Peacock continues her performance investigations on the periphery of dance choreography, using 'media' in the broad sense of the word, and considering the theatre as a place for site-specific work.

Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Lisa Densem: Silently the Birds Fly Through Us
08. and 09.12.2013 I 7 PM I Studio 14

Lisa Densem Silently the Birds Fly Through Us ©Marion Borriss
>Lisa Densem Silently the Birds Fly Through Us ©Marion Borriss

A way of doing. A way of being. The tone of one's body. The direction and quality of one's gaze. How we see and our experience of seeing are affected by small details. There is knowledge that doesn't come in the form of declarations, statements, or explanations but in the form of a series of movements or actions done in exactly this way, in exactly this moment and in exactly this place.

Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Maria Baroncea: A certain togetherness - try-outs to be synchronized
08. and 09.12.2013 | 9 PM I Studio 14

Maria Baroncea A certain togetherness - try-outs to be synchronized ©Marion Borriss
>Maria Baroncea A certain togetherness - try-outs to be synchronized ©Marion Borriss

When joining an event you are already ready to exchange your private being for a shared reality. Within this event I proposed synchronized actions; synchronized while looking, while hearing, while moving, while sleeping, while running this event - while being.  The routine aims to recreate the present in each moment. It is about each minute spent together, one hour shared process of perception.

Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance


Céline Cartillier: Pathfinder’s Rhapsody 
12. and 13.12.2013 I 7 PM I Studio 14

Céline Cartillier: Pathfinder’s Rhapsody ©Marion Borriss
>Céline Cartillier: Pathfinder’s Rhapsody ©Marion Borriss

Sing the world, it will be there. Sing the land, it will exist faster.

Walk the world, it will be there. Walk the land, it will be well and true.


Pathfinder’s Rhapsody is part a wider research that I called for an ideal theatre. An ideal theatre is a theatre predicated on the idea, a theatre which gives precedence to the mind and the imagination. Notions such as virtuality, speculation, potentiality and performativity imposed themselves as crucial guides in the relationship existing between ideal and representation. I feel an attachment to the word theatre which comes from the greek verb théaô which means to see. Theatre is the place where one can see what is said. Pathfinder’s Rhapsody creates conditions of representation which favour the power and the potentiality of epiphany.


Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.



Sergiu Matis: Keep It Real
12. and 13.12.2013 I 9 PM I Studio 14

Sergiu Matis: Keep it Real ©Marion Borriss
>Sergiu Matis: Keep it Real ©Marion Borriss

The larger frame for this work is contamination, which also became a methodology extended into practice, inside the physical and choreographic material, as well as at language level.“Keep It Real” is danced by cyborgs, zombies, alienated and animated bodies. These queer bodies are brought into the realm of visibility, exposing perverted dynamics of the capitalist machinery and questioning what can be considered as political action.


Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Katrin Memmer: Almost a no body
15.12.2013 I each 3, 4, 5 and 7, 8, 9, PM I Studio 14

Katrin Memmer almost a no body ©Marion Borriss
>Katrin Memmer almost a no body ©Marion Borriss

Departing from a interest in the gaze Katrin Memmer likes to continue with reflections and ideas around the Self. Previously, she has tried to make one's own looking apparent, through means of self-built wooden structures, which the audience was invited to experience. Weaving further from there, she would like now to focus on ideas of immersion (of the self). Not only is one's own relationship to what one sees in question, a relationship in opposition, but rather one's own notion of being enclosed. Wooden rooms play no role, but rather spaces of cloth, Peter Sloterdijk's book 'Weltfremdheit', water, darkness and a line out of a poem by Meret Oppenheim, which says: 'For you - against you / throw all the stones behind you / and let go of the walls'.

Free admission. In English. Places for 15 persons per performance. Reservation required until December 14th to tickets@hzt-berlin.de

Kiran Kumar: Project Entitled ´Architectures of Dance´ | 17. and 18.12.2013 I Exhibition 4-8 Uhr I Studio 8 and Kesselhaus

Kiran Kumar Project Entitled „Architectures of Dance“ ©Marion Borriss
>Kiran Kumar Project Entitled „Architectures of Dance“ ©Marion Borriss

This project proposes the architectural metaphor for presenting dance as an alternative to the frame of performance. Here my practice is presented through installation works and archives that together constitute what I have come to call ‘architectures of dance’.

Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.


Flavio Ribeiro: STUFF
17. and 18.12.2013 I 9 PM I Studio 14

Flavio Ribeiro STUFF ©Marion Borriss
>Flavio Ribeiro STUFF ©Marion Borriss

Sometimes objects become memory solidified. If you accumulate too many things, they occupy your mental space like vampires. I come from a family of accumulators, hoarders. We tend to keep stuff forever, even after it disintegrates. 


· Can i throw this out?
· Of course not, it belonged to my father.
· But it's rotting.
· It reminds me of when he used to be a race car driver.


To me, everything is alive. I always find it funny when they say a planet is dead. There is no such thing as a dead being: if an atom is spinning around, it's alive. Even after we die we are alive, somehow.


Free Admission. Advance ticket reservations are not possible. Tickets are available at the box office at Uferstudios 45 minutes before each performance.

Souk Presents I 17. October I 6 pm I Uferstudios

fest: Annegret Schalke
>fest: Annegret Schalke

Performances by BA Dance, Context, Choreography 2010-2013 students.

It is becoming a tradition at the HZT that the BA "Dance, Context, Choreography" begins with a SOUK workshop each academic year. It is a format that resembles a colourful marketplace where all kinds of artistic experiments, thoughts and ideas and all students of the BA programme meet. This year, recent BA graduates will contribute to that week by sharing some of their works on one evening: recent pieces, upcoming pieces and sketches.


Thursday, 17. October 
Block 1 I 6 PM

Julian Weber: for you

Von und mit: Julian Weber, Lisanne Goodhue and friends 

I dont know exactly what we will do. But I want to have a clear form, or maybe two, and few more small things.

Annegret Schalke: fest

fest* is a celebration of the acting and thinking body. The dancer engages in states between excessive waste and calculated observation, excessive observation and calculated waste, holding and releasing form, supported or antagonized by a beat or arrhythmic silence, mastering and struggling, cheering and managing, compressing and dissolving.

Fest is the German noun for celebration or festivity. As an adjective, fest means solid, tight, strong, firm, definitely, constant and attached.

Block 2 I 7:30 PM

Juan Gabriel Harcha: Exercise Berlin/Copenhagen

Dance and choreography: Povilas Bastys, Juan Gabriel Harcha, Sebastian Kahr Rasmussen
Stage: David Gehrt

Our point of departure is an understanding of choreography as movement between bodies, stage sets as providers of material and dancers’ knowledge as the body’s physical potential. After a three-week working period, we will share the results of our encounters.

Collaboration between students from the Danish National School of Performing Arts and the Inter-University Center Dance Berlin (HZT). 

Lee Meir: ohne Titel

I will do something that involves moving and talking simultaneously (which is what I have been doing for a quiet a while now) in a form that creates constant shifts of attention and a necessity for multi-tasking. 

All events: Free admission, no reservations possible. Tickets are available at the box office half an hour before each block.

Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

Double Lecture: Wandering Bodies I 04.12.2013 I 7 pm I Studio 11

Evening of talks in the frame of Art in China
>Evening of talks in the frame of Art in China

An evening of talks in the frame of "Art in China"

Body as Social Utterance

A lecture with Zhao Chuan, a writer, art critic and theatre director from Shanghai.

The New Oedipus. Theatre, Desire and Crisis of the Political

A lecture with Boyan Manchev, a philosopher from Sofia/Berlin.

What influences the shape of the individuals body and sensibility? How can the theatre create a place of presence that extends beyond the limits of the stage as well as overstepping social norms? Zhao Chuan, director of the theatre group Grass Stage, will present his bold crossovers of theatre as a “mobile public space” in the Chinese context, while philosopher Boyan Manchev starts out from Greek drama to unearth the fundamental relationship between theatre and desire.



Free admission

Uferstudios, Uferstraße 23, 13557 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


ACHT - MA Choreography students show their third semester projects 

Eight MA Choreography students will present their semester projects. We would like to invite you to four evenings of double showings. Be inspired by these international dance artists’ different signatures and contexts!





31.10. & 01.11.2013

„Zelten" Jenni Ramsperger

in / the / back / effect / no / words / hearing" Karina Suárez-Bosche

14.11. & 15.11. & 16.11.2013

„Mein Fell" Steffi Sembdner

Analog Voids: Reloaded" Matteo Graziano


22.11. & 23.11.2013

„Cut and Pasted" Polyxeni Angelidou

„newwarofhumankind" Jascha Viehstädt


bat-Studiotheater, 10405 Berlin/Prenzlauer Berg, Belforter Straße 15, U2 Senefelder Platz, Tram M2 Metzer Straße 



Programme (Uferstudios)


23. & 24.10.2013

7 PM "Behind the Screen" Raphael Hillebrand I 8:15 PM "Cut and Pasted" Polyxeni Angelidou

26. & 27.10.2013

7 PM "Zelten": Jenni Ramsperger I 8:15 PM "MIT" Rosalind Goldberg


29. & 30.10.2013

7 PM "in / the / back / effect / no / words / hearing" Karina Suárez-Bosche I 8:15 PM "Mein Fell" Steffi Sembdner


01. & 02.11.2013

01.11 7 PM/02.11 8:15 PM "One Explosion, s'il vous plaît" Matteo Graziano I 01.11 8:15 PM/02.11 7 PM "newwarofhumankind" Jascha Viehstädt


Free admission, no reservations. Tickets can be purchased at the box office 30 minutes before the events start.


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen



Raphael Hillebrand: Behind the Screen I 23. and 24.10.2013 I 7 PM

Behind the Screen: Raphael Hillebrand
>Behind the Screen: Raphael Hillebrand

Dance: Ellinor Ljungkvist

Sound composition: Carsten Schedler

Our bodies consist mostly of water. This water reacts to the sounds around us. Resonating water can be a source of movement. A nauseous feeling in my stomach or a tickling feeling between my toes: BASS. Waves and energies are spreading through my body. It’s an odyssey through our inner oceans – come along.

The choreographer Raphael Hillebrand discovered his love of dance in HipHop culture. After making a name for himself as a B-boy in the international scene of battles and jams, his focus today lies on stage work and development of choreographic concepts. The fields of contemporary dance and urban dance are the productive sources for his work. Together with the dancer Ellinor Ljungkvist, in his current piece he is in search of music and movement that lie beyond the obvious.


Polyxeni Angelidou: Cut and Pasted I 23. and 24.10.2013 I 8:15 PM

Cut and Pasted: Poliyxeni Angelidou
>Cut and Pasted: Poliyxeni Angelidou

Choreography & performance: Polyxeni Angelidou

Stage and lighting : Janja Valjarevic

Sound : Emilia Badalá

Costumes : Nefeli Myrtidi


Cut and Pasted refers to a process of extraction and displacement

Once extracted, the unit stays alone

Once pasted, there is no integration with the whole

A process of redefinition under new conditions

An interplay between the qualities of the ground and limits


Cut and Pasted is an interdisciplinary solo performance based on the study of the unfamiliar. It is research based on possible ways of dealing with something new and not yet known, on movement patterns that derive from space and the body’s limits and grounded qualities, and on visual and acoustic situations that refer to home, to the own body as well as to strange external elements.


Supported by the IKY - State Scholarship Foundation - iky.gr


Jenni Ramsperger: Zelten I 26. and 27.10.2013 I 7 PM

Zelten: Jenni Ramsperger
>Zelten: Jenni Ramsperger

Dance: Simone Detig, Parwanhe Frei, Susanne Mayer and Annegret Schalke

Choreography/Stage: Jenni Ramsperger

Musicdramaturgy: Marc P. Gabriel

Production assistant:Paula Führer


Zelten means being on the road and living outdoors, pounding the tent peg into the ground, setting up camp in nature and being able to change your place and position at any time. It means incorporating yourself, the tent and your position in nature and a changing environment. It means finding a home in the open air, whatever may happen.


"Zelten" is a journey into our German childhood memories. Where do we stand in between the voices of our parents, the traces of our grandparents and our own reality as a generation born in the ‘80s, the generation Y? Generation Why.


How relevant is the question of home, belonging and positioning for us? What stays when we leave? What comes? And what comes with us when we leave?


They said they were going to tame lions when they left Germania. Very close to their heart – in the front pocket of their leather neck pouch – the four female companions carried memories of their homeland.


Rosalind Goldberg: MIT I 26. and 27.10.2013 I 8:15 PM

MIT: Rosalind Goldberg @ Anders Lindén
>MIT: Rosalind Goldberg @ Anders Lindén

Concept and choreography: Rosalind Goldberg

Performance: Anne-Mareike Hess

Sound composition: Camilla Vatne Barratt-Due

Costumes: Alexander Krantz

Dramaturgy: Sandra Lolax

Field recordings: Cato Langnes


MIT is a character that acts within a fictional world. Directed by imagination, MIT is touching, reconstructing, forming, dancing, climbing, tumbling, toppling, crumbling and fighting. MIT is an invented character that is made absolutely real with artificial means.

The idea of re-inventing the body, thinking of what it can be, what it can do and what it's capable of, is crucial to MIT. MIT is literally a reinvention of the body through a system within which one is and acts.

MIT began with the question of how one can address the force of structures as something that acts upon the body in choreography. In this structure, MIT acts through perception in relation to fiction. A fictional structure allows for the appearance of a particular relation to perception, time and action. I'm interested in the fictionalization of behaviour as a way of thinking beyond the body I know.

Work on the project began in residence at Station - Service for Contemporary Dance, Belgrade, Serbia. It is a co-production of Weld in Stockholm and is supported by the HZT –Inter-University Centre for Dance Berlin and Ernst Busch – Hochschule für Schauspielkunst.



Karina Suarez Bosche: in / the / back / effect / no / words / hearing I 29. and 30.10.2013 I 7 PM

in / the / back / effect / no / words / hearing: Karina Suárez Bosche
>in / the / back / effect / no / words / hearing: Karina Suárez Bosche

Choreography: Karina Suárez Bosche

Dancers: Annapaola Leso, Diethild Meier

Stage design: Cheng Ting Chen

Costume design: Francisca Villela

Lighting: Catalina Fernández

Compositions: Alberto Cerro

Assistant: Thea Færden Bringsværd 

"When will we have completely de-deified nature? When may we begin to naturalize humanity with a pure, newly discovered, newly redeemed nature?“ (Nietzsche, The Gay Science)

Two beings exist in this experimental world of silent, displaced nature. Artificial aesthetics and order seem to represent their own perversion. They fail in retaining the illusion of inhabiting a human world; they also fail in their attempt to communicate with one another. What kind of body develops when the possibilities of communication as we know them begin to lose their reason for being? If life has an original essence, could these two beings return to it?


Steffi Sembdner: Mein Fell I 29. and 30.10.2013 I 8:15 PM

Mein Fell: Steffi Sembdner
>Mein Fell: Steffi Sembdner

Dance and creation: Stina Nilsson

Music/ composition: William “Bilwa” Costa

Lighting design: Catalina Fernández

Text: Laressa Dickey

Stage/ costumes: Mireia Vila

"Mein Fell“
She grasps those fingers cups dialing into Vs it was tips, lashes, a breeze only felt on her lips—in the tuck of her wrist the smell, crickets,I wanted to hearthe shaking;What she saw and when; folds in; relatively up and down folding— clavicle the halo a neck to lasso, a bowl of honey from the cabinet she holds it....forests grow around her;— I will not look at darkness a story under the skin between sound and movement. (Laressa Dickey)

The skin.... crosses boundaries between worlds; it’s a mediator, transition and mirror... Skin... our organ for relationships, our border to the outside world. A border can be both protection and and anchor, but also restriction and limitation. It is where communication and exchange takes place. How do we approach each other to both discover and define a border? The piece "Mein Fell“ uses the stage as an extended space for experiencing the body and it creates a metaphoric world of body language beyond obvious meanings.


Matteo Graziano: One Explosion, s'il vous plaît I 1.11 7 PM I 2.11 8:15 PM

One Explosion, s'il vous plaît: Matteo Graziano
>One Explosion, s'il vous plaît: Matteo Graziano

Choreography: Matteo Graziano

Dance: Mattia Castelli, Matteo Graziano, Liselotte Singer

Sound: Valerio Tricoli, Johannes Weiss

Costumes: Stephanie Traut

Video: Alistair Watts


We are looking for gold in this matrix. Bodies and actions collide and generate unexpected events. The alchemical experiment makes use of authors from Christa Wolf to Heiner Müller, composers like Scarlatti and Ligeti, confronting contemporary genres of performance with traditional theatrical forms. We are drawn into an undulating landscape of traces here that constantly ask to be deciphered. Are our assumptions compatible with the truth? Is it possible to distinguish true and false? - One Explosion, s’il vous plaît invites the spectator to follow the sparkle, to crack the code and to grab the moment in which the incoherent turns into truth.


Supported by the Studienstiftung des deutschen Volkes


Jascha Viehstädt: newwarofhumankind I 1.11 8:15 PM I 2.11 7 PM

newwarofhumankind: Jascha Viehstädt
>newwarofhumankind: Jascha Viehstädt

Dance: Ellinor Ljungkvist, Gonçalo Cruzinha, Saša Pavić

Space: Hou Hsiu-Ying 

Sound: Felipe Sanchez 

Dramaturgy: Tina Ebert

Assistant & photography: Schirin Moaiyeri

Our history’s glorious hero is our intellect. Visions and fiction let us dream and invite us to a fabulous journey far away from daily uncertainty, which encloses us more and more every day. Our hero is at war against increasingly powerful cities, faster streets and smaller rooms – but in the end, he’s just on the run from the unconditional honesty of flesh.


This fictional and performative sketch of a futuristic physicality will deal with the claustrophobic conditions of modern life’s culture. Within the badgering of our cities and the noise of our insane movements, we are going to enter into an old new war of humankind: Flesh vs. Stone.

