::: V O I C E S :::


Die durch Covid-19 ausgelöste Krise trifft die Kunstschaffenden weltweit hart und unmittelbar. Für unseren Blog :::VOICES::: haben wir internationale Künstler*innen, die momentan nicht an unseren Produktionshäusern arbeiten können, eingeladen, durch Statements uns an ihrer aktuellen, individuellen und künstlerischen Situation teilhaben zu lassen.

The crisis triggered by Covid-19 hits artists worldwide hard and directly. For our blog ::: VOICES ::: we have invited international artists who are currently unable to work in our production houses to make statements about their current, individual and artistic situation.

June 2nd, Kaptaruny

Tania Arcimovich

I write this letter from a country where there are still no restrictions, as the President does not see a reason. He calls the pandemic as ‘a corona psychosis’ mentioning that it is more about politics than an illness. Medical and educational institutions make some recommendations, but it is not obligatory. Cafés, restaurants, schools, and kindergartens are open. You can even make a dance or sport class. The social life is going, as if nothing happened. It looks like it is a country of supermen and superwomen who do not be afraid of anything. Or is it a level of despair? I am not sure. …

>> Continue here

A video I would like to add to my words.

May 26th, Taipei

Choy Ka Fai

We are in a state of change, where beginnings and ends, oscillates. 
As an Artist, i was alway searching for some sort of liberations or catharsis.
And maybe i have a tremendous yearning for Freedom.

Especially now… in the time of a pandemic,
The notion of freedom is constantly being redefined in very part of the world.
I start to question myself.  Why do we need to Wander?

Wandering is important,  both to our human mind and body.
Wandering is a bodily experience, a method for discovering the unknown.
A Wandering Mind would help us to speculates our past and future selves. 

As a digital Artist, I chose to make a physical act, a movement to climb a mountain. 
an expanded moment to let my body and mind wander…

May 26th, Vienna


In this pandemic age, God’s Entertainment has increasingly developed a political awareness for the working class. They describe their work as a battle against “political blindness”, “civil obedience” and the “society of balconies – a structural, social privilege”. They see current developments as a threat to freedom, and their latest work attempts to meet the public sphere head-on by confronting it with their own intolerance of pseudo-solidarity and hypocrisy. What is the difference between serving and being served? – The metaphor is smarter than the author.
They use the cut-up technique to fragment the current state of society, rearrange it and render the present moment visible in the form of a DIY world system. The earth has not stopped rotating to the east, and this DIY world system, too, continues to rotate obediently and incessantly, without ever posing the question: Can we receive blows without striking back? In the same way that Socrates considered it necessary to create a tension in the mind that would prompt human beings to rise from their bondage-like dependence on myths and half-truths into the free realm of creative analysis and objective value determination, we, too, must recognise the need to create a tension in today’s society by non-violent means, thereby helping people rise from the dark depths of prejudice and class struggle and ascend to the sublime heights of mutual understanding and coexistence. The question as to whether everything you see in the video reflects your own perception and whether you should challenge the present moment is left open for everyone to decide for themselves, because every human being is condemned to freedom!


May 25th, Helsinki


Foto by Janne Mikkilä


May 23rd, Tehran


„Neither I, no Memory“ by Amirhossein Taghavi & Saghar Hosseinpour

„SHEER“ a duo performance with Saghar Hosseinpour & Sarah Feli

Sheer: The position of a ship riding to a single anchor and heading toward it. The upward curve of a ship’s deck toward the bow and stern, as seen from the side Break sheer: (said of a ship riding at anchor), to be forced by wind or tide out of a position clear of the anchor. „SHEER“ is an experience of our desire to share our situation with each other, in a spaceless and timeless space. It was a practice of communicating with each other from our personal spaces without using words. During this performance, in addition to reviewing the features of this unknown platform (at least for us), we were trying to investigate how two performers could communicate “here” without having access to their physical communication on stage or even without using “speaking” as a means of communication in online encounters. This piece has been made from point zero to end, on the Instagram Live platform, and has been performed once by us at the Reconnect Online Performance Festival:

