Groundfloor Group/Ferenc Sinkó


“(…) A man (Szabolcs Balla) without a precise identity (demagogue, salesman, clerk, motivational speaker, politician?) spends his free time in front of the TV, as any other modern human. Sliding away from the diegetic sound, he establishes his own sound reality, entering the character of a Japanese silent movie narrator. The result is a funny combination of TV pop culture, communicated very well by the great vocal resourcefulness of Szabolcs Balla, also an actor in the Hungarian Theatre in Cluj.
His counterpoint is a TV chameleon character, or pixel-man, played by Agota Székely – the archetype of a figure absorbed by the TV screen, with an identity lost in the turmoil of the images, a person without content, incapable of expressing herself, taken over by the clichés pouring from the screen. And here lies the permanent challenge to reflection, despite the apparently dominant entertaining component of this show. (…)” – Horatiu Damian/

Prosxima Dance Company/Maria Coliopoulou

[Action] 8 - Singularity

“(…)We lean forward – we the audience – physically forward, for the fervent rotation of the dancers creates gravity. We take control of ourselves, we straighten up, we lean forward again and thus the performance exercises its influence on us right to the end; (...) you follow the performance with curiosity, with excitement, with a sensual and all encompassing esthetic satisfaction(…)” – Nina Vangeli/Dance Zone Magazine, May 10

Via Negativa/Marko Mandić

Viva Mandić

In one hour Marko literary extracts his artistic life into one single glass of sweat. On two video screens we simultaneously witness his theatre achievements from the beginning of his career up to the Slovenian National Award (2009) and his secret artistic experience from two nights spent in the Slovene National Theatre repository.

Oktana Dancetheatre/Konstantinos Rigos

Dressed Undressed

Dressed/Undressed, covered/uncovered. The body acting as a vehicle of beauty or as a vehicle of attrition is the dominant element in this new performance by Konstantinos Rigos.

Via Negativa/Kristian Al Droubi

Interview with an Artist

Questions about the political powerlessness of radical art practices, about confession as a media spectacle, about the imperative of pleasure in the contemporary post-industrial society, about the impotence of communication, about the impossibility of subjectivization, etc. Kristian deals with questions about his powerlessness in the contemporary post-industrial society as a performer – he argues his beliefs not only with his words but also with his whole body.

Alper Marangoz


The one who is normal is the one who adapts. The group creates its own norms and you obey. In case you reject, you are rejected.
Deviation from the norms creates abnormality. Too much deviation results in chaos.

Looping project/Marko Milić


“Marko Milić is a very vivid dancer, as if he was plugged into high voltage electricity and could not stop, as if he was at a trance party. His solo explores the potential of dance as a collective act.” – blogspot

Dance Studio Zodijak/Kire Miladinoski


“At heart Bug's is a confession, one that transcends the narrow boundaries of the actor’s monologue, enriching its expressive value through the medium of the contemporary dance. Confession proves to be a powerful instrument for the task at hand - to articulate the leitmotif of this performance in a format that reflects its nature.” – Milka Ivanovska, independent critic

Damaged/Çağlar Yiğitoğullarí

Diss & Luvstory

“A series of physically rough scenes (bordering on self injury), designed by the author to provoke a strong emotional response with his audience and shatter the established staging (...) A very good and uncompromising work with an extraordinary emotional charge.” − Igor Burić/, 25-11-10

“Wash yourself in your tears and build the church of your faith, or DISS.” − Ekrem Pehlivan/Milliyet gazetesi blog'dan

Flota MS/Matjaž Farič, Milko Lazar


“(…)Through this crack of a six-part suite, written by M. Lazar, the exquisite dancers M. Rebolj, R. Hribar, K. Janjiæ, M. Krnel and Ana Mrak pass through different moods and embodiments of female characters, resulting in an abstract and not illustrative effect of the performance.(…)Vigorous and partly impulsive choreography is focused on a sexualized round movement of the shoulder girdle and hands particularly in the first part of the performance, where special mention should be made of Rosana Hribar, but every dancer also performs her “own” arsenal of movement elements(…)” – Mojca Kumerdej/Skin as a sound membrane/Delo, 10-11-09

Sezen Tonguz


“The project arose from the desire to recover the items forming a part of the recent past and, simultaneously, to provoke critical reflection on the concepts of transmission, interpretation and appropriation in contemporary dance as well as recreation. (...) Thus, the transmission part happens not only through the transference of the choreographic material but, essentially, through analysing and sharing the creative process as well as many links, continuous and discontinuous, visible and invisible, and information for the performers to recreate.” – Margarida Bettencourt

Ivo Dimchev


“Last summer Mr. West asked me to create two videos for two of his adaptive sculptures as visual examples of how the objects can be used by the audience in the galleries. After a short work on the videos I become very interested in the possibility of adapting his sculptures to the context of stage, theatre and choreography.” – I. D.