Geist ist noch flüchtiger als Kapital - haltet ihn fest! I 23.08 - 28.09 

The Coalition of Independent Arts gathers all artists and initiatives working in freelance structures in the fields of art in the city of Berlin. No matter what genre or format everybody is working in, we collaborate for a strengthening and higher financial support for independent art production. The claims are adressed to the Berlin Senate and all decicion makers of the city and include raising the budget of funding, a different approach to public real estate, a minimum wage for producing artists, transparancy and solidarity among institutional facilities and independent artists.


Uferstudios push these claims forcefully!



ACKER FESTIVAL I 20. - 21.September I Berlin Mitte

meulmoro ©Asaf Aharonson
>meulmoro ©Asaf Aharonson

The Acker´Festival takes place on the 20.& 21. of September in the Acker Stadt Palast theatre in Berlin Mitte. „Acker“ means agricultural field and stands for the possibility to make use of an idle, rough and uncultivated area. The Festival supports young, not-yet established dancers, performers and visual artists, and aims at creating a platform of exchange and active discussion. The festival is curated by Désirée Meul, Lea Moro (both BA) and Maja Zimmermann (FU Berlin / MA Dance Sciences). Claudia Tomasi, Stine Frandsen, Julia Rodriguez, Kareth Schaffer, Julek Kreutzer, Kyla Kegler and Philipp Enders from the HZT will show their works; the latter’s solo premiere of “Balken” is on 21.09 in the Acker´Festival context. 




From Amsterdam to Berlin and back & BER-AMS-BXL I 04. & 05. September I 7:30 PM I Het Veem Theater Amsterdam


„From Amsterdam to Berlin and back“ is an exchange programme between HZT Berlin and SNDO Amsterdam. Traditionally, SNDO students in Amsterdam have been coming to Berlin to show their graduation work for years, first at the Sophiensaele, then at the Uferstudios. This year, the exchange will be reciprocated in a public context again. Since the graduates of the pilot project presented their work at the Theaterschool in Amsterdam in 2009, BA-students are now graduating again for the first time and will present their work.

„From Amsterdam to Berlin and back“ is hosted by Het Veem Theater and gives an introduction to BER-AMS-BXL, a conference on the conditions and responsibilities for flourishing artistic biotopes in the city, particularly in relation to the small-scale investigative contemporary performing arts scene. The exchange is therefore not only about showing works; it is about participating in a communal unraveling of the web of connections and actors that link the two dance schools and infinite modes of thought bouncing around north-western Europe today.

The conference will take place from September 5th-7th at Het Veem Theater and De Brakke Grond. Homepage

Programme „From Amsterdam to Berlin and back“:

Wednesday, 4th of September

8:30 pm

How to become a journey by Miriam Jakob 

fest by Annegret Schalke 

Propeller by Tian Rotteveel 

Der Tausendfüßler, der dir nicht sagt wie er läuft oder was, wenn ich dir sagen müsste wie... by Désiree Meul

plus video works by Laura Unger and Enrico Ticconi

Thursday, 5th of September

During the day

DYNAMIC by Cinira Macedo and Miriam Jakob

Closer to us than we are to ourselves by Kareth Schaffer


7 pm

Untitled (4 Artificios) by Ana Laura Lozza

Kasten, Installation by Anna Posch in the theatre-foyer

Empatia by Enrico Ticconi and Genevra Panzetti

Angela Loij by Juan Harcha

plus video works by Laura Unger and Enrico Ticconi

Performers: Asaf Aharonson, Felix Classen, Juan Gabriel Harcha, Marie Hiller, Renen Itzhaki, Miriam Jakob, Maija Karhunen, Julia Kreutzer, Anna Lena Lehr, Ana Laura Lozza, Cinira Macedo, Tabea Xenia Magyar, Désirée Meul, Lea Moro, Ginevra Panzetti, Anna Posch, Tian Rotteveel, Annegret Schalke, Kareth Schaffer, Verena Sepp, Stefan Stock, Enrico Ticconi, Emma Tricard, Laura Unger, Nir Vidan and Julian Weber


Technical Director: Max Stelzl

Production Management: Anna Posch.

From Amsterdam to Berlin and back is produced by the Inter-University Centre for Dance Berlin (HZT Berlin); supported by SNDO Amsterdam and Het Veem Theater.


From 29. August to 1. September, artists from Berlin and the Uferstudios partners – ada Studio, Tanzbüro Berlin/mapping dance berlin, Tanzfabrik Berlin, Uferstudios GmbH and the HZT Berlin – invite you to the summer event Ausufern, present works in the 14 studios, large courtyard, stores and buildings of the nearby Badstr. and celebrate the Tanzfabrik Berlin’s 35th birthday. Premieres, previews and performances come together to form a diverse programme with more than 40 contributions. The highlights are on 31. August with a parcour of shows and events starting at 1:00 pm and the party organised together with Tanz im August at the end of the day with music by DJ T-INA Darling.At Ausufern, HZT students will present dance pieces and performances in five approx. one-hour blocks in Studio 9, installations and videos in Studio 10 and in Seminar room 2 as well as performances and interventions in the Uferstudio courtyard. Teachers, alumni and other students are also at Ausufern with their works.




Dance Pieces and performances in Studio 9

Installations and videos in Studio 10 and Seminarraum 2

Performances and interventions at the Uferstudio courtyard


Studio 9

Block 1: 1-2 PM

"Waltz me to the end of art“ by Maija Karhunen (BA) & Matthieu Blond

"passe part two“ by Julia Rodriguez / BA 

"performing robot“ by Flavio Ribeiro / SODA



Waltz Me to the End of Art

Choreographie, Performance: Matthieu Blond & Maija Karhunen

Kostüme: Wilfried Lantoine


Our work is a collaboration, which started out of a desire to take a waltz together. In its beginning stages the waltz was seen as a provocative dance, since the two bodies dancing were facing each other. Nowadays the waltz is often danced for the glorification of something in the past. We dance the waltz through the history of our bodies – through times, places, memories. Who are we when we are dancing? Through a multiplicity of different states and physicalities that confront the endless repetition of the waltz step we exhaust the dance and search for the end, in order to start again.

Passe part two

Choreographie: Julia Rodriguez

Performance: Cecile Bally, Marius Böhm, Julia Rodriguez

The room is in stand by, the music is still playing, the corners aren’t sharp and there are plastic bags hanging from the ceiling. The door is open. Three individuals enter the space.

Passe part two questions how to enter a space that has been already visited and built in a former time left with an uncanny atmosphere. Three bodies meet in this space to discover, shift and recontruct what is already there. Each one has own wishes and desires, own relations with the surrounding and yet we meet, we meet with the uncanny feeling of sharing one space in a different time, as if saying “outside I was with you, inside I remember you”.

performing robot

Concept & text: Flavio Ribeiro 

a robot is dancing somewhere, but you cannot tell it's a robot. it behaves like a human being,it moves like a human being, it has a skin just like human beings. and now it's going toperform in a way no human could.

Block 2: 3-4 PM

"P (or feeling like not feeling)“ by Helena Botto / SODA / 25 min

"i would like to sit next to a woman and a number of other desires" by Ania Nowak / BA / 20 min*




(or feeling like not feeling)

Conzept, Direction, Performance Room: Helena Botto

Kindly supported by the Instituto Português da Juventude e Desporto.

A metaphorical analysis of formal and aesthetic elements of pornography.(work in progress)

"i would like to sit next to a woman and a number of other desires"

 Name of choreographer(s) and performer(s): Ania Nowak

This piece is a reiteration of another work under the same title. Its interest lays in posing the question of narcissism within a performative situation and a choreographic proposal. Through constructing a number of random scenes a fragile theatre of the self is unveiled. In an exhibitionist gesture of externalizing an embodied self-reflection I ask myself: what is, actually, my function on this stage when exposed to the audience´s gaze? And what is there, if there is anything, other than the sheer obviousness of my and their relational existence in this particular moment? In Adriana Cavarero´s words: "There is no narcissism in the one who does not look at himself but gives himself to be seen". With this work I try to reconsider modes of urgency for appearance in a performative situation.

Block 3: 5-6 PM

" * " by Steffi Sembdner/ MAC

"Unkn_own Body“ by Karina Suarez Bosche / MAC / 15 min

"How to become a journey“ by Miriam Jakob / BA



" * "

Choreographie: Steffi SembdnerTanz: Steffi Sembdner

Musik: „Bachcage“/Francesco Tristano;Partita #1 in B Flat, BWV 825- 7. Gigue

*  (zum be - deuten und um - denken)Ich ;  Du :  Und du Sie. Wir, Uns ist oft , vieles; und auch. Manchmal . Bei mir ist  ? Oder so. Nur so ganz ; na ja auch; zack. Durch und besser: oder aber . Wir werden sehen; bestimmt.


Unkn_own Body

Choreographie und Performance: Karina Suárez BoscheKostüm Support: Mireia Vila

Unkn_own Body is a solo work that questions the acceptance of the existence. This idea is related to a newborn baby, who still isn't a “somebody” or a “someone” and suddenly he/she enters into this world. She/he doesn't know what it is, who it is, where it is or how to react. It is an asexual body. The piece captures the essence of this signification, related to the existence of the body as a meaning of being, as material in the world. A body that has all its components already to live, to breathe and to actualize all its needs, but at the same time a body that doesn't know how to react. The only possible reactions are erratic and illogical. The connection to the world through the action of crying becomes an important factor that affects this unknown body. The crying is a declaration of disorientation but at the same time it is the only way to communicate something with the external world.

How to become a journey (work in progress)

Choreographie: Miriam JakobPerformance: Maija Karhunen, Miriam Jakob, Nir Vidan

This kaleidoscopic picknick encounter leads from nothing to nothing. Theperformers Maija Karhunen, Miriam Jakob and Nir Vidan examine states ofhesitation and its potentiality towards social situations as well as potential desireswhose outcome remain open.

"Those wanting to travel to the four corners of the earth, on all fours or by car, mustaccept being quartered." (Ricardo Domeneck)

Block 4: 7-8 PM

“I see you see me” by Anna Lena Lehr & Cécile Bally / BA / 20 min

"Who’s that girl!“ (work in progress) by Diethild Meier & Julek Kreuzer / BA / 20min



I see you see me
Choreographie, Performance: Anna Lena Lehr and Cécile Bally

Two performers are dealing with the expansion of the very moment just before meeting and exploring the possibility to define and erase the border between your own body and the body of someone else.Is it about looking at someone else or looking inside myself?Is it about being with someone else or being with myself through someone else? Am I using you? Are we fighting?
Coming back to an early development stage where we don’t know anymore if the body I see, I feel in front of me is an image of myself, the continuation of myself, the image of the Other or the Other itself. Two tectonic plates meeting and not knowing if they will become one, one mountain or if they will stay two and deal with the waves.

Is it me watching you?Can you feel it too?

Who’s that girl! (work in progress)

Choreographie, Performance: Diethild Meier, Julek KreutzerMentoring: Wanda Golonka, Fred Gehrig

Diethild and Julek examine the intersection of biography and fiction. Each of them does so on her island, just 1093 km away from each other. Diethild talks about Julek, Julek talks about Diethild ... or does Julek talk about Julek? Two solos are emerging, or rather, two duets in the absence of the other. After three months, Diethild and Julek meet in a room, and their solos meet, respectively the duets in the absence of the other. They greet each other, look at each other and become one piece. Julek talks about Diethild, Diethild talks about Julek, but maybe they are lying too.A dialogue between the social and the material, the personal and the universal, the trivial and the profound, the narrative and the abstract.

Block 5: 9-10 PM

"24 frames per second of women standing against the wall“ (work in progress) by Agata Siniarska / BA / 25 min

"Mit“ by Rosalind Goldberg / MAC / 15-20 min


Name of choreographer(s): Agata Siniarska


agata siniarska is a fictional character consciously happening day by day inside the choreographic frame, dealing with the idea of female female impersonation. addicted to fiction, she makes her investigations within subjective representations, written in pieces, likewise has strong desire towards concepts and clear contextualizations. every movement, fueled by the energy of profound theoretical hesitancy, she makes with passion and intense fascination. many times not alone but with exquisite adventurers.


Work in progress ( premiere on 4th of October, Stary Browar Nowy Taniec).


Choreographie: Rosalind Goldberg

Dance: Anne-Mareike Hess

Composition: Camilla Barratt-Due

Costume: Alexander Krantz

Dramaturgy: Sandra Lolax

Mit is a solo dance performance based on fiction. Through using a structure built on imagination the character Mit is being formed. In the performance you will follow Mit on a travel through a make-up of situations where tumult, fights, dances and nothingness comes about.   I am investigating the perception of real and unreal. Through making up a structure, a character and dances based on fantasy and fiction, I want to challenge artificiality, in order to fluster my notion of body.   

At AUSUFERN the work be in its final creation period. The premiere will be at Weld in Stockholm on the 25th of September. 


Studio 10, Installations and Video

“art remake up” by David Pollmann/SODA

 "Making Marks Instance 8: Drawing Room“ by Kiran Kumar / SODA / SODA

"L’Origine“ by André Uerba / SODA

"wolkenlos“ by Nina Vobruba / BA

"# 1“ by Renen Itzhaki / BA

David Pollmann (MA SODA) »art remake up« (video, 2013)

In »art remake up« David Pollmann pays hommage to the 1967 Bruce Nauman work »Art Make-Up«. Unlike Nauman, who shows us white paint being applied to a person's face, neck, torso, arms, and hands, Pollmann focuses on the paint's removal. Text (excerpt): Judith Ouwens

Concept and Performance: David Pollmann

Camera and Video Technology: Jan Rothstein

Music: Matthias Albert Sänger

Kiran Kumar (MA SODA): "Making Marks Instance 8: Drawing Room“


The installation is a product of my ongoing concern with what the dancing body has to do with its own image. The installation is an instance of conflating a range of image-making processesinto the process of choreo-graphy. The installation also presents these processes ofmaking as essentially non-solo/collaborative activities, emphasizing, in the least, aduality in image-making.The images and related technologies presented in this installation will be developedin collaboration with practices including life drawing, animation, video and design.

André Uerba (SODA): "L’Origine“
Performers: Rita Mendes, Tiago Barbosa, Vera Mantero

Lights: André Uerba, Cátia Leitão (Alface), Urândia Aragão

Camera, editing and sound design: André Uerba


L'Origine takes us back to the foundation of the universe and mankind, searching for a pretext to exist. The barbarism between truth and possibilities often causes us to look to the world with suspicion. Constantly fighting the fact that we are bodies that will vanish and give place to others—the stimuli and persistence give the idea of a specific plan that leads to a state of waiting for something great. We place ourselves behind veils and words, waiting, disappearing. In Gustave Courbetʼs painting "The Origin of the Universe", we observe cosmological duality between flesh and spirit. Questioning the origin of things occurs through a natural element that subsequently becomes an experience. It is bound to exist after birth and in the relational need begins the twist that leads man to want to search for a purpose (raison d-être). (Ricardo Marques)

Nina Vobruba (BA): wolkenlos

The work constructs a reality that is constantly transforming and at the same time constant in its consistence. A horizontal lying human is the starting point and nucleus of the video. The very slow camera movement starts with the toes and travels up the body.  Along this journey the perception shifts, the view focusses on details and dissolves their meanings. Wind touches the body. Shadows are wandering. A human transforms into a landscape.This at the same time minimalistic and epic video was taken in a filmstudio with a complex set up; aim was to create the effects mainly in real-time at the shoot.

Renen Itzhaki (BA): # 1

Object development: Yair Kira

Assistance and advice: Claudia Feest, Johanna Peine

Thanks to: Ania Marszal

Quotation from "The Seagull"/ Anton Chekhov
A Durational performance starts from 16:00

Seminarraum 2
Carlos Oliveira: "Point to one end“ - Installation

A delaying mirror wall installed in a room.


Time present and time past

Are both perhaps present in time future,

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation.

What might have been and what has been

Point to one end, which is always present.

(excerpt from "Burnt Norton“, the first of T. S. Eliot's "Four Quartets“)


Performances at the Uferstudio courtyard


Polyxeni Angelidou (MAC): "Look next to you  or  The individual and the collective“

Choreography: Polyxeni Angelidou and all participants

Performers: people that are there – the audienceDuration: 30 min or more, could also be repeated


Crowds in movement are a fascinating phenomenon for the observer. It is interesting how the amount of members can transform simple movement principles into a performative event. However, the experience is totally different for the members of the moving crowd. Each moving individual is in a constant process of a multi-layered feedback, that engages body and mind instantly for the perception, the elaboration and the transformation of information into a movement, which is related to that of the others.Swarming or flocking is a phenomenon mainly observed in groups of animals but its structure and function is also open to other interpretations. This event aims at transforming the audience of AUSUFERN temporarily into performers of a collective that moves within the limits of the courtyard of Uferstudios. Through some simple instructions that indicate movement and behavior patterns inspired by the movement of a swarm “Move in the same direction as your neighbours” , “Remain close to them”, “Avoid collisions“ the audience will be stimulated to form an entity.

Matteo Graziano (MAC): "FREEWALL“

Choreography: Matteo Marziano Graziano

Performer(s): Matteo Marziano Graziano + 1 photographer

“I thought of a wall. I thought that we need to become us. I thought to be a wall.”

This artistic operation has to pass through the silent interaction with the public, to be transformed from concept to experience. Each person will have the possibility to mark the performer's skin and body with drawing instruments (black markers and pens of different thickness). The performer will be standing on a little white platform about 50 cm x 50 cm. The performer will wear black underwear and a black mask that will forbid his sight. Therefore, the performer will not be aware of who are the people that are writing onto his body and skin. The performer will stand still most of the time, but it can happen that he will move slowly to gain new body shapes according to his sensitiveness and sensations. 1 to 2 hours of duration is the average amount of time needed to cover the whole skin surface. The artistic value of FREEWALL is explicitly expressed in the text that will be shown on a tripod next to the performer for the whole length of the performance.PHOTOGRAPHER: The documentation of each episode will be made by one photographer, chosen among lively active artists in the area where FREEWALL is taking place. Meanwhile FREEWALL is being offered to the public, the photographer will shoot pictures in a very discreet manner, without bothering the interaction with the audience.

Marc Philipp Gabriel (BA): "SMLXL“

 Choreographers: Gabriel M. Philipps, Marc P. Gabriel

Performer(s): people and pets

Durational video installation located under glass roof left of Kesselhaus at the very back of the yard.


Allison Peacock (SODA): "How to Build a Ferry Boat and Learn Perspective Drawing Simultaneously“ (working title)

Performer:  Allison Peacock

Materials:  Canvas Tarp


In this 12 hour work I will map an area surrounding the Uferstudios and spend the duration collecting what is available in this space without the exchange of money. What emerges is what will be on display and grow into a collection over the course of the day - a choreography of collecting.

Kyla Avery Kegler & Kiran Kumar (MA SODA): "Wearing Masks“

 Choreographer: Kyla Avery Kegler

Masks/Costumes: Kyla Avery Kegler

Media design: Kiran Kumar

Camera: Kiran Kumar

In ‚Wearing Masks’, performers were at first confined to a glass-walled shophouse, and then took a walk through the city streets. This installation proposes an archive using documentation of this performance. Using a mobile sauna-house as its container, the archive holds images of the confinement and the walk of the masked performers.

Andrea Krohn (Guest student MAC): "Augury“

Choreography & Performance: Andrea Krohn

"Augury" was born out of necessity of the Brazilian Artist Andrea Krohn to talk about the fear of violence to which we are constantly subjected. On the street, in train stations, in public squares. Like birds we walk distracted in the city. Is the violence only coming from the outside world, from the constantly bloody news? How much can it be present in our own soul? Do we create for ourselves the paranoia? The bodily experience of living in a big metropolis - São Paulo, Brazil - finds expression and also in Berlin, where the creation of the piece takes place: Woman and bird, dancing newspaper sculptures, attacking and being attacked.

The performance was presented in alternative spaces (Transformance and Crack Punkt Tanz Festival – Berlin/DE) and as a stage production (Festival Nômade de Dança – São Paulo/BR).

Andrew Wass (MA SODA Alumnus): "Vectors of Fluency“- durational participatory performative event, multiple rounds of 60 minutes
Performer: Anyone and everyone

Choreographer: Andrew Wass


Vectors of Fluency is an investigation of the boundaries between spectators and performers. Just as the performers are manifesting and dissolving dynamic temporal-spatial structures according to aesthetic and physical potentialities and proclivities in a planar arena, so too are the spectators manifesting and dissolving the location and strength of the fourth wall according to their needs and desires. Vectors of Fluency has no predetermined score other than its location and duration. All performers share the role of author by embodying their present state of being. This does not mean that all performers are the same. It means they are each totally free to state their mind corporeally and to support and respond to the experiences and expressions of all the other performers during Vectors of Fluency. The identity of the performers is fluid allowing for reciprocal observation of one another, generating an intense presence in the space (1) allowing the performer and spectator [to] share the potentiality of what comes next (2).  This event will take place for the duration of Ausufern. Throughout the day, anyone can participate in Vectors of Fluency as an audience member or as a performer. (1) Gerald Siegmund(2) from the program notes for Insignificant Others    

YOU ARE HERE I A Collaboration with TANZ IM AUGUST I 16.-31. August I online
©Sven Hagolani
>©Sven Hagolani

"YOU ARE HERE - mapping the festival" is an artistic research project led by five artists and students of the three HZT study programmes as well; they position themselves as visitors throughout the festival. The group will inspect the festival landscape from the top and from the side, developing mapping techniques in order to investigate the complexities of curatorial work, investigate what an event such as Tanz im August brings to the fore with regard to concepts, themes and lines of thought, and what it produces when the festival actually takes place. Through posts on the festival blog, other visitors are offered orientation within the festival and points of reflection on their own positions. By developing specific writing strategies and seeking new tools, the artists aim to stimulate each other’s thinking processes, and that of other visitors as well.The group will also reflect on questions as: how can an artist write about another artist’s work? In doing so, what questions are brought up? What do these questions provoke in relation to the festival frame?

YOU ARE HERE has its home on the festival blog, its back office in HAU3 and will find its off-line conclusion with a lecture sharing the results of the artistic research (date & place tba).



Participants: Matteo Graziano (MAC), Renen Itzhaki (BA), Kiran Kumar (MA SODA), Tabea Xenia Magyar (BA), Kareth Schaffer (BA)

The very very long SLEEP-OVER in Uferstudios I 10.08 - 11.08


At 12 a.m. on Saturday the 10th of August starts the film marathon, screening the eleven nominees for the Prix Jardin d’Europe. After a long day, a short night and an early morning we can vote for the best dance production. Sunday at 4 p.m. we will witness the voting results in the Award Winning Ceremony on a live broadcast from Vienna. 


With the featured performances of Jana Unmüßig, Willy Prager and Zeina Hanna, three HZT Alumni are represented in this years Prix Jardin d’Europe.

Viewing eleven video registrations of dance productions is only possible with enough breaks and ‘divertisement’ – with barbequeing in the court yard, chatting about the films in the sauna, doing high energy games to keep awake, dancing for the same reason, listening to several bands & musicians, placing a bet on who the winner will be, having a massage after the films and the sleep-over, telling scary bedtime stories, having a pillow fight (or maybe not!), eating breakfast & attending the ImpulsTanz Prize Award Ceremony. 

So bring your pyjamas, gala clothes, pillow & covers, something for the BBQ and have a good time with us. Please give us notice that you’re coming, so we can prepare the BBQ, breakfast and make sure there is enough for each of you.  

More about the Prix Jardin d’Europe, the nominees and the network Life Long Burning: http://www.lifelongburning.eu/projects/prix_jardin_deurope.html


Saturday 10 August 12 a.m to Sunday 11 August 4 p.m. 


HYMNEN I 5 PM I 24.08 I Heimathafen Neukölln

Eine performative Arbeit zur Frage der Nationsbildung 


« Faites vos jeux, Mesdames et Messieurs ». 


Studierende des HZT BA-Studiengangs Tanz, Kontext, Choreografie widmen sich in einer performativen Arbeit der Frage, wie wir in einem Raum aus vielen Nationen mit vielen Individuen koexistieren können. Grundlage dafür bildet ein akustisches Weltbild: die Komposition « Hymnen » (1966-67) von Karlheinz Stockhausen. « Hymnen » ist der Versuch, eine Vielzahl von Nationalhymnen zu einem Werk zu vereinen,  mit dem Ziel, eine neukomponierte Vision der Völker und Nationen erlebbar zu machen. Die Komposition besteht aus nationalen Lobgesängen, Kalter-Kriegs-Massengezwitscher und Science-Fiction-Geräuschen, gegliedert in vier «Regionen» , die so etwas wie politische Mobilität entwerfen. Aber « Hymnen » ist auch die Weiterführung eines per se westlichen Idioms: die Repräsentation der Universalität. Wie stellen wir heute die Welt, in der wir Leben (möchten) dar? Und wer sind WIR? 

Im Ballsaal der Universalität, dem goldenen Saal des Heimathafen Neuköllns, werden die Karten der Nationsbildung neu gemischt. Neue Gemeinschaften werden angekündigt. Das Zentrum der Intelligenz wird verschoben. Eigentum und Territorium verabschieden sich oder werden neu besiedelt. Dennoch vergeht die Zeit, wenn auch zu langsam oder zu schnell. « Hymnen » untersucht, ob wir unsere kommenden Prinzipien der Gruppenbildung für unsterblich erklären wollen. Werden wir je unsere Nachbarn wählen können? Und gibt es eine gemeinschaftsschaffende Musik ohne Nostalgie?

Von und mit: Philipp Enders, Marc Philipp Gabriel, Katharina Greimel, Martin Hansen, Ellinor Ljungkvist, Ania Nowak, Iva Radic, Danilo de Oliveira Viana, Nir Vidan, Kasia Wolinska

Konzeptuelle Betreuung: Alain Franco, Cecilie Ullerup Schmidt

In Kooperation zwischen der Neuköllner Oper und dem Hochschulübergreifenden Zentrum Tanz Berlin. Das HZT Berlin wird getragen von der Universität der Künste Berlin und der Hochschule für Schauspielkunst ‚Ernst Busch’ Berlin in Kooperation mit dem Netzwerk TanzRaumBerlin



MOVE OP! ein Festival der Neuköllner Oper in Heimathafen Neukölln I Karl-Marx-Straße 141 I Eintritt 5 €


BALTHAZAR (2. a choreography)I  June 6th to 8th 2013 I Kampnagel Hamburg

Balthazar: David Weber-Krebs und Maximilian Haas
>Balthazar: David Weber-Krebs und Maximilian Haas

We live with animals and we work with them. And since we lack a common language it is up to the bodies to negotiate the shared world. And: What we are, is just what we have become while working with them. With Tabea Magyar und Renen Itzhaki, students of the Inter-University Centre for Dance Berlin (HZT), we explore the conditions of living and working together with animals in choreographic practices. 

Balthazar is a longterm artistic research project by David Weber-Krebs (director) and Maximilian Haas (dramaturgy/theory) that explores our cultural relationship with animals using the means of theater. The performances show an encounter of one animal and a group of human performers on a stage. A donkey – Balthazar – is the protagonist, the centre of the action. The project consists of a series of three performance productions in different cities and a book designed by visual artist Ines Lechleitner. The  Hamburg version is a dance-performance inspired by the american philosopher and activist Donna Haraway (The Companion Species Manifesto, When Species Meet).  


Thu/Fri/Sat 7 PM I Kampnagel Hamburg I Jarrestr. 20 I 22303 Hamburg I Festivalpage


The festival, now in its third year, is a self-organized platform for new works by the students of the BA program Dance, Context, Choreography, at the HZT Berlin.

This year’s festival – the first to feature the BA program’s full complement of 45 students – will explore dance in as many forms as we could think of: from polished performances to fresh works in progress, from installations and films to artist talks and impromptu interventions. A festival that cross-pollinates the serious and the playful, theory and practice, individualism and communism. Dance to experience, think, and talk about, and that emerges as something new. Get along to IN ZUCHT!


PROGRAMME I Free Admission I No reservations I Tickets at the boy office I


UferstudiosUferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)

MAX – Series of events by the students of the MA Choreographie I summer term 2013

MAX 2013
>MAX 2013

The MAX series of events is conceived and organised by MA Choreography (MAC) students of the HZT Berlin. It deals with aspects and contexts of choreography from various perspectives and in different formats.


PROGRAMME I Free admission to all events.



Views on Dance I Summer term 2013 I Uferstudios

© Désirée Meul
>© Désirée Meul

Artists and thinkers hosted by HZT share their current views on dance. Free Admission.


5.6.2013 I 6 PM I Studio 11

“On the Distribution of Time”

Cecilie Ullerup Schmidt in conversation with Florian Feigl 


The economy of time is not only a discipline within neoliberal market conditions, but can also be observed in the distribution of time when producing performance art: how long do we rehearse and how long do we perform? What is a satisfactory format and who defines the parameters of “too long” or “not full-length”? Performance artist Florian Feigl developed the ongoing performance work “300” as an artist and father of three children. He found an adequate working format by developing five-minute/ 300-second sequences of sculptural, social and video material – and he collects 300 of these until approximately 24 hours is reached. Departing from this materialist-feminist premise of “300”, we will discuss the distribution of time in the artist’s work.


19.6.2013 I 6 PM I Studio 11

”How to represent the universal?”

Cecilie Ullerup Schmidt in conversation with Alain Franco

Karlheinz Stockhausen composed “Hymnen” in the late 60’s. This work consists of a dialectic construction with national anthems divided into 4 regions depicting something like “political mobility”. But “Hymnen” is as well the continuation of a by essence Western idiom: the representation of universality.Together with a team of students at the HZT and musician Alain Franco we will listen into “Hymnen” as a Sesame to explore major issues on nations and co-existence, as well as technological formats of exchange and integration.



Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)

SODA lecture series: What is Subject? What is Creation I 6–8 pm I Uferstudios I Studio 9

© Marion Borriss
>© Marion Borriss

For a second summer semester the SODA lecture series will be focused on the question of Subject in relation to choreographical and to contemporary artistic practice in general. Today the question of Subject becomes again crucial in philosophical, artistic and critical political discourses. Therefore, it is also focal point to address the three central notions of the SODA programme: Solo, Dance, Autorship.

All lectures will be held in English.


10 April I Boyan Manchev I What is Subject? What is Creation?

In his introductory lecture Boyan Manchev will relate the question of Subjectivity to the question of Creation, trying to propose an alternative to the radical critique of the notion of Subject in the last century. What we need after the 'death of Subject' is nothing else but new emancipated Subjectivity, as the force of transformation and justice.


17 April I Helmut Ploebst I Critical Mass

Helmut Ploebst will investigate the autopoietic premise of "the critical" in processes of nature and society to "critique" in art and its reflection. He will focus on the symptoms of the crisis of critique in the current liquid phantom political and economical regimes – and on the possibilities to navigate in this reality.
Moderation: Boyan Manchev 


22. May I Noémie Solomon I Still Life. Merce Cunningham and the Re-articulation of Dance History

Noémie Solomon is a Mellon Postdoctoral Fellow in the Faculty of Arts at McGill University and was recently awarded her PhD in Performance Studies at New York University. Her writing and translations have been published in Perform, Repeat, Record; Planes of Composition; TDR; Dance Research Journal; Maska. She collaborated on research, dramaturgical and curatorial initiatives with the iDANS festival of contemporary dance and performance (Istanbul, 2009); the retrospective Move: Choreographing You (Hayward Gallery, London, 2010); the Photomusée de la danse (Avignon, 2011); and Danspace Project (New York, 2012-13). 

Moderation: Boyan Manchev


29 May I Constanze Schellow I The evil eye of the authorium vs. an aesthetics of response-ability? Performing spectatorship in contemporary choreography

In the discourse on dance and performance, the spectator currently stars as a protagonist. The lecture takes the spectator’s verbal staging in theory as its point of departure. It examines the political ambivalence behind the frequent claim that contemporary performances ‚choreograph’ their audience members into specific movements of ‚self-activation’. What kind of ‚self’ is at stake here and how is it conditioned – in works of art, but also in the acts of theorizing it? 

Moderation: Boyan Manchev


12 June I Frédéric Neyrat I Theory of Twilight Imagination

Storytelling and other unbelievable stories: the fictions of capital seem to be characterised by a foreclosure of the dark essence of imagination. Rebounding on German idealism, I call twilight imagination that which governs the formation of worlds, mythological creations and cinematographic works. If the fictions of capital know how to exploit some of the effects of imagination, they are not able to release its load. We must take aesthetic and political responsibility for this load in the name of a psychological economy of imaginative contribution while leaving a place for passivity and darkness.

Moderation: Boyan Manchev

Frédéric Neyrat is a philosopher, former Director at the Collège International de Philosophie in Paris, and a member of the Editorial Board of the influential interdisciplinary French journal, Multitudes. Among his publications are L'indemne: Heidegger et la destruction du monde (2008), Biopolitique des catastrophes (2008),Instructions pour une prise d’âmes. Artaud et l’envoûtement occidental (2009); Le terrorisme, un concept piégé(2011).


03. July I Isabell Lorey I Performative labor and the public stage of virtuosity

Through communication and services, production is currently not just becoming social but aesthetic as well. Labour and aesthetics entangle. If the experiences of every single person can become part of the production process, self-determination happens as performance in the public sphere. Labour becomes a presentation of virtuosity. However, when labour becomes public virtuosity, what becomes of political bargaining that once was central to the public and virtuosity – especially in Hannah Arendt’s work?


Moderation: Boyan Manchev


Isabell Lorey is a political scientist. Currently she teaches as visiting professor for political theory at the Gender Studies Centre at the University of Basel. Before she was a visiting professor at the Humboldt University Berlin (2010 and 2011) and the University of Vienna (2009 and 2010). In 2001-2007 she was assistant professor for Gender & Post-colonial Studies at the University of the Arts Berlin. Publications: The precarisation of labour and life in neoliberalism, social movements (esp. the EuroMayDay movement and the occupation and democracy-movements since 2011), critical theory of democracy and representation, biopolitical governmentality, and political immunization. Her postdoctoral lecture qualification on Roman struggles of order, the Plebeian, concepts of community and immunization was published as Figuren des Immunen. Elemente einer politischen Theorie.


All lectures start at 6 pm and finish approximately at 8 pm, including discussion. They are open to the public and free in the limits of available places.



Uferstudios, Uferstraße 23, 13587 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

Stage and Dance at the Bauhaus I Lecture by Burghard Duhm I 08 July I 6 PM I Uferstudios I Studio 11

Burghard Duhm, researcher at the Stiftung Bauhaus Dessau, will explore the question why there was a stage at the historic Bauhaus and how stage work could develop under the specific conditions of a university of design. Who were the protagonists, what stage ideas were discussed and realised?


The lecture is taking place in the context of a cooperation between the HZT Berlin and the Stiftung Bauhaus Dessau for the “Bauhaus tanzen” project, financed by the Tanzfonds Erbe.

Free admission

Uferstudios, Uferstraße 23, 13357 Berlin, U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


SNDO Graduates I Graduates of the SNDO Amsterdam I 05 and 06 July I 7:30 PM I Uferstudios I Studio 14

SNDO is back! As in past years, graduates of the School for New Dance Development Amsterdam - Esther Arribas, Carles Casallachs, Clara Amaral, Marina Colomina, Olga Tsvetkova, Marta Ziolek, Nina Djekic, Lisa Vereertbrugghen and Vincent Riebeek – will present their final projects at the Uferstudios on two evenings with two different programmes. Conversely, this year’s graduates of the BA Dance, Context, Choreography will present their works at the Het Veem in Amsterdam in September. programme


Tickets: 8 Euro / reduced 5 Euro

Reservations: Ticket reservations up to 1 day before the event. Please indicate the day of the event: tickets@hzt-berlin.de It is possible to buy tickets at the box office.