“It doesn't matter if art is beautiful, it's more important what you can do with it.” – Franz West

Exodos Ljubljana/Snježana Premuš

Stories of the Body: MOVE-AS

This is the fourth performance in the Stories of the Body series, and it focuses on a man: on his body, the poetics of the communication established by the male body movement, the expression of power, vulnerability, capability and personality through movement.

Compagnie Krassen Krastev/Krassen Krastev

Are You Lonesome Tonight?

Are you lonesome tonight? explores the universal question of loneliness. It is a research of the intimate, a physical approach emphasizing the relationship of the individual with others, the Self and the Other (his twin), the positive and negative, hope and despair. It focuses on the emotional deprivation or emotional breakdown on the Being in its ultimate sadness due to the lack of the Other and, as the title suggests, because of the loneliness of the night...

DUM/Mateja Bučar

I Would've Been a Palm Tree

“(…)In the second part the performance is upgraded by the projected light simultaneously forming sharp angled surfaces, into which the dancer is “rooted”, and shadows dancing around her fluidly. It is this very entrapment of the dancer(…) which depicts the duality of the subject's existence(…)” – Mojca Kumerdej/Delo, March 10

The perversity of fate, which we refer to as reality, is a flux of various interpretations or even creations of the human mind.
I Would've Been a Palm Tree is a fantasy about a journey into an exotic world, separate from ours, different and dreamlike, while in reality we face the motionless, static life, rooted in a single point.
In these circumstances we try to find a way to unite dreams and reality.

Future Time

Azra Ibrahimović
Igor Koruga, Aleksandar Georgiev
Store at Room Temperature
Aleksandra Spasova
From Them to Everlasting

Paul Dunca

We Went with these Bodies as far as We Could

“(…)Three gymnasts, reconverted into singers, talk, deconstructing the clichés of the performance's competition and exhibition, about their bodies of a champion, who, usually, seduce through perfectionism and glamour, but who have all sort of ‘flaws in their bodies', of metallic plates due to accidents. What is it behind the perfectly stretched body, the podium body towards which an entire nation is aiming? A shorter leg, an unseen metal, agonizingly moments wrapped in the most performing smile.” – Mihaela Michailov/Europe Is Moving

Emanat, Ferlin/Matija Ferlin

Sad Sam /Almost 6/

“Without any virtuosity, which he eliminates as one of the principles of his creativity, Matija Ferlin effectively enacts children's pranks. However, these are by no means naive. Instead, the mimicry of the patterns from the world of the adults results in creepy undertones. This is exactly what the atmosphere of the performance is like – it moves between roguishness and creepiness, attesting to the awareness about the decisive processes of personality formation in the early childhood, detailed in psychoanalytical discourse.” – Lea & Pia/Radio Študent, 3 - 2 - 2009

De Facto, 1er stratagème/Giuseppe Chico, Barbara Matijević

I am 1984

I am 1984 focuses on the year 1984 and takes the audience on a pseudo-scientific journey, presenting a richly textured depiction of 1984 using language and drawings.

Serial Paradise Company, Gabriela Tudor Foundation/Cosmin Manolescu


“It was disturbing and beautiful and weird. With all the smoke and the music combined with stillness and desperation it was like being in some kind of surreal, ominous nightclub purgatory. (...) In the duet they were exploring primal emotional states of desire, separation, fear and lust; the solo was all about loss and isolation. But all the pieces came together with an illogical, subconscious cohesion. (…) Supergabriela is like a “happening” in a way. It is beautiful, moving and disturbing with the absolute meaning always just beyond your grasp.” – Andy Horwitz/Supergabriela at PS122/ CultureBot, November 10