Uferstudios, Uferstraße 23, 13357 Berlin, U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

02, 10 & 11 July I SODA Research Showings I Uferstudios

Nine second year MA Solo/ Dance/ Authorship students hold public research showings of their independent research semester starting at 6 PM on July 2nd, 10th and 11th. Over the course of these three nights students will illustrate and elaborate their varied approaches to performance research, including performances, discussions, installations, and more.


02 July

6 PM I Lisa Densem I Studio 8

7.30 PM I Katrin Memmer I Studio 9 (extremely limited seating)

9 PM I Maria Baroncea I Studio 8


10 July

6 PM I Niels Bovri I Studio 8

7.30 PM I Allison Peacock I Studio 9

9 PM I Kiran Kumar I Studio 8


11 July

6 PM I Flavio Ribeiro I Studio 8

7.30 PM I Céline Cartillier I Studio 11

9 PM I Sergiu Matis I Studio 8


09-12 July, 5-9 PM I Additional installation by Kiran Kumar in the Kesselhaus, Uferstudios


Free admission. Limited Seating. No ticket reservations possible. First come first served at 5:30 PM.

Uferstudios, Uferstraße 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


13. July I UDK Rundgang I Movement Workshop I Studio Showings I Uferstudios

Studio 11, 4 - 5:30pm

In the light-pervaded, large Studio 11 of the HZT Berlin, the "Movement Workshop for All" invites everyone with interest and curiosity for movement and choreography. The workshop will be run by Prof. Thomas Plischke from the BA "Dance, Context, Choreography" Course. Dance experience is not necessary. Please bring comfortable clothes.


Studio 11, 6 - 7:30pm

Afterwards, there are the studio showings by students from the BA "Dance, Context, Choreography" and the MA "Solo/ Dance/ Authorship" courses. A focus of all HZT Berlin courses is the development of the students' own choreographic and artistic work. With this in mind, the students share short choreographic pieces and sketches as work-in-progress presentations.



Ellinor Ljungkvist "to carry on a dialogue", with: Ellinor Ljungkvist, Danilo Viana; Juan Gabriel Harcha "gray, pink, blue“, with Liselotte Singer, Juan Gabriel Harcha; Lorena Álvarez und Mareike Dobewall "Women with unhealthy complexion listening to the sound of syrup in the walls“; David Pollmann "xerox christ“ and "think twice“; Claudia Tomasi und Stine Frandsen "how to make diamonds shine“; André Uerba, Helena Botto and Yusuke Kimura "May 31“.


Free admission

Uferstudios, Uferstraße 23, 13357 Berlin, U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

Lecture by Torsten Blume


Wed 09.01.2013 I 10 am I Gemeindesaal I Free Admission

Lecture in German language.

Torsten Blume: "Der Tänzermensch als Kunstfigur“

The lecture will take place in the context of the “Bauhaus tanzen” workshop for HZT Berlin students. The focus will lie on costumes, equipment and other materials for body modification in Bauhaus stage experiments and in the 1920s avant-garde theatre movements.

Torsten Blume is a researcher at the Bauhaus Dessau.

This is a lecture in the context of the “Bauhaus tanzen” project, which is supported by Tanzfonds Erbe.

Gemeindesaal Immanuelkirchstraße I Immanuelkirchstraße 1a, 10405 Berlin (M2 Knaackstraße)



Project week 07.-11.01.2013 I Final event:

Fri 11.01.2013 I 14 Uhr I Studio 14 I Free admission
Final event of the University of the Arts Campus-Collisions

What happens when fashion and architecture collide, design crashes into dance or GWK clashes with visual communication? Above all, something new and a third thing happens. This is the UdK collisions idea – no repairing of any accident damage, but rather provocation and disorder, irritations and infections. And this is how it works: two professors or teachers from different disciplines develop a common subject and formation for UdK students’ collision in the first week of the year. The collision transcends the disciplines – so, for one week, a temporary campus is created where students meet in a free and unusual atmosphere.
The final event of the collision 2013 will take place on Friday, 11.01.2013 from 2 pm – 11 pm in Studio 14, Uferstudios. www.campus-kollision.de

Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)


Tanztage Berlin

Anna Posch
>Anna Posch

TANZTAGE BERLIN is an important presentation platform for up-and-coming choreographers. TANZTAGE 2013 will be showing new positions in contemporary dance for the 22nd time. The following works by HZT students and graduates are showing at the festival:

Sat 05.01. / Sun 06.01. I 7 pm I
One E on Edge I With: Anna Jarrige, Roni Katz, Naama Ityel

Sun 06.01., 6:30 pm / Mon 07.01., 8 pm I
Zeina Hanna I Never live twice I Assistant: Miriam Jakob

Mon 07.01. / Tues 08.01. I 8:30 pm I
Julian Weber I Gepresste Hände erzeugen Druck I With: Claudia Tomasi, Cinira Macedo, Boris Hauf, Julian Weber 

Thurs 10.01 I 8:30 pm I
Marysia Zimpel I What do you really miss?

Sat 12.01. / Sun 13.01 I 8:30 pm I
Willy Prager I The Victory Day I With: Iva Sveshtarova, Jee-Ae Lim, Willy Prager

Sat 12.01., 8 pm / Sun 13.01., 6:30 pm Uhr I
Anna Posch I Kasten I Assistant: Annegret Schalke

SOPHIENSAELE, Sophienstraße 18, 10178 Berlin, U-Bahn Weinmeisterstraße / S-Bahn Hackescher Markt

Tickets: 030 – 283 52 66 www.sophiensaele.com


MA SODA Lecture


Mi 23.01.2013 I 6-8 pm I Uferstudios I Free Admission

Hans-Thies Lehmann: On the political in postdramatic theatre


Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)


HZT Berlin Guest Lecture

© Christina Gangos
>© Christina Gangos

Di 29.01.2013 I 6-8 pm I Uferstudios I Free admission

Michael Kliën: Choreography of Revelation / The Warmth of Work; A Retrospective 2002-2012


This last decade of Kliën`s work was been marked by the development of a choreographic practice that now willfully engages the underlying dynamics of life. Out of an embodied process of learning and sedimentation Kliën’s choreographies, "odd creatural constellations", have emerged. The wider, socially recursive implications of these seemingly discrete choreographic acts eventually led Kliën’s work to adopt the form of an embodied practice of governance, engaging once again the disciplines of choreography and dance as an experiment in new forms of civic relations.


This is a retrospective in the true sense of the word. A narrative reading back-into, a meandering "through" the work, the talk will cover works for Ballett Frankfurt, Daghdha Dance Company, the Move exhibition at the Hayward Gallery as well as Social Choreographic Projects during his time as Artistic Director of Daghdha. www.michaelklien.com

Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)


Views on Dance

© Désirée Meul
>© Désirée Meul

In the series titled "Views on Dance", two artists and/or theoreticians pose current questions and present their perspectives on dance and choreography in a discussion context. 

Wed 16.01.2013 I 6 pm I Studio 11 I Free admission
"Views on Dance“: Wanda Golonka and Philipp Gehmacher 

Wed 30.01.2013 I 6 pm I Studio 11 I Free admission
"Views on Dance“: Nele Hertling and Eva-Maria Hoerster

Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)



©Thomas Plischke
>©Thomas Plischke

What was previously known as the BA Tuesday lectures will take place this semester on Wednesdays and is titled “Views on Dance”. They will alternate with the MA SODA lectures.

With the heading “Views on Dance”, two artists and/or theoreticians will present their current questions and perspectives in respect to dance and choreography and then discuss them together. (free admission)


7. November 2012 I 6:00 pm I Studio 11

Views on Dance I Michikazu Matsune and Stefanie Wenner

Michikazu Matsune, born in Kobe, Japan has been living in Vienna for over ten years and develops projects in various formats and contexts, and is interested in performance in art, daily life and social contexts. Stefanie Wenner was, up to August 2012, dramaturge and curator for theatre at the HAU and is now part of the Impulse Theatre Festival team.


14. November 2012 I 6:00 pm I Studio 11
Views on Dance I Jeanine Durning: inging
Studio showing

Jeanine Durning’s work takes the body as a necessary bridge between thought and language as its starting point. Inging refers to the present progressive suffix ‘-ing’ in English which indicates continuing action such as singing, jumping, etc. and the on-going development process. In inging, Durning extemporizes non-stop, filling voids with idle prattle, fantasies, memories and facts. This solo performance prompts both performer and listener to contemplate the mystery of communication, context and meaning.


21.11.2012 I 6 pm I Studio 9
HZT MA SODA Lecture Series I 
Esa Kirkkopelto: The Composed Body

Esa Kirkkopelto is a theatre director and philosopher; he is also the Vice-Rector of the Theatre Academy in Helsinki. (lecture in English)


28. November 2012 I 6:00 pm I Studio 9

HZT MA SODA Lecture Series

Helmut Ploebst: The Activist Turn - Performance and afformance in consequence of Voina, Femen, and Pussy Riot

The disintegration of arts and humanities in post-democratic societies has proceeded to an extent that requires immediate (re)action. One possible strategy is to examine art as activism juxtaposed to the strategy of activism being understood as art, as well as composition as an agency against the attempts of cleansing the art world from the potential of opposition in the arts and humanities.

(lecture in English)


05.12.2012 I 6 PM I Uferstudio 11

Views on Dance I Xavier Le Roy and Boyan Manchev in discussion



16.01.2013 I 6:00 pm I Studio 11

Views on Dance I Wanda Golonka und Phillipp Gehmacher

29.01.2013 I 6:00 pm I Uferstudios

Lecture I Michael KLIËN

30.01.2013 I 6:00 pm I Studio 11

Views on Dance I Nele Hertling und Eva-Maria Hoerster

Nele Hertling and Eva-Maria Hoerster in a talk on the formation of Berlin's dance scene.



Bauhaus tanzen

23. November, 2012 I 6 pm I Studio 3

Lecture by Burghard Duhm in the frame of the project "Bauhaus tanzen", funded by Tanzfonds Erbe

Burghard Duhm will give an introduction to the history of the Bauhaus stage from 1923 to 1929. The lecture will address the question: in which conceptual structure the Bauhaus stage was situated within the former School of Design and what relevance was given to dance. Dance projects by Wassily Kandinsky and Kurt Schmidt will be introduced, among others.

(lecture in German)



Erasmus Intensive Programme 2012: Practising Composition: Making Practice in Helsinki

The Erasmus Intensive Programme is taking place for the second time from 28. October to 10. November: ‚Practising Composition: Making Practice’; TeaK / Theater Akademie Helsinki is the host.


This year’s IP is subtitled ‘Composition: Aesthetics and Social Experience’. 36 Students and teachers of the European MA degree programmes for choreography, live art, performance studies and theatre directing at the TeaK / Helsinki, choreography at the ArtEZ / Arnhem University College Falmouth / UK, dance theatre at TrinityLaban / London, dramaturgy at Academy of Dramatic Arts / Zagreb and Solo/Dance/Authorship at the HZT Berlin investigate this specific aspect of compositional, dramaturgic and choreographic work and look closely at the role of artists in society in workshops, discussions and presentations.



Lecture and concert with Alain Franco

Alain Franco © Anja Beutler
>Alain Franco © Anja Beutler

16.12.2012 I 3 - 8 PM I Uferstudio 11

Montage of history. Johann Sebastian Bach: The Well-Tempered Clavier part I+II

Free admission, reservation requested: http://ticket@hzt-berlin.de


ATTENTION: The concert will be performed in 3 parts. Please come and leave (if possible) in-between them.
Block 1: 15:00 - approx. 16:40

Block 2: 17:00 - approx. 18:30

Block 3: 18:50 - approx. 20:00



Masterstudiengang Solo / Dance / Authorship

Final Presentations 10. – 18. Dezember 2012


Eight students of the MA study programme Solo / Dance / Authorship at the HZT Berlin are graduating this semester. From the 10. until the 18. December 2012 they will present the final works at Uferstudios (Studio 14). (Almost) all pieces will be shown on two evenings.



ticket@hzt-berlin.de I Infos: www.hzt-berlin.de

(Please indicate date AND time)


Uferstudios, Studio 14

Uferstraße 23 and Badstraße 41A

13357 Berlin (U8 Pankstraße, U9 Nauener Platz)





Monday, 10. Dezember

7 PM JEE-AE LIM I Raw Material

8:30 PM MARCIO CARVALHO I Impossible Chronologies


Tuesday, 11. Dezember


8:30 PM WILLY PRAGER I The Victory Day


Wednesday, 12. Dezember

7 PM ANDREW WASS I The Signal and The Noise

8:30 PM SONJA PREGRAD I The carnival tent rusts in the evening breeze


Thursday, 13. Dezember

7 PM IGOR KORUGA I Come quickly, my happiness is at stake!

8:30 PM HANA LEE ERDMANN I These children singing in stone


Saturday, 15. Dezember


8:30 PM JEE-AE LIM I Untitled


Sunday, 16. Dezember

7 PM ANDREW WASS I The Signal and The Noise

8:30 PM SONJA PREGRAD I The carnival tent rusts in the evening breeze


Monday, 17. Dezember

7 PM JEE-AE LIM I  Raw Material

8:30 PM MARCIO CARVALHO I Impossible Chronologies


Tuesday, 18. Dezember

7 PM IGOR KORUGA I Come quickly, my happiness is at stake!

8:30 PM HANA LEE ERDMANN I These children singing in stone



Monday, 10 & Monday, 17. December I 7 PM

Jee-Ae Lim ”Raw Material”

“Raw Material” is about the individualized notions of traditional 전통의 Korean dance 춤 in the light of personal identity 정체성. It is a series of works that I have been developing over the last year and a half.  It attempts to appropriate the traditional Korean 한국 dance 춤 form as a resource for exploring new ways of using the body 몸as a generative source of ideas.  It explores how the body is engaged in a constantly changing process of rearrangement, reconstruction 재구성, and deconstruction 해체. Altering the process in this way, allows me to establish and unfold an infinite number of possibilities 가능성 of using the body 몸.


Monday, 10& Monday, 17. December I 8:30 PM

Márcio Carvalho “Impossible Chronologies”

Concept and Performance by Márcio Carvalho

In collaboration with Prof. Dr. Christoph Ploner

Marcio Carvalho: „I would like to present Prof. Dr. Christoph Ploner, he is a neurologist, neuroscientist and professor of neurology at the Charité, Berlin. His research focuses on cognitive neuroscience and intensive care: He is my collaborator.

Christoph Ploner: I would like to present Márcio Carvalho. He is an artist and independent curator based in Berlin. His work operates within the frame of fine arts and performance. He is my collaborator.


Tuesday, 11. & Saturday, 15. December I 7 PM

Joana von Mayer Trindade “ZOS (She Will Not Live)“

 “ZOS”, as a word, points to the archetype of indestructible life, continuous life, not individual existence (Bios) but the life that never ends. It is one of ways in which to understand the primary archetype of Dionysus. "She Will Not Live” stands for a confrontation with mortality, and with impermanence. “ZOS” deals with what comes after this experience, it hopes to deal with survival, to become and to grasp survival itself. A solo in which the performer is revealed as a living exhibition, a living image, the exposure of a body centred on the transience of ephemeral moments, the transience of passion, and the transience of becoming.


Tuesday I 11December I 8:30 PM

Willy Prager “The Victory Day”

The aim of the performance ''THE VICTORY DAY“ is to investigate how, in a performance situation, the audience can get affected by an idea of a revolution. I am appropriating elements from revolutionary events of the last century, in order at the end to create a performative simulation of  revolution. I am investigating how propaganda is working in the theatre and how the theatre is dealing with enthusiasm and disappointment during and after an act of revolution


Wednesday I 12. & Sunday, 16. December I 7 PM

Andrew Wass „The Signal and The Noise“

"you come, we'll [do] what we do"

…each dancer/author has a unique past, present and future…yet, each dancer/author experiences past, present, and future simultaneously… with the meeting of any two forces, a third is automatically created, which in turn meets and recreates future forces…structures are continually being created and dissolved into further structures…


Wednesday, 12. & Sunday, 16. December I 8:30 PM

Sonja Pregrad “The carnival tent rusts in the evening breeze“

At the age of 10, the national, social, political and value system, the cultural and historical context  in which I seemed to be growing up , collapsed. What I seem to have had to learn, abruptly, was that  truths, or values,  always exist in relation to their contexts. Therefore, I think, my interest has developed to create work, in order to examine, expose and trigger relations, between society and an individual, audience and performer, human and their body. My work comes out of a dance practice, but expands into theatre, installation and writing. I am currently working with the ideas of dance as an object and theatre as an object: interested in the intersection of dance and visual arts - bringing the ‘white cube’ into the ‘black box’. 


Thursday 13. & Tuesday 18. December I 7 PM

Igor Koruga “Come quickly, my happiness is at stake!”

What is there more kindly than the feeling between host and guest?

I cordially invite you to come and celebrate my 27th birthday, on December 13th at 7.00pm, studio 14, Uferstudios, Uferstraße 23 und Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)* Limited seats. Reservation required. *BYOB! A reprise of the celebration will happen on December 18th at the same place and time.

Be my guest!

Igor Koruga

A host in himself


Thursday 13. & Tuesday 18. December I 8:30 PM

Hana  Lee Erdman “These children singing in stone”

If the work is a movement between focus and context, then this very tension generates a fragmented subjectivity, surfaces displayed in time, a meddling image, a gesture.


Saturday I 15. December I 8:30 PM

Jee-Ae Lim “Untitled”

This is an artistic research project which interweaves body, sound, and a medieval painting as one medium. It is an attempt for me to focus on developing my own choreographic vocabulary through a reformulation of traditional dance and medieval painting by problematizing it. The process of examining body through historiography addresses the question of how I re-conceive a body as a moving and evolving form of documentation.One which retains traditional dance form and, how I re-appropriate medieval painting as a transmutable documentation. The research also demonstrates the operation of a body as a form of movement research, in cooperation with contemporary music and ambient sounds, created both electronically and through instrumentation. 

TanzNacht I Metabolic Metropolis I 25th August I 7 pm I Uferstudio 11


Berlin is not just full of residents and visitors, but full of memo- ries, stories and the emotions that go with them. The city has something human about it. It is like a breathing organism. On an emotional map some places are more present than others, which in comparison follow a shadowy existence. Students of the Inter- University Center for Dance Berlin take the slogan of the city’s advertising campaign, be Berlin, literally. They undertake a ghost hunt and lend the city their bodies. They question the myths and stories, fill gaps in the map with life and give these places a voice. By occupying the city, they also reveal their individual relationships to Berlin, bound now to their own stories.

With: Katharina Greimel, Miriam Jakob, Ana Jelusic, Roni Katz, Ellinor Ljungkvist, Lea Moro, Ania Nowak, Anna Posch, Flavio Ribeiro, Julia Rodriguez, Verena Sepp, Agata Siniarska, Claudia Tomasi, Julian Weber

As cooperation partners, Tanznacht and HZT Berlin are showing the work "Metabolic Metropolis" as part of Tanznacht Berlin with students of the HZT and under conceptual care from Prof. Dr. Kattrin Deufert, Prof. Thomas Plischke (deufert&plischke) and Marlon Barrios Solano.


"Metabolic Metropolis" takes place at 25th of august at 7pm at Uferstudio 11.


At the 22 to 26 of august the Tanznacht Berlin takes place. Tanznacht is an event of Tanzfabrik Berlin as cooperation with different users of the Uferstudios and the international dance-event "Tanz im August". Tanznacht shows a creative variety through premieres, acts, site-specific-performances, installations, special events and workshops. More than 20 works from Berlin-based artists are shown. Under creative direction from Inge Koks, Tanznacht questions the influence of the city Berlin on the choreographers who live there and additionally asks, how their creative work does shape the city itself.



BA TUESDAY LECTURES I SS 2012 I 6 pm I Studio 11
©Marion Borriss
>©Marion Borriss

10/04/ Frédéric Gies

Practice, somatics and choreography


17/04/ Marlon Barrios Solano

Movement in the cloud: embodied, networked and… out of control              


08/05/ Zanki / Wirthmüller

Vierfüßer.  Studioshowing und Kurzlecture.

We associate the upright walk with the human body. When the axis of the body is tilted in a 90 degree angle and the head together with the torso and the bottom shifts into the horizontal, another body appears: That of the animal, the crawling child, the beggar…

Differently form their last dance performance, in which the upright body was the prerequisite, this time Zanki and Wirthmüller get on their hands and knees and explore the possibilities of 'four-footed-ness'. Hereby they touch not only the ubiquitous images and movements, that this position evokes, but reflect upon how they cohere, interweave and alter their own humanness. Thus the performers take us for a walk into the landscapes of the familiar, the illicit, the unknown and intricate.


22/05/ les gens d'Uterpan

The Citizen as Audience
Lecture von Franck Apertet (Co-Choreograf mit Annie Vigier für les gens d'Uterpan) und Sophie Demeyer (Interpretin)
Mainly in the work of les gens d'Uterpan, the audience is not aware of what will happen. Sometimes provoked in foreign contexts, sometimes intentionally not targeted, for the choreographers, the audience is not made by consumers but more by citizen, with whom they're challenging the society.


29/05/ Dr. Christiane Berger

Tango vom Río del la Plata. Geschichten, Mythen und Legenden

Our perception of tango is influenced by stories that point to its origins in the big city suburbs of the Río de la Plata, and by images of women in fishnet stockings, high-heeled shoes, red dresses and men with suspenders and hats. The lecture will expand on the stories, myths and legends and place them in a dialogue with experiences from contemporary dance practice.


05/06/ Martin Nachbar

Animal Dances and other becomings
Things I am trying to figure out by choreographing and dancing.


19/06/ Fabian Barba

(Titel folgt)


26/06/ Karen Kipphof

Objects, Machines and Puppets
 The lecture will give a rough overview over the multitude of Humanoids, Automatons and Science Fiction Phantasies that have made appearances in the Visual and Performing Arts, and present several examples of Contemporary Media Theatre with Puppets, Objects and Machines, such as Verdensteateret from Oslo as well as bring along puppets from the Floating Characters - production by Karen Kipphoff.


Free Admission


Biographies of the artists and scientists on our team site


Uferstudios, Uferstrasse 23, 13357 Berlin-Gesundbrunnen
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen

MA SODA Lecture Series in the summer term 2012 I 7–9 pm I Studio 9 I Uferstudios

©Marion Borriss
>©Marion Borriss

18 April

Prof. Dr. Boyan Manchev

Subjectivity and Creation. Part One: Potentiality and Change.


25 April

Prof. Dr. Boyan Manchev

Subjectivity and Creation. Part Two: Disorganisation and Complexity.


2 May

Prof. Dr. Franz Anton Cramer

The Original Trap: Traditions in Contemporaneity

Art-making has largely become eponymous to creating "new work". Criticism of this frenzy for originality brought from an anti-capitalist perspective. However, the reversal seems way more difficult. How to be creative without being done into newness ? What elements remain functional despite the refuted past? Can "past" invention inform "contemporary" creativity? And if so, how?


18 May
Janez Janša
NAME READYMADE (lecture performance)
23 May
Petra Sabisch
Material Speculations in Preempted Times: On Subjectivity, Extended Choreographies and Other Things
30 May
Siegmar Zacharias, Sophia New
Invasive Hospitality- thinking together (Performance Lecture)

6 June
Kattrin Deufert & Thomas Plischke
"Uncanny proximity: the myth of the Hermaphrodite"
4 July
Ric Allsopp
Future Perfect: art, enactment and the present moment

11 July
Bojana Kunst
The Project Horizon: On the Temporality of Art Making

Over the last decade, 'project' has been one of the most frequently used words among artists, producers and other protagonists in culture. Cultural and other creative workers are involved in a number of projects which often run simultaneously, in their presentation, implementation and completion. Today, a project is the horizon of the creative process. In the lecture I will talk about how this ambiguous word used for various forms of cultural products and artworks includes a special temporal dimension which has not yet been seriously reflected or questioned. Rather than being a characteristic of contemporary labour, the projective temporality is closely related to the subjective experience of time which erases the differences between individual work gestures and creative contexts, deprives creativity of its political potentiality and prevents the invention of different, temporary oriented modes of collaboration. There is something very perplexing at work in the projective temporality of the project: regardless of the myriad possibilities it opens up, it nevertheless projects its own completion as the ultimate horizon of work. Projective temporality submits the creative process to administrative context, completion and consumption whilst social and cultural value of art solely depends on the speculation on its value (constant production, distribution and sale of art-to-be).The question is not only how to fight the project but how to reconnect creative process and new temporal politics.  


Free Admission


Biographies of the artists and scientists on our team site


Uferstudios, Uferstrasse 23, 13357 Berlin-Gesundbrunnen
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen



14 July I 4 - 7 pm I UdK Rundgang 2012 at Uferstudios I Movement workshop for everybody I Studioshowings I Performance Installation I

Studio 11, 4 - 5:30 pm
Open Movement Workshop with Nik Haffner and Lea Moro

In the frame of the UdK Rundgang 2011 the HZT Berlin invites everybody who is interested to experience movement and improvisation excercises through the own body. No movement experience expected. Please bring comfortable clothing.

Studio 11, 18-19 Uhr
Studioshowings by students of the BA Tanz, Kontext, Choreographie

Programme: Ellinor Ljungkvist "untitled", Choreography: Ellinor Ljungkvist, Dancer: Julek Kreutzer, Nina Vobruba „klopft...“, Lea Moro and Desiree Meul „About you“, Roni Katz, Naama Ityel & Anna Jarrige „Voice in process“

5-7 pm, Studio 9
B ʰera

Ongoing Performance Installation by BA students Cinira Macedo & Claudia Tomasi.

Free Admission



HZT Berlin, Uferstudios, Uferstrasse 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

MA SODA Research Semester Showings I 17 - 19 July I Uferstudios

Tuesday 17 July

7 pm Studio 8 Andrew Wass

8:10 pm Studio 9 Marcio Carvalho

Wednesday 18 July

7 pm Studio 8 Jeeae Lim

8:10 pm Seminar Room 2 Joana von Mayer Trinidad

9:20 pm Studio 9 Willy Prager

Thursday 19 July

7 pm Studio 8 Sonja Pregrad

8:10 pm Studio 9 Igor Koruga

9:20 pm Studio 8 Hana Erdman

Free Admission

HZT Berlin, Uferstudios, Uferstrasse 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


JUST BEAT IT I Absolventen der SNDO Amsterdam I Programme 1: 10. & 11. July  Programme 2:13. & 14. July I 7:30 pm

PROGRAMME 1: The invisible dance BY ALICE PONS

The Invisible Dance BY ALICE PONS
>The Invisible Dance BY ALICE PONS

Maker: Alice Pons, Performers: Alice Pons, Mervyn Groot & Olivia Reschofsky, Advisor: Katarina Bakatsaki


In the womb of the wind_ to our thrilling bodies_ to this strange animals_a glimpse of nothing_caressing harmony_flirting with insanity_in the lust for life_ in the dust of kingdom_particules of our selves_ surviving the instant_ resisting the moment_ as the moon disappears_ as the sun rises_In the rhythm of our pores_in the center of our breath_ The instrument is playing_to our thrilling mind


Alice Pons is a French performer and young maker. In 2006 she graduated as a dancer from the conservatory of Paris. She studied as well in parallel, clown, musicals and houla hoop. She worked in Paris as a performer for one year before to leave France and to start SNDO in Amsterdam. She is now currently finishing her study there. She is fascinated in her work by basic notions closely related to life and society. This last year she started to research movement and performance practices in relation to time and rhythm. Her two last projects The invisible dance and Trudge were both investigating on this question.



Performance: Adriano Wilfert Jensen & Matthieu Blond, Choreography: Thibault Maillard In collaboration with Adriano & Matthieu. Advise: Katarina Bakatsaki, Thanks to Curdin Tonnes for helping making the chairs and to everybody that helped us


People speak to objects not the people themselves. It took me a while to make an understanding for this. I somehow found a clue in a talk about love. Do you love someone as a complete singular being or do you love something in someone? The difference between who and what. An aspect of a person. The what in the person. The object in a person. The person in an object. An aspect of a person found in another person. A slightly different aspect so.
And then a ghost could perhaps be something invisible manipulating something in a person. If we give it some attention, it might appear for a second...
Looking and looking at it until it is not a ghost anymore and then see another one behind, but again just for a second, etc.




PROGRAMME 1: Appropriate BY Karina Sarkissova 

Choreography and performance: Karina Sarkissova, Sound: SM Snider, Dramaturgy: Thijs Witty, Advice: Katinka Marac, Thanks to everyone that has been around during the making of this piece. Thanks to my crew of advisors and collaborators, I love you. Siriol Joyner, Ruairí Donovan, Ivan Ekemark, Queeristan, Ani Difranco, Amsterdam Rebelclowns and many more teachers. SNDO, Gabriel, Gonnie, Ria, thank you for the ride.

Appropriate is a highly self-promotional piece. It is still figuring out what it is promoting. 


Risk is an essential need of the soul. The absence of risk produces a type of boredom which paralyses in a different way from fear, but almost as much. Moreover, there are certain situations which involving as they do a diffused anguish without any clearly defined risks, spread the two kinds of disease at once. 
Risk is a form of danger which provokes a deliberate reaction; that is to say, it doesn't go beyond the soul's resources to the point of crushing the soul beneath a load of fear. In some cases, there is a gambling aspect to it; in others, where some definite obligation forces a man to face it, it represents the finest possible stimulant. 

The protection of mankind from fear and terror doesn't imply the abolition of risk; it implies, on the contrary, the permanent presence of a certain amount of risk in all aspects of social life; for the absence of risk weakens courage to the point of leaving the soul, if the need should arise, without the slightest inner protection against fear. All that is wanted is for risk to offer itself under such conditions that is it not transformed into a sensation of fatality. 

From The Need For Roots - Simone Weil



It's just a second BY SETAREH FATEHI IRANI
>It's just a second BY SETAREH FATEHI IRANI

By: Setareh Fatehi Irani, With: Olivia Reschofsky& Frederick Rodrigues, Advisors  Ricky Seabra and Katarina Bakatsaki


(NO text)


PROGRAMME 2: Colored invasion vol. 2 BY EVA SUSOVA
Colored invasion vol. 2 BY EVA SUSOVA
>Colored invasion vol. 2 BY EVA SUSOVA

Concept: Eva Susova, Performance: Lady Dady, Advise: Diego Gil, Image: Deimion van der Sloot & studiozijspan, Light design: Pablo Fontdevila


Picture a woman in her mid 20's
Picture a rhythm in the dark face 
Picture a glow of your roots 
Picture your roots being other 
Picture a reborn of other 
Picture a rhythmical set of movements



By: Olivia Reschofsky, With: Setareh Fatehi Irani, Advisors: Aitana Cordero Vico, Jan Barta, Frederick Rodrigues


(NO text)


Info about Ticket & Reservation

Tickets: 8,00 € / reduced 5,00  €

Reservation: tickets@hzt-berlin.de




Direction: HZT Berlin, Uferstudios, Uferstrasse 23, 13357 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen


The visit of the SNDO graduates in Berlin is part of an exchange programme between the SNDO Amsterdam and the Hochschulübergreifendes Zentrum Tanz Berlin (HZT).


MASTERWORKS 3.99€, Limited Edition!
Master Course Choreography – Final Works 2012 I 9.– 24.6. 2012

Saturday, 9.6., Uferstudios 

7 pm Jasna L. Vinovrški: Live to tape, still moving Talkshow (UA)

This is a Talkshow, live, on a theatre stage. Two performers experimenting with this shifted format, the different modes of representation, presence, attention and reception that it enables and constraints at the same time. Between public and private. Between the mediated liveness of television and the one-on-one liveness of theatre.
But within the usual interview situation, the audience witnesses increasing moments of rupture where time is stretched, with duration working like a magnifying glass – focussing the attention to the here and now, to the present moment that is being shared and created together with the audience.
"Live to tape" lays out structures of representation, interaction and perception that prefigure our reception – in theatre and television as well as in everyday life. Is what we see an emergent, spontaneous process or is it a prescripted show?

Idee/Choreography/Stage: Jasna Layes Vinovrski, Dramturgical Assistance: Wilma Renfordt, Performer: Isabel Lewis, Martin Clausen, Music/Sound: Brandon Johnson, Stage: Jasna L. Vinovrski, Mentor: Florian Feig, In Cooperation with: Zagreb Dance Week Festival and  Cie Public in Private


9 pm Zeina Hanna: Never live twice (UA)

Simple but not easy.
Never live twice explores the idea of choreography as an attempt to frame chaos in different systems of movement dynamics, such as gravity and suspension, the ironic feeling of fullness in boredom and consolidation of short term memory.
This piece could be watched in x 4 fast forward video version and ideally on an elevator ride.

Concept: Zeina Hanna, With: Anne-Mareike Hess, Emmanuelle Santos, Zeina Hanna, Sound cloud: Kyan Bayani, Costume: Wafa Aoun, Licht: Claire Terrien, Mentor: Ulrike Melzwig, Production: HZT Berlin, Coproduction: CDC Toulouse/Midi-Pyrénées in the frame of DEPARTS


Sunday, 10.6., Uferstudios 

7 pm Zeina Hanna: Never live twice
9 pm Jasna L. VinovrškiiLive to tape, still moving Talkshow


Thursday, 14.6., Uferstudios 

7 pm Alexandre Achour: Object the 3rd (UA)

Felicity, Isabelle, Conrad, Albert, Julian and Florian make their entrance.
No one knows what to expect from them.
Conrad looks at Isabelle, while Julian holds his breath waiting for Florian's signal.
The air thickens as expectations rise.
All the Objects of the spectacle are ready.

Conception and direction: Alexandre Achour, Collaborators: Louise Mochia, Eleanor Sikorski, Ian Garside, Julian Crotti, Performers: Louise Mochia, Eleanor Sikorski, Ian Garside, Julian Crotti, Alexandre Achour, Texts: Julian Crotti, Dramaturgical advise: Renata Gaspar, Light Design: Florian Bach, Mentor: Antonia Baehr, Coproducer: Compagnie Acte OFAJ, CND Lyon


9 pm Johanne Timm: Where we are (UA)

Where we are.
Is a choreographical improvisation dealing with the visible and hidden which is asking all involved to position the self to the other constantly.
The not me. The space, the other, you.

Reflecting each other. You become You through I becoming I through You being not me.

Concept: Johanne Timm, Choreography: Johanne Timm mit Claudia Garbe, Manon Greiner, Sergi Ortego Blanco, Performance: Claudia Garbe, Manon Greiner, Sergi Ortego Blanco, Sound: Marcello Lussano, Space, Light, Costumes: Macarena Ruiz-Tagle


Friday, 15.6., Uferstudios 

7 pm Johanne Timm: Where we are
9 pm Alexandre Achour: Object the 3rd


Tuesday, 19.6., Uferstudios 

7 pm Anna Nowicka: stand up (UA)
In front of me on the gate line at the airport an old man just pushed an old woman onto the floor, tore his ticket in small pieces, threw it on her and left the gate saying no word. The woman kept lying on the floor, and started laughing very quitely.
People looking shocked... (Facebook status quote)

Choreography: Anna Nowicka, Created and performed by: Anna Nowicka, Magdalena Ptasznik, Claire Vivianne Sobottke, Katarzyna Szugajew, Visuals: Katarzyna Szugajew, Light Design: Sandra Blatterer, Sound: Koen Nutters, Mentor: Simone Aughterlony, Production: HZT Berlin, With the support of Art Stations Foundation, Poznań and University of Zagreb - The Student Centre - Culture of Change. Special thanks to Adriana Josipović.

9 pm Magda Korsinsky: Das stille Band (UA)

Das stille Band is a choreographic a cappella opera, an ensemble of hidden laws and a visible penetration of invisible prerequisites. Inclusion and exclusion cause unforeseeable matrixes of constantly changing and fleeting constellations and relations. 


Idee/Concept/Choreography: Magda Korsinsky, Composition/musical direction: Ruth Wiesenfeld, Composition/Choreography/Performance: Antonia Munding, Beate von Hahn, Johanne Braun, Oliver Uden, Philipp Caspari, Philipp Meyer, Light: Lutz Deppe, Stage: Paula Doepfner, Costumes: Miriam Marto, Mentor: Jan Burkhardt


Wednesday, 20.6., Uferstudios 

7 pm Magda Korsinsky: Das stille Band
9 pm Anna Nowicka: stand up


Saturday 23.6.  & Sunday 24.6. 
7 pm, bat-Studiotheater 

Milla Koistinen: Lacuna (UA)

We choose what we want to remember, when everything else has been dismissed or forgotten. Our memories are inaccurate, possibly even false, yet we rely on them.  In the utopia of having no memories nor a past which we could trace back, what would be left from us? In this creation we have focused on different aspects of memory and memories. Lacuna is a fragmented journey in a space where collective and individual memories overlap. The blind spots of memory create temporary emptiness, where the only concreteness lies in  the body.

Concept and Direction: Milla Koistinen, Creation, Music and Performance: Markus Pesonen, Elmer Bäck, Milla Koistinen, Costume and Stage: Miriam Marto, Video: Lennart Laberenz, Mentor: Simo Kellokumpu


Saturday 23.6.  & Sunday 24.6. 9 pm, Uferstudios 

Marie-Claude Poulin: [In code] (UA)

[In code]: Activating {initial state}; void setup() {sensorial input; presence, exposed;  vulnerable, porous; random(10) == ambiguous; float xstart = (behaviors); || algorithmic = map; (stroke), haunted patterns; noise; habits, {create, translate( )}; time passes = background(150); back += forth; translate data {constraints, step - (ynoise * freedom == choice); float xnoise = ystart (enigmatic) == agency}; {taking shape; drawPoint (organic entities = make decisions, capacity) }; a series = random(6);  transactional; push() procedures = (step/8); noiseFactor{moving} visceral stroke(0,1); sensation(think); body fill(255, 200); consciousness == translate(x * y * noiseFactor * 4, float paths); develop(edgeSize); popMatrix(); explore {skin <= hair; brain} accurate}}

Embedded in a landscape of generative organisms, exposed to the dissecting look of the public, two performers engaged in a series of tasks and subjective operations.

Concept and artistic direction: Marie-Claude Poulin (kondition pluriel); Performance and choreographic research: Marie-Claude Poulin, Emma W. Howes; Media environment and scenography: Martin Kusch; Sound: Alexandre St-Onge; Advisors: Johanna Hegenscheidt, Martin Kusch, Elisabeth Molle, Katharina Rustler; Support: kondition pluriel, M.A.P.S., Conseil des Arts et des Lettres du Québec, Conseil des Arts de Montréal, Canada Council for the Arts and Deutscher Bühnenverein

* Hochschulübergreifendes Zentrum Tanz Berlin . Uferstudios . Studio 14 . Uferstr. 23 . Berlin-Wedding
* bat-Studiotheater . Belforter Straße 15 . Berlin-Prenzlauer Berg
Tickets Uferstudios: 3,99 €, Limited Edition-Karte Uferstudios: Pay for 3 shows, get in for free for all further shows!

Tickets bat-Studiotheater: 10,00 / ermäßigt 5,00 € (Limited Edition-Karte is not valid here!)

Ticketreservation& Info: ticket@hzt-berlin.de (please indicate the show, date und time)

Why not July? Performances in April I A Self-organized Festival of the HZT-BA-students I 26. - 29.4.2012 I Uferstudios 
Please download the programm here


Lecture Performance I Peter Pleyer I Choreographing books I 10.02.2012 I 18 Uhr I Uferstudios I Studio 1

Choreographing Books
>Choreographing Books

In "Choreographing Books" Peter Pleyer presents his collection of dance-books, puts them next to eachother, with eachother and against eachother on stage. He builds up lines, closes circles, creates fields and landscapes of knowlegde. His personal dance-history map.


Peter Pleyer studied after some years as actor in German theater, dance at the “european dance development centre” / art Academy Arnhem, NL. He worked as dancer and choreographic assistant with Yoshiko Chuma, New York and Mark Tompkins, Paris. In Holland he choreographed his own dances (a.o. paticipant at the choreography competition Groningen). In 2000 Peter Pleyer has moved to berlin. with a big interest in the theoretical studies of dance and  dance-making. His focus lies on new methods in dance training and composition - where improvisation plays an essential role. He developed “choreographing books” a lecture/installation, with his view on the development of dance studies in the US and Europe. His workshop "history in practice" was taught for the alternative dance academy in Poznan/Poland, at P.O.R.C.H.- Stolzenhagen, at the  polnish Theatreinstitut, Warsaw , the MA Choregraphy in Arnhem/NL, the new dance projekt Jerusalem and Tanzquartier Wien.

Since 2007 Peter Pleyer is the artistic director of Tanztage Berlin.


Free Admission

Uferstudios, Studios 11, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen


©David Bergé
>©David Bergé

International renowned artistis, curators abd theoreticians are inviteted to teach at the HZT Berlin in the winter term. As part of their seminars and workshops they are giving public lectures

17.01.2011 I 6 pm I Studio 11
Sandra Noeth „Angewandte Dramaturgie“

Free Admission

Uferstudios, Studios 11, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen

SONG BOOKS as game instruction  I Choreographic works I January 19th - 22nd, 2012  I Akademie der Künste, Hanseatenweg

Image by: John Cage, Solo for Voice 22 (Song Books, 1970) © C.F. Peters Musikverlage Leipzig, Frankfurt, London, New York
>Image by: John Cage, Solo for Voice 22 (Song Books, 1970) © C.F. Peters Musikverlage Leipzig, Frankfurt, London, New York

John Cage's "Song Books" are the point of departure for a choreographic research in the "Space for John Cage". As is the case in almost all of his compositions, they have an open score and include verbal and graphic instructions as a foundation for individual, free realizations. Fifteen of the 89 songs were selected for the attempt at finding artistic readings and then testing them as interdisciplinary "instruction manuals". I A project initiated by Reinhild Hoffmann in cooperation with Silke Bake, Kattrin Deufert, Thomas Plischke, Manos Tsangaris | With musicdramaturgical support by  Alain Franco, Daniel Ott, Yoav Pasovsky, Tom Rojo Poller, Daniel Vezza | With choreographic works by Antonia Baehr, Riki von Falken, Frédéric Gies, Anna Huber, An Kaler, Kat Válastur –– And students of the HZT Berlin: Alexandre Achour, Katharina Greimel, Miriam Jakob, Ana Laura Lozza, Ellinor Ljungkvist, Lee Meir, Anna Nowak, Annegret Schalke, Johanne Timm / There will be an artist talk after each performance \ The project is a cooperation of the  Akademie der Künste, Berlin, and the Hochschulübergreifende Zentrum Tanz Berlin. \ With support by klangzeitort. Institut für Neue Musik der UdK Berlin und HfM Hanns Eisler Berlin.


Thursday 19.1. + Friday 20.1.2012, 7:30 pm Uhr

Sa 21.1. + So 22.1.2012, 7 pm Uhr


Tickets  6 €/reduced 3 € | The Tanzcard is value.

The project takes place in the frame of: A year from Monday / 365 Tage Cage. Konzerte \ Ausstellungen / Performances | Januar bis September 2012


Akademie der Künste / Hanseatenweg 10 \ Halle 3 ––10557 Berlin-Tiergarten \ T 030 20057-2000 | info@adk.de \ www.adk.de/cage / S Bellevue, U Hansaplatz, Bus 106

SODA.WORKS I Yair Vardi I You never look at me from the place I see you (Lacan) I 21.01.2012 I Uferstudios I Studio  14

The piece is a performance based on light compositions and texts reconstructing light as object, memory, and text. The project investigates how designing lights for the theatre space can create a different frame and dramaturgy, and in this way make a performance just by using lights and not creating any other element. Can the body of the observer in the space become the performer in this situation just by being lit?






Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)


19.10.11 I 19 Uhr
Petra Sabisch "What is composition"

09.11.11 I 19 Uhr
Boyan Manchev „Compositional modes in the avant-garde and contemporary art“

16.11.11  I 19 Uhr
Boyan Manchev „What is Chaos? What is Order? What is Composition?“

14.11.2011 I 18 Uhr
Julian Klein (title to be announced)

23.11.11 I 19 Uhr
Siegmar Zacharias „Frame dragging. Contextualisation in contemporary performance practice.“


Free Admission I In english


Uferstudios, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen

rückwärts vorwärts gehen I Works by MA Choreography from 3rd semester
 I 12.-20. November 2011 I Uferstudios

12. & 13.11.11, 20 Uhr

Zeina Hanna NEVER LIVE TWICE (Video-Installation)
20 minutes to one hour I Seminarraum 2

Free admission. Reservation requested: mac@hzt-berlin.de

dancing in the video: emmanuelle santos
on camera: zena hanna
assisting camera and piano: céline larrère
installation performance execution: zena hanna

Jasna Layes Vinovrski MOVING TALK SHOW
(45 Min) I Studio 11

Free admission. Reservation requested: mac@hzt-berlin.de

With: Nina Kurtela, Clément Layes, Isabel Lewis, Sonja Pregrad
Special Guests: Justin F. Kennedy (12.11.), Felix Marchand (13.11.)
Idea and choreography: Jasna Layes Vinovrski
Music: Ariel Efraim Ashbel
Dramaturgic assistance: Clément Layes
Stage: Jasna Layes Vinovrski

Alexandre Achour OBJEKT 2
(35-40 Min) I Studio 3

Free admission. Reservation requested: mac@hzt-berlin.de

Concept & direction: Alexandre Achour
Light designer: Florian Bach
Performers: Angela Munoz, Julian Crotti & Alexandre Achour

17. & 18.11.11, Studio 1, 19 Uhr

(40 Min)

Free admission. Reservation requested: mac@hzt-berlin.de

Choreography: Magda Korsinsky
Performance: Mor Demer & Sandra Wieser
Costume u. stage: Gabi Bartels
Light: Lutz Deppe
Music: Klaus Janek
The stage design is supported by Deutsche Bühnenverein

Johanne Timm JEIN
(40 Min)

Free admission. Reservation requested: mac@hzt-berlin.de

Concept: Johanne Timm
Performance & Choreography: Roswitha Emrich & Johanne Timm

18.-20.11.11, Studio 14, 20 Uhr


Choreography & Direction: Milla Koistinen
Creation & Performance: Krijn Hermans, Sergio Mendes, Soile Voima, Vita Mühleisen
Film & Fotography: Lennart Laberenz
Music: David Lipp
Lightdesign: Julien Brun
Costume: Miriam Marto
Production management, dramaturgical advice, public realtion: Gabi Beier

A coproduction of Bayer Kultur and Hochschule für Schauspielkunst „Ernst Busch”.
Supported by Finnland-Institut Germany.

Tickets (12 €, erm. 8 €): www.reservix.de, Phone. 030-21800507, tickets@tanzbaustelle.de

19. & 20.11.11., Studio 1, 20 Uhr

(45 Min)

Free admission. Reservation requested: mac@hzt-berlin.de

Choreography: Anna Nowicka
Created and performed by: Jule Flierl, Hermann Heisig, Thomas Proksch, Claire Vivianne Sobottke
Sound: Klaus Janek
Lightdesign: Sandra Blatterer
Painting: Lars Bjerre
Costume: Maria Gamjäger

(30 Min)

Free admission. Reservation requested: mac@hzt-berlin.de

Choreography: Justin F. Kennedy
Performance: Anna Nowicka and Justin F. Kennedy
Music: Johannes Wengel
Costume, Set and Lighting Design: Saša Kovačević

Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)

SODA.WORKS I MA Solo /Dance /Authorship. New Performance Work I December 6th - 9th 2011 I Uferstudios


Tuesday I 6.12.

7:30 pm Uhr Ana Trincão Crystal

Limited seats. Reservation requested: ticket@hzt-berlin.de


:Is an exercise of  perception based on the concepts of translation,  transcription and documentation. The heartbeat is the “object” to translate /transcribe /document through different procedures, generating  a collection around the same source of  reference. How can I point out the  interval of time that has place between perception and action, the exact time where the full subjectivity of the heartbeat becomes objective?


9:30 pm (booked out!!!)


10:30 pm

Zoja Smutny this I LOVE YOU thing

Limited seats. Reservation requested: ticket@hzt-berlin.de


This thing I have to give you

Is exactly the thing 
I want from you.


The space in-between

I ……..YOU


Together, at the same time.


Wednesday I 7.12.

5 pm


7:30 pm (booked out)

Elisabete Finger . O.

Limited seats. Reservation requested: ticket@hzt-berlin.de


Since more than a year I have been working in a series of situations I’m calling "studies for Monstro". The studies for Monstro are possible compositions for the same group of elements: an egg, two pieces of fur, an arrow, a hole, a golden helium balloon, a song, coca-cola, something red, something hairy, something flying, something turning, something dying, and a body in action.
O. is the 6th and the last experience in this series. O. is a circle, a hole. O. is for me (headless) an abyss, a fascinating and almost unbearable vertigo. O. may be for you a precarious image-movement, an image that is made and unmade, that is traverse, torn, pierced, devoured by Monstro.

9:30 pm Daniel . Kok The Gay Romeo

Reservation requested: ticket@hzt-berlin.de


„What if when I say I am working on my relationship with the audience I meant it literally? 
What if when I look back at the audience from the stage, I can look at each of you in the eye and recognise you? 
What if we have already had an intimate relationship by the time you come into the theatre to watch me? Through the online portal, gayromeo.com, I went on 40 dates in 60 days in Berlin.
During the encounters, I ask each one for a gift in response to our relationship. 
In exchange, I invite my gayromeos back to the performance where I return my gift in the form of a dance.“


"You are going to be my bitch." 

Looking me in the eyes, he smiled lightly and said in a thick German accent,

"You understand? You are going to be my bitch."

Thursday I 8.12.

7:30 pm Keith Lim . re:self->com

Reservation requested: ticket@hzt-berlin.de


This is a show regarding self->reconstruction and organised divergence.
If "->" is seen as insertion, (or as input, or as function)
I’m bouncing between the self->re.fractured to self->production through self chatter, looping video image and routing the flow.
Re:com.position of oneself by conning one:self. It’s self->manipulation baby!
Or. Self->puppetry. With real, actual, puppets. To project oneself on a voodoo doll of one:self.
Can I be manipulated when I know I’m being manipulated by my:self?
A complex re.combination, onto, into, through each other:
a mash up
a self->made mash up
a mash up of the self


9:30 pm Dragana Bulut . Pass it on

Reservation requested: ticket@hzt-berlin.de


Pass it on is a performance realized as an auction, which deals with the question of authorship, relation between the material and the immaterial, and the value of artistic object.
It offers a broad spectrum of the items, research objects produced within the 3th and 4th semester of MA SODA studies.
The rules of the auction and the registration form will be available before the beginning. By registering you get your bidding number and become potential owners of the items that will be presented at the live Auction. Note that by registering you don't oblige yourself to buy any item; however, you could find art at bargain prices and have fun, too. Bring your cash, cause it's all for grabs!

Friday I 9.12.

7:30 pm Sheena McGrandles . Eee

Reservation requested: ticket@hzt-berlin.de


„Over the last year I have produced a series of three Eee’s. This has been a process that shifted from the choreographic (E), to a performative practice (Ee) to a performative space in which the body moves between ‘doing’ and ‘being’ (Eee). It is through ‘being’ that I re-learnt to bring the body back into time and space, to the present, to be in front of you, to be seen and to see. A new element to this work is the employment of light as an actor and material to change the context of vision and experience, in order to further disturb the body and the space it in habits (Eee). So by continuing to push these ‘doings’ into and onto the body itself, I find other ways of being present, other ways of continuing ‘doing’ the body in performance.“


9:30 pm Ana Monteiro . Showcase

Reservation requested: ticket@hzt-berlin.de


Showcase proposes to reflect on modes of production by approaching solo performance as an assemblage of relations. It is a pink machinic venture for the production of singularities.


Free Admission

Uferstudios, Uferstraße 23 I Badstraße 41A, 13357 Berlin (U8 Pankstraße, U9 Nauener Platz)


The performance by Yair Vardi You never look at me from the place I see you (Lacan) will be presented on January, 21st, 2012 at 8 pm at Uferstudios.


The piece is a performance based on light compositions and texts reconstructing light as object, memory, and text. The project investigates how designing lights for the theatre space can create a different frame and dramaturgy, and in this way make a performance just by using lights and not creating any other element. Can the body of the observer in the space become the performer in this situation just by being lit?

MA SODA Lecture Series I Rethinking Spectatorship I Prof. Dr. Ric Allsopp I July, 20th I 19 - 21 Uhr I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

UdK Rundgang 2011 I HZT Berlin and its guests at Uferstudios I July 16th I 2 - 11 pm

14 Uhr I Four choreographers from ArtEZ Dance Unlimited MA (NL) showing work
at HZT, Berlin. As part of an ongoing MA exchange between the HZT MA SODA program and the ArtEZ Dance Unlimited MA Choreography program from Arnhem (NL) the four international MA students Julian Barnett (USA), Emilie Gallier (FR), Tomaz Simatovic (SI) and Valasia Simeon (GR) present and shed light on their current choreographic research.


4 pm I Open Movement Workshop with Nik Haffner and Ka Rustler I Studio 11

In the frame of the UdK Rundgang 2011 the HZT Berlin invites everybody who is interested to experience movement and improvisation excercises through the own body. No movement experience expected. Please bring comfortable clothing.

6 pm I Studioshowings by HZT students

more info soon

20 Uhr I „The Graduates“ SNDO (School for New Dance Development) Amsterdam I Studio 14

Choreographies by: Fernando Belfiore, William Collins, Florentina Holzinger mit Vincent Riebeek, Marzena Krzeminska and Simon Tanguy. For more info see above. Tickets 7,- / 5,- € reduced. Reservations: ticket@hzt-berlin.de

„The Graduates“ I SNDO (School for New Dance Development) Amsterdam I July 15th + 16th I 8 pm I Uferstudios I Studio 14

The visit of THE GRADUATES of the SNDO (School of New Dance Development) Amsterdam is part of an ongoing exchange between the HZT Berlin and the SNDO. In the previous two years the presentations took place at Sophiensaele, this year their works will be presented for the first time at Uferstudios.




“Total Recall” by William Collins and Anat Eisenberg

 With our bodies we are drawing our bodies performing, thus we are the agents of the image and not the subjects. We are forming the performance. 


Choreography and performance: William Collins and Anat Eisenberg Choreographic interventions: Jeanine Durning, Fred Gies, Alessandro Sciarroni


“Japan” choreographed and danced by Simon Tanguy

 “Living_that is continually eliminate from oneself what is about to die” (Friedrich Nietzsche)


Japan is the physical exploration of the agony: waking up; coma, the last dance, the last words, the after death



“The Miserable Thing” by Fernando Belfiore

 Performance: Antonio Maia and Fernando Belfiore

To be in the same space and in the same time is (im)possible.The Miserable Thing proposes a critical collage of material and unfinished events, intended to trigger the audience’s mind and imagination, and dis-place the audience through new forms of engagement. Performativity exposes a practice in understanding living bodies in relation with living bodies.The dance considers the social body and how our body is repressed and fetishised by society, hallucinating into normality and possession.
The Miserable Thing is a piece that wants to subvert perception. And pervert normality.

 “Kein Applaus Fuer Scheisse” by Florentina Holzinger and Vincent Riebeek

 Performed by Florentina Holzinger and Vincent Riebeek



Tickets: 7,- / 5 ,- reduced. Reservation: ticket@hzt-berlin.de and at the box office at Uferstudios one hour before the performances. Advance booking: www.reservix.de

Note: Some performances include explicit scenes and nudity.


Four choreographers from ArtEZ Dance Unlimited MA (NL) showing work at HZT Berlin I Uferstudios I Studio 8

July, 14th, 8 pm

July 16th, 2 pm


As part of an ongoing MA exchange between the HZT MA SODA program and the ArtEZ Dance Unlimited MA Choreography program from Arnhem (NL) the four international MA students Julian Barnett (USA), Emilie Gallier (FR), Tomaz Simatovic (SI) and Valasia Simeon (GR) present and shed light on their current choreographic research. They will share their current investigations, obsessions, and manifestations in a presentation of work at Uferstudios. Taking shape as a platform for experimentation, the ArtEZ MA students feature their rigorous and polyphonic works in a collaborative, complete, premature, perfect, confusing, complex, simple, full of error, full of wonder, and always-up-for-discussion dance event.


Free Admission


MA SODA Lecture Series I Artistic Research I Victoria Perez I July, 13th I 19 - 21 Uhr I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

IN ZUCHT: Dance + Performance Festival I July 7th - 9th I Uferstudios


The students of the BA study course Contemporary Dance, Context, Choreography cordially invite you to their first festival!


July 7th
Studio 11

20:00 - 20:20 Beweg dich! (Laura Unger)
20:30 - 20:55 Three (work in progress) by Juan Harcha
21:20 - 21:50 She is red inside with those black things... (Claudia Tomasi and Cinira Macedo)
Studio 14
20:00 - 20:25 SOULSQUEEZING (Tian Rotteveel)
20:30 - 21:10 UPDOWNANDAROUND (Lee Meir)
21:30 - 21:55 Declam actio (Enrico Ticconi)
22:05 - 22:25 Don‘t Hold Your Breath (Kareth Schaffer)

July 8th
Studio 14

20:00 - 20:25 SOULSQUEEZING (Tian Rotteveel)
20:30 - 21:10 UPDOWNANDAROUND (Lee Meir)
21:30 - 21:55 Declam actio (Enrico Ticconi)
22:05 - 22:25 Don‘t Hold Your Breath (Kareth Schaffer)

Studio 11
21:20 - 21:50 She is red inside with those black things... (Claudia Tomasi and Cinira Macedo)

July 9th
17:00 - 19:00 Public Folkdance Event with Cinira Macedo & Laura Unger open for everybody, join any time!

19:30 - 21:00 Sketches of Work by BA students

17:00 - 21:00 Nomaden (Julian Weber) - durational installation and Video Installation (Juan Gabriel Harcha)

Studio 14
21:00 Fiesta!

FREE ADMISSION I for further info: in_zucht@gmx.de

Uferstudios, Uferstrasse 23, 13357 Berlin
U8: Pankstrasse, U9: Nauener Platz, S-Bahn: Gesundbrunnen

BA Tuesday Lecture I Valda Setterfield I July, 5th I 6 pm I Uferstudios  I Studio 11

Valda Setterfield worked as a dancer and performer with Merce Cunnignham, Yvonne Rainer, Robert Wilson and Woody Allen. As a current guest teacher at the HZT, she will present her work in this lecture. (in English)


Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

 Free entrance


The MA SODA is opening their individual performance assessment to a limited audience on June 5th-7th. 
We have very limited space so please come early (20min before). The presentation is followed the next day by a framing statements All presenations in Studio 8 and Studio 9. Rooms for framing statements are annonced the day of the performance.

July 5th I Presentation
7 pm: Sheena McGrandles

8 pm: Yair Vardi

9 pm: Ana Trincao

July 6th

Framing Statement

10:45 am: Sheena McGrandles (40 Min), Seminar Raum 1

11:30 am: Ana Trincao (Studio 10)


7 pm: Ana Monteiro

8 pm: Elisabete Finger

9 pm: Ana Monteiro

July 7th

Framing Statement

10 am: Yair Vardi

10:45 am: Ana Monteiro (45 Min)

11:30 am: Eleisabete Finger


7 pm: Keith Lim

8 pm: Dragana Bulut

9 pm: Zoja Smutny


JULY 8th

Framing Statement

10 am: Keith Lim

10:45 am: Dragana Bulut

11:30 am: Zoja Smutny

12:15 am: Daniel Kok

July 7th -9th
Daniel Kok focus group discussion every night from 6-7pm


For more details contact Zoja zojasmutny74@gmail.com

Uferstudios, Studio 8, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Gesundbrunnen

MAX fährt schwarz I July, 4th I 8 pm I Uferstudios

A discussion round about the importance of skin colour and cultural identity in dance.

An evening of Justin Kennedy and Magda Korsinsky.


Venue: Uferstudios, Uferstraße 23, 13357 Berlin

(U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen)

Free entrance

"The Dynamics of Perception" Bonnie Bainbridge Cohen & Alva Noë in conversation  I July 2nd I 7 pm I Uferstudios I Studio 14

Alva Noë & Bonnie Bainbridge Cohen
>Alva Noë & Bonnie Bainbridge Cohen


Moderation: Ka Rustler


In English I Free Admission


The American dancer, teacher and therapist Bonnie Bainbridge Cohen, founder of the SCHOOL FOR BODY-MIND CENTERING®, belongs to the pioneers of somatic practice and is one of the most influential and important movement researchers of our time.


The American philosopher Alva Noë is the author of "Out of Our Heads: Why You Are not Your brain and Other Lessons from the Biologoy of Consciousness" and "Action in Perception". Alva Noë is a professor of philosophy at the university of California, Berkeley



Venue: Uferstudios, Uferstraße 23, 13587 Berlin
Directions: U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture Series I Untitled I Bojana Cvejic I June, 13th I 19 - 21 Uhr I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture Series I Open work and Contexts of the Open I Prof. Dr. Ric Allsopp I June, 9th I 19 - 21 Uhr I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

BA Tuesday Lecture I Christine Peters I June, 7th I 6 pm I Uferstudios I Studio 11

Christine Peters works as a freelance curator for contemporary art and performance for the festival Theater der Welt, among others, and as a dramaturge for Richard Siegal, among others. As a current guest teacher at the HZT, she will present her work in this lecture.


Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen


 Free entrance

MAX schweigend  I June, 6th I  8 pm I Uferstudios


In a discussion with invited guests, MAX will delve into the phenomenon of contradiction and its dynamics. Contradictions appear in various contexts: in dance, in art, science, etc., as well as in our daily lives. Those who rub against paradoxes start to vibrate and unavoidably begin to move back and forth between two possible realities, back and forth! “Max schweigend” invites you to investigate paradoxes in dance, language and images, and thus begin to track the motor of our creativity.


An evening of Alexandre Achour and Johanne Timm.


Venue: Uferstudios, Uferstraße 23, 13357 Berlin, (U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen)

Free entrance

MA SODA Lecture Series I artistwin deufert&plischke I Directory: europe endless. Ein Videohörspielstück I June, 1st I 19 - 21 Uhr I Uferstudios

... how to risk beauty with beauty ... how to risk work with work ...


Stimmen: Kaethe Fine (USA) und Martin Hargreaves (GB)
70 min. (in englischer Sprache)

Directory – europe endless ist eine der ersten Zusammenarbeiten des Künstlerzwillings deufert + plischke, in der die Beiden sich in unterschiedlichen Formen mit der Problematik und Sichtbarkeit von Gender und von Geschlechterdifferenz beschäftigen. Directory liefert in mehreren Episoden fiktive autobiographische Portraits über die Zeit vor Deuferts und Plischkes Begegnung in Brüssel im Jahr 2001. Unter dem Einsatz unterschiedlicher Medien (DVD, Super 8, off-Stimme, live-Aktion) entsteht eine Landschaft aus Geschichten, Bildern und Stimmen, die Linearitäten und Authentizität in den Konstruktionen der eigenen Biographie in Frage stellen.


Mit Zitaten von: Antonin Artaud, Baader Meinhof Gruppe, B.D.C., John Cage, Diskursive Poliklinik,
Gilles Deleuze, Federico Fellini, Forced Entertainment, Kraftwerk, Julia Kristeva, Vladimir Malevič.


Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture Series I Shared Authorship: Collaboration in Contemporary Arts I Nik Haffner I May 25th I 19 - 21 Uhr I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

BA Tuesday Lecture: Jeremy Wade. Lecture Performance| May, 24th | 6 pm | Uferstudios I Studio 9

In the context of his composition seminar at the BA CCC, the American dancer and choreographer Jeremy Wade will give an introduction to his artistic work.

Jeremy Wade graduated form the SNDO in Amsterdam and has been working as a choreographer in Berlin since 2006. In addition to his own dance performances that tour internationally, he also curates events (Context festival, Politics of Ecstasy, Hebbel am Ufer, together with Meg Stuart).


Venue: Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture Series I Dr. Franz Anton Cramer I Solitary Solo & The Isolation of Dance I May, 18th I 7 - 9 pm I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

BA Tuesday Lecture I Mi, 18. Mai I Matinee 9:30-11 am I Hans- Thies Lehmann "Postdramatic Theatre" I Studio 11

The well known german theatre scientist Hans-Thies Lehmann will introduce his concepts of a postdramatic theatre, a theatre after the drama, a theatre that contains and proposes radical changes, a theatre that is actual and acts, a theatre that places a new subject of the stage on stage ...

Hans-Thies Lehmann was cofounder of the Applied Theatre Studies University of Gießen, he founded the Theatre Science and Dramaturgy Studies University of Frankfurt. He broadly publishes in the field of theatre theory and his book "Postdramatisches Theater" got translated into many languages. Since being an emeritus professor he continues lecturing internationally and doing dramaturgical work.


Eintritt  frei I In english

Ort: Uferstudios, Uferstraße 23, 13587 Berlin
Anfahrt U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MAX goes home I May, 9th I from 7 pm on I private apartment

The event "Max goes home" is realised in a private apartment. Each room hosts its own short performance, chosen exactly for that specific space and performers. The audience has a possibility to look at the series of events in their preferable pace and enjoy the meeting space. 
Ein Abend von Anna Nowicka und Milla Koistinen.


Venue: Schönhauser Allee 44, 10435 Berlin (U2: Eberswalder Straße)

With prevoius notice only: milla.koistinen@gmail.com

Eintritt frei

MA SODA Lecture Series I Negotiating Solo/ Dance/ Authorship I Ramsay Burt I 27. April I 7-9 pm I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

MA SODA Lecture Series I Negotiating Solo/ Dance/ Authorship I Prof. Dr. Ric Allsopp I 20. April I 7-9 pm I Uferstudios

Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

3. Lange Nacht der Opern und Theater I Uferstudios I 7 - 12 pm


7:00 pm:
Studio 11
„She is red inside (with those black things)“ by and with Cinira Macedo & Claudia Tomasi (HZT Berlin / BA Contemporary Dance, Context, Choreography), (30 min)

Parallel: Tour through the Uferstudios, approx. 30 min

8:00 pm
Studio 7
„Solo on a Solo“ Rehearsal with Eva Baumann (ada-Studio), (30 min)
Studio 3 „To Die For“ by Martha Hincapié (HZT Berlin / MA Choreography), Creation, Tanz: Jose Andrade, Anton Berman, Francisco Cuervo, Alessandra Defazio, Viviana Defazio (30 min)

9:00 pm
Studio 3
"CrescendoDiminuendo (Tombeau)" by Johanne Timm (HZT Berlin / MA Choreography), Dancers: Anna Till, Claudia Tomasi, (15 min)
Studio 10 „As we meet more often" by Christine Borch and Julian Weber (HZT Berlin / BA Contemporary Dance, Context, Choreography), (30 min)

10:00 pm
Studio 7
„Solo on a Solo“Rehearsal with Eva Baumann (ada-Studio), (30 min)

11:00 pm
Studio 14
„Wild Thing“ Rehearsal with Zufit Simon and Alexander Grebschenko (Tanzfabrik Berlin)

7:00 pm - midnight:
Video installation “Beirut Indoor” and video „Schlüsselbein“ by Zeina Hanna (HZT Berlin / MA Choreography)
Film „Transformance“ by Nina Kurtela (alumnus, HZT Berlin)

Infos and Tickets: http://berlin-buehnen.de/langenacht/de_DE/tickets

3. Lange Nacht der Opern und Theater I bat-Studiotheater I 10:50 - 11:30 pm


„o. T.“
by and with Alexandre Achour (MA Choreography)

„Lenas“ by Magda Korsinsky (MA Choreography)
Performance: Lisa Stockinger and Eva Sutter

„Nonfiction ( a part of the piece)“ by Milla Koistinen (MA Choreography)
"Nonfiction" is a dance piece for three Finnish dancers and Beit Ula’s children (Palestine).
Created with and performed by: Milla Koistinen, Esete Sutinen, Vera Tegelman. The children of Beit Ula Cultural Centre and Jussi Anttonen, Jenni Koistinen, Sofia Koski, Teppo Mäkynen, Janne Reinikainen appear in the video.

b>And in the tent in front of the BAT-STUDIOTHEATER:
„Lethe“ by Magda Korsinsky (MA Choreography)
Performed by Paolo Masini and Sonya Martin

Infos and Tickets: http://berlin-buehnen.de/langenacht/de_DE/program/54

Tuesday Lectures: Alain Franco. Lecture Concert | April, 12th | 6 pm | Uferstudios I Studio 9

In the context of his music analysis seminar at the BA CCC, the Belgian pianist and director Alain Franco will be giving a concert lecture.

Alain Franco has been working regularly with New Music ensembles (Ensemble Modern, Frankfurt a. M. / Ictus Ensemble Brüssel, among others) since the 1980s, and has toured internationally with contemporary choreographers (Anne Theresa de Keersmaeker, Etienne Guilloteau, deufert&plischke, among others).

Venue: Uferstudios, Uferstraße 23, 13587 Berlin

U8: Pankstraße, U9: Nauener Platz, S-Bahn Gesundbrunnen

Max at the opening | Students at the opening of   Studio "Public in Private" | April, 4th | 8 pm (Entrance at 7:30 pm)

The MAX series of events is conceived and organised by MA Choreography (MAC) students of the Inter-University Centre for Dance Berlin (HZT). It deal with aspects and contexts of choreography from various perspectives and in different formats.

On this evening, MAX attends the opening of the studios of the “Public in Private” company at the Berlin Kunstfabrik am Flutgraben, a platform for visual art. He/It goes among the artists and asks, how such a studio can become a location for meeting and cooperation among different artists from different disciplines, and what possibilities it opens up for artists. The evening is a collaboration between the MA Choreography (MAC) students of the HZT Berlin with the “Public in Private“ company.

An evenning with Zeina Hanna and Jasna Layes Vinovrski.

Venue: Kunstfabrik am Flutgraben, Am Flutgraben 3, 12435 Berlin (U1: Schlesisches Tor)


As we meet more often
>As we meet more often

„As we meet more often“ was developed in an emptied room in Julian Weber’s (BA Contemporary Dance, Context, Choreography) apartment. Both dancers met there regularly to improvise. “As we meet more often” is a fast, impulsive piece. It is charged and carried by the relationship between the two performers. An intimate energy of trust is created in a space into which Julian and Christine throw themselves and pull the public with them. From far away, open, wild and animalistic under the covers up to sensitive, self-referential totality on the floor: where do I begin and you end? These are questions that guide a body research in which skin, bones and teeth are explored.

Location: Gallery at the sophiensæle, Sophienstraße 18, 10178 Berlin-Mitte
Tickets: www.sophiensaele.com



I am Yair Vardi
>I am Yair Vardi

I am Yair Vardi

By and performed by Yair Vardi
co-director Keren Ida Nathan

Yair Vardi is the founder and the curator of the ‘A Genre'’ festival for contemporary interdisciplinary performance pieces at 'Tmu-na' theatre in Tel Aviv. In 2009 the festival held a special program in which based contemporary artists from different fields in Israel were invited to create a short piece about their artistic process and languages while trying to reveal to the public their way of work. In this piece Vardi joined his interest in the festival both as a young curator and as a creator, and created a performance that is constructed as “semi” lecture drawn from his experience as the festival curator. In it he shapes the discourse created by the combination of the pieces in the festival, and the creator-curator dialogue, into an independent artistic form. Thus he re-opens and examines the question of authorship and the boundaries between the artist and the discourse. As a curator he laid down the platform for the pieces (and their materiality) to interact, and thus created the discourse in which they are perceived. As a creator he uses this materiality to return to the original concepts behind the pieces, and reverse the role of the curator. What is constructed is a self-portrait piece for both the festival and himself, based on the inevitable confrontation between the passion of creation and its roots from one hand, and the social and the artistic structures of curation on the other.

an I I am
Created and performed by Christine Borch and Marina Tenório

This performance rejects the notion of a personality as being something monolithic, independent, as something that is predetermined and stable. Rather, it aims to provide the conditions to let the term “I” emerge and play with the idea that one body is able to contain and experience different personalities and also experience different “bodies” that these personalities create.

By engaging the body into unfamiliar physical positions, intentions and movements one is able to perceive other ways of what this body can be. The situation of the duet creates a landscape of two bodies sharing impulses and stimuli. Through the perception of qualities such as atmosphere, energy and form of the other body - and the work with these qualities one body influences the other and challenges it to move out of it's stable position. The piece is therefore continuously depending on the awareness and the intention of movement of the performers from moment to moment.

Ort: Theaterdiscounter, Klosterstrasse 44 Berlin Mitte.
22. & 23. 2. 2001, 20 Uhr

Music , Composition and Dance: Reflections on products and process, past and present. | February 16th, 2011 | Uferstudios | 11am - 1pm

With Prof. Stanley Walden, Prof Daniel Ott (UdK) and Boris Hauff Moderation: Prof.Rhys Martin HZT Berlin


Prof. Stanley Walden
Emeritus UdK professor and founder of the UdK diploma program Musical Show, studied with Merce Cunningham and also at the New Dance Group. He was accompanist for Martha Graham, Jose Limon, Doris Humphrey, Paul Draper, Daniel Nagrin. Musical Assistant to Martha Graham, Jerome Robbins
Taught MUSIC FOR DANCE at the Juilliard School, 1964-69, at the State U. of New York1962-66.:Composer of WEEWIS (Margot Sappington) for the Joffrey Ballet, UNTITLED (Anna Sokolow) Manhattan Chamber Ballet, FOR A YOUNG PERSON (Nagrin). www.stanleywalden.com

Prof. Daniel Ott UdK
Talking about John Cage relates that cage was one of the 3 reasons during his studies at the Folkwang Hochschule Essen (in the late 80ties) NOT to give up his plan of becoming a composers (the other two reasons were Pina Bausch and Josef Beuys): The relation between life and art in the work of John Cage encouraged me to go on writing music. www.danielott.com

Boris Hauf (1974 London, UK)
Plays saxophones, flutes, synthesizers, organ, computer-based applications. Works as musician and composer in ensembles, bands and as a soloist.
Composer for ensembles, soloists, installations, performance, film.
Workshops, classes and lectures.
Curator. Founded efzeg in 1992 and Owl & Mack in 2007; is a founding member of TUB (a.k.a. The Understated Brown) (Berlin);
Collaborates with various choreographers and visual artists:
Litó Walkey, Christina Ciupke, Martin Nachbar, Zoe Knights, Nadia Lauro, Vera Mantero, Franz Poelstra/Robert Steijn, Sabina Holzer, Benoit Lachambre/Andrew Harwood, Lucy Cash, Paz Rojo and others.
Concerts and performances in Europe, North Africa, Latin America, Japan, Korea (South) and the USA. http://hauf.klingt.org


HZT Berlin, Uferstudios

Studio 8, Uferstraße 8/23 und Badstr. 40-41a, 13357 Berlin
U 8 Pankstraße U 9 Nauener Platz

Eintritt frei

Boyan Manchev | Tuesday Lectures | 15th. February 2011 | Uferstudios | 5:30 - 7:30 pm

In his lecture Boyan Manchev will gve an introduction to his work.

Boyan Manchev is a philosopher, teaching at the International College of Philosophy in Paris, New Bulgarian University and Sofia University. His current research is focused in the fields of ontology, philosophy of art and political philosophy. In the last years Manchev has collaborated often in theatre, contemporary dance and visual arts projects. Among his recent publications are L'altération du monde: Pour une esthétique radicale (2009); La Métamorphose et l'Instant – Désorganisation de la vie (2009); Rue Descartes 64: La métamorphose, ed. by B. Manchev (2009) ; Rue Descartes 67: Quel sujet du politique?, ed. by G. Basterra, R. Ivekovic and B. Manchev (2010); The Body-Metamorphosis (2007).

Uferstudios, Studio 9, Uferstraße 23, 13357 Berlin
U8: Pankstraße, U9: Nauener Platz, S-Bahn: Station Gesundbrunnen
Free entrance

Barbara Bess | I m not a muse d. ein Ausflug in die Bühnenlandschaft

 | (final project MA Choreography)

On this evening, various lifestyles meet on stage.

It’s an encounter between three women, seven men and all the rest.

Performance, walk-through stage set, resonance.

Special: live second-hand clothing design. Bring a worn-out favorite piece of clothing!

I am not a muse d.
>I am not a muse d.

Concept/ Choreography: Barbara Bess
 Performance: Haouika Zun Porro, Lia Pavlidis, Barbara Bess Guests: Hermann Heisig, David Bloom, Mi Anders, Patrick Moos u.a.

Saturday, 22th January 2011, 8 pm

Tickets: 5,00 €

Ballhaus Ost / Pappelallee 15
, 10437 Berlin
U Bahn:Eberswalder Straße

UdK project week “Kollisionen / Collisions”
The Wedding Project – encounters and transformations

JAN 3rd-7th 2011 / Uferstudio 8 / The dirt room

In response to given inspirational short tasks drawn from dance, music and video, the project proposes a challenging body-based session of trans-disciplinary problem solving and exchange. Five days of laboratory experiments in Wedding at the new location of the Inter-University Centre for Dance Berlin (HZT), to test how collisions as a phenomenon may be produced, addressed and reformulated as art.


Join the presentation of the outcome on Janauray 7th at Einstein Ufer 43-53 /Design transfer!

Project direction

Choreography & dance: Prof. Rhys Martin (HZT Berlin) Music & composition: Prof. Daniel Ott Video: Prof. Anna Anders. 

28th and 29th of October 2010 | Anna Melnikova (Graduate Choreography/School for Dramatic Arts „Ernst Busch“ | „Preparation“ | UNI.T

Anna Melnikova was inspired by Vaslav Nijinsky’s famous jump in Michail Fokin’s choreography “Le spectre de la rose” for her new piece “Préparation”.

©Stephan Krasser
>©Stephan Krasser

Three men are on stage: two dancers and a musician. Three different personalities, three worlds that are only unified by one thing – a common desire. He is larger, lighter and more airy than they are. He is faster, higher and further than anything else. He is everywhere at once and timeless. That is the desire for a big leap. That is the desire for THE LEAP.

Choreography: Anna Melnikova Stage/Costume: Silke Bauer, Franziska Keune (UdK Berlin), Music: Holger Tretzack Dancer: Florian Bücking, Felix Ariel Castillo Castro A production of: Monaco Dance Forum, Les Ballets de Monte-Carlo, École Supérieure d´Arts Plastiques de Monaco, Berlin University of the Arts, School for Dramatic Arts „Ernst Busch“, Inter-University Center for Dance Berlin (HZT) in co-operation with École Supérieure des Beaux Arts d’Avignon and Università IUAV di Venzia.


Venue: UNI.T
Start: 19:30 Uhr
Tickets: 8/ erm.4 Euro

Reservation: udkkasse@udk-berlin.de oder Telefon: (030) 3185 2374 (AB)

28. and 29. Oktober 2010 | Jana Unmüßig „Zausend.Hoch.“ (MA Choreography, Masterwork) | UNI.T

Lifting a leg and walking.
Afterwards: two enter, stand, look and turn a foot while the other person in the room turns over a large object.

©Jana Unmüßig
>©Jana Unmüßig

“Zausend.Hoch.” is an approach to the ballet “le Train Bleu” (1929) by Bronislava Nijinska. Four dancers deal with and do things with its parts in the same and in a different way. They are seven pieces about difference that the dancers connect to the given space and the given time. In the process, they mix the coordinates so that the audience is invited to enter a space/time continuum in which location and orientation repeatedly align in a new way.

Choreography: Jana Unmüßig Dance: Ma´ayan Danoch, Charlie Fouchier, Cecilia Nilson, Tara Silverthron Stage and costume: Hsuan Huang, Mirella Östrreicher A production of: Monaco Dance Forum, Les Ballets de Monte-Carlo, École Supérieure d´Arts Plastiques de Monaco, Berlin University of the Arts, School for Dramatic Arts „Ernst Busch“, Inter-University Center for Dance Berlin (HZT) in co-operation with École Supérieure des Beaux Arts d’Avignon and Università IUAV di Venzia.


Venue: UNI.T
Start: 19:30 Uhr
Tickets: 8/ erm.4 Euro

Reservations: udkkasse@udk-berlin.de oder Telefon: (030) 3185 2374 (AB)



15th October 2010, 6 pm, Opening of the new Uferstudios (see german version)

© David Bergé
>© David Bergé

In a final project inspired by the American poet Walt Whitman’s (1819-1892) lyricism, the choreographer Marina Tenorio (MA Choreography) focuses on the causality of situations and the way they can be experienced and realized. Using improvisation within a determined structure in the choreography, in her solo she leads us through different aggregate states in the body and space.

Idea, Concept: Marina Tenorio
LIght: Bruno Pocheron
Costume: Midori Kawamura

Venue: LaborGras, Paul-Lincke-Ufer 44A, 10999 Berlin
Contact: Tel: +49 *30 6950 5183 http://laborgras.com/phpwcms/contact-1.phtml
Tickets: 12€ und 8€


UdK Rundgang 2010 | HZT Berlin makes a guided tour through the Uferstudios at 2 and 4 pm


In October 2010, the HZT Berlin will move into the new spaces in the Uferstudios in Wedding. The buildings that once housed the BVG central garages, protected as a historic monument, are presently being reconstructed into 14 multifunctional studios by the Uferstudios GmbH funded by the Stiftung Deutsche Klassenlotterie Berlin and designed by Anderhalten Architects, Berlin. After the reconstruction work is complete, the Uferstudios will combine education, artistic production and information under one roof; it will enable the students, teachers and employees of the HZT Berlin to communicate with independent artists and the interested public in an vital, creative and inclusive atmosphere.

Venue: Uferstudios, Uferstrasse 8/23, 13357 Berlin-Gesundbrunnen.

Barbara Bess (MA Choreography) 'schwärmen'

Sa 26.06.2010 | Barbara Bess (MA Choreographie) | schwärmen - eine Landpartie für glückliche Gäste, ein Vollmondfest für Mitreisende, ein Tanzabend für wilde Verwandte. | Altenkunstad/ Maineck


"Der Schwarm konfiguriert die Komplexität und Unkontrollierbarkeit des Ganzen."
(aus Schwärme: Kollektive ohne Zentrum)

eine Landpartie für glückliche Gäste.
ein Vollmondfest für Mitreisende.
ein Tanzabend für wilde Verwandte.

Ein Kämpfer und zwei Tänzerinnen bringen Kultur vor Ort.
Das Kollektiv schwärmt in Stille aus,um entlegenes Land neu zu besiedeln.
Die Landperformance ist Raum dreifacher Bewegung.
Bewegung der Reisenden,der Landschaft und der Tänzer.

Konzept/ Choreographie: Barbara Bess, Bewegung: David Bess, Francesca Honegger, Julia Schwarzbach

Ort: 96264 Altenkunstad/ Maineck/ Kirchplatz 4, Informationen zur Anfahrt etc. unter Tel. 0176 62604166

Kontakt: email: contact@sursulapitschi.de Phone: 0176 62604166


Claudia Garbe (MA Choreographie) 'zwischenzwei.fluss'

Claudia Garbe
>Claudia Garbe

Fr 25. und Sa 26.06.2010 | 20.00 Uhr | Claudia Garbe (MA Choreographie) | zwischenzwei.fluss | Cabuwazi-Zirkus

zwischenzwei . fluss
Von der Oberbaumbrücke bis zur Schillingbrücke
Eine choreographisch-musikalische Spurensuche entlang der Spree

Lange Zeit war der Fluss hier eine Grenze.
Lange Zeit war der Fluss ein Transportweg in den Osten.
Und seit langer Zeit wird über die Nutzung oder Bebauung der Ufer gestritten.

Viele Geschichten haben sich an beiden Seiten der Spree eingeschrieben, manche lesbar und manche bis zur Unkenntlichkeit ausgewaschen.

Acht Menschen begeben sich an diesem Ort sechs Wochen lang auf die Suche nach Spuren von Geschichte(n).

Die Orte, die wir finden, finden uns. Jede gefundene Geschichte spiegelt sich in unserer eigenen Geschichte.

Es entsteht eine choreographisch-musikalische Über-Setzung unserer Begegnung mit diesem Teil der Stadt.
Uns interessiert das individuelle Erinnern als Hommage an einen Ort, der so nie wieder sein wird, wie er nie war.

Von und mit: Katja Scholz (Tanz), Johanne Timm (Tanz), Johnny Chang (Violine), Christopher Williams (Kontrabass), Daniel Vezza (Komposition), Ingolf Watzlaw (Raum+Bild), Claudia Garbe (Tanz+Choreographie)

Ort: Cabuwazi-Zirkus, Zelt Kreuzberg Schatzinsel, May-Ayim-Ufer 2 (ehemals Gröbenufer), 10997 Berlin
Anfahrt: U1 Schlesisches Tor, Bus 265 Köpenicker Straße/Ecke Oberbaumbrücke

Eintritt: 10,00 Euro/ ermäßigt 6,00 Euro
Kartenreservierungen unter: claudia_garbe@hotmail.com oder direkt bei Cabuwazi unter Tel.: +49 (0)30-22 50 24 61.

David Bloom (MA Choreography) 'enemy'

David Bloom
>David Bloom

Fr 04. - So 06.06.2010 | 7 p.m. + 9 p.m. | David Bloom (MA Choreography) | enemy | Olivin Wellness Lounge Sauna

A dance piece somewhere between fairy tale, ritual and final project for an M.A. in choreography

Choreography in collaboration with the dancers: David Bloom (MA Choreography)
Dance: Annett Gurtler, Kenta Shibasaki
Guide: Federica Fiore

Since space is extremely limited, reservation is requested at enemydance@googlemail.com

Venue: Olivin Wellness Lounge Sauna, Schönhauser Allee 177, 10119 Berlin, www.olivin-berlin.com
U2 Senefelder Platz

Anne-Mareike Hess (MA Choreography) 'Never-ending up north'

Anne-mareike Hess
>Anne-mareike Hess

Do 03. - Sa 05.06.2010 | 20.00 Uhr | Anne-Mareike Hess (MA Choreographie) | Never-ending up north | Théâtre National du Luxembourg

„Never-ending up north“ ist inspiriert durch eine Reise zu einem kleinen Dorf auf den Lofoten, einer Inselgruppe in Norwegen, nördlich des Polarkreises. Ein Ort, an dem es im Sommer immer hell und im Winter immer dunkel ist; ein Ort, zu dem es Menschen zieht, die außerhalb der Gesellschaft leben wollen. Diese Erfahrung hat Fragen bezüglich des Zusammenlebens der Menschen aufgeworfen, die Anne-Mareike Hess als Ausgangspunkt für ihre Choreografie nutzt.

Drei Tänzer und zwei Musiker begeben sich gemeinsam auf die Suche nach Strukturen des Miteinanders, die sowohl die Individualität als auch die Gemeinschaft zulassen. Sie werden einen Ort erschaffen, der sich zwischen Utopie und Realität bewegt.

"Es ist ein Phantasma des Lebens, der Lebensart (…). Weder zu zweit noch zu vielen (kollektiv). Etwas wie eine auf geregelte Weise unterbrochene Einsamkeit. Idiorrythmisches Leben = jedes Subjekt folgt seinem eigenen Rhythmus."
(Roland Barthes: Wie zusammen leben,Cours au Collège de France, 1976-1977).


Choreografie/ Konzeption: Anne-Mareike Hess (MA Choreographie) Tänzerinnen: Sandra Lolax, Rosalind Goldberg, Malin Astner Musiker: Marc Lohr, Markus Pesonen Lichtdesign: Dusan Loki Markovic Dramaturgische Beratung: Christiane Berger Mentorin: Isabelle Schad Koproduktion: TROIS C-L (Luxemburg), TNL (Théâtre National du Luxembourg). Unterstützung: Hochschule für Schauspielkunst Ernst Busch Berlin/ Hochschulübergreifendes Zentrum Tanz Berlin, Fondation Indépendance, Institut Culturel Finlandais, Ministerium für Kultur (Luxembourg).


Ort / Kontakt: THEATRE NATIONAL DU LUXEMBOURG, 194, route de Longwy, 1940 Luxembourg, Luxembourg

Online Ticket-Kauf: www.luxembourgticket.lu oder Reservierung per Telefon: (00352) 47 08 95 1 (Montags bis Freitags: 10.00 -18.30


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