May 22nd, Amsterdam



May 20th, Berlin


>> Continue here for Monika Gintersdorfer’s Text „Dazwischen/ In between“

The corona lock down gave us time to edit footage that we have taken in recent years. It shows places and situations that mean something to the team, such as the demolitions in the Rue Princess in Abidjan, structuralist architecture in Ivry near Paris, the Steindamm in Hamburg ecc.
We start with a film “9 lugares favoritos / 9 favorite places” in Mexico City, recorded in 2017. Dalel Bacre, Humberto Busto, Antonio Cerezo, Andrea Chirinos, Arturo Lugo, Carlos Martinez and Arantza Muñoz Montemayor took us to places, on which they see artistic and social confrontation to emerge. Determined by the specific location, we developed quick performances for those present and the camera. With Franck E. Yao.
Streaming is our film premiere:


19th May, Warsaw


„The sequence of events was quick“

March 12th afternoon – at Residenz in der Spinnerei in Leipzig – We are standing next to kitchenette, discussing with Lina and Rabih [1] and our hosts Thomas and Ulrike we are discussing the final week of rehearsals. There are some doubts we might not be able to finish it as we planned, but nothing is certain.
March 12th late evening – at theatre guest apartment at Roßplatz – Thomas writes that all activities including rehearsals are being stopped. We plan to stay in Leipzig over the upcoming weekend to calm down after an intense week and prepare our return.
March 13th noon – we all meet for lunch. It’s partly a farewell, partly a moment to discuss a possible new schedule of work. Rabih and Lina are going back Berlin the same day. The goodbye moment feels awkward as we don’t dare to hug each other anymore. On the way back to our apartment we do shopping for weekend…

>> Continue here

„I desperately need change“: poster by Marta Jalowska, Edka Jarząb and Sebastian Winkler, photo by Tomek Drzewiecki, „Common Ground“ season at Komuna Warszawa, May 2020


18th May, Shanghai


COVID-19, We are in Shanghai. From the end of January to mid-March, we did a lot at home, and it was hard to be alone. Reading books, communicating with friends on the Internet, reviewing past works, anxiety, tension, insecurity. At the same time cooking, follow up the daily news, watching the trees outside the window grow thick leaves…

>> Continue here

18th May, Rio de Janeiro


„Washing Process“ Video – Director: Alice Ripoll, Camera: Renato Mangolin, with Cia REC


16th May, Tehran


How do I feel about this situation I am in right now?

I always need people. I always need gathering. And it has been always happened in a common time and space. but now we only access to a common time in different spaces. To answer this question, considering that the common space has been important for us, and now it’s time to think about this importance. Why this is important for us to meet and gather in a common space? And this is so important for the authority, too, when we desire to meet in a common space, in a way that authority and us always been fighting over the space, like a competition. Who can take over and occupy the space? After the massive demonstration in the streets of Tehran in 2009, government legislate that gathering over 4 people from now on is considered as an illegal act, no matter what the reason of the gathering is. Then the gathering itself became a political act I suppose. And the time we spend in this space became more authentic. Now, the virus just reminds me of a schizophrenic state that want to separate us, but we are already well trained to frequently find a common time to be together. 

But what does this situation do to my artistic work?

To answer this question I share a video which is a capture screen of one of our meeting in “jitsi”:

Since some weeks ago we are meeting with many people in „jitsi“. In this specific video we are 8 people, each one gives a task to the others to react for about 60 seconds. The tasks are inspired by these thoughts: 

„5 how to’s“ as our guideline to record this video:  

1- use home as working/presenting space / 2- use small spaces to express, with a big urgency though / 3- learn to work in limitation and obligation / 4- use the daily destructions created in a nonprofessional space like home as a material for work / 5- define new possibilities out of the restriction of the media/devices you use for these expressions.

15th May, Bruxelles


Dear xxxxx,
Thank you for your question. I have been thinking about it for a few days now and I don’t have a design yet. Can it wait? My head is slow these days.
I’m writing this text with a giant plate of Plexiglas™ leaning against my left shoulder / It stands between me and the window. / When I’m not looking at the computer, I’m looking at the Plexi (in the Plexi? Through the Plexi?)…

Ettore Sottsass „The Planet As Festival: Study for Design of a Stadium for Rock Concerts“ (1972-1973)

>> Continue here


12th May, Nairobi


I am writing this from Nairobi, Kenya where I still have friends who are staring down the barrel of months without pay, friends who have already lost jobs and friends whose contract will be running out soon…

>> Continue here (Essay and Videos)


11th May, Tel Aviv


In Simple Action, created by Yasmeen Godder in 2016, spectators are invited to be held, as their weight is slowly carried to the floor.  This proposal happens multiple times during the performance involving different bodies and creating endless humane variations which resonate empathy, care, and real-time physical negotiation. In Simple Action Home the performers, quarantined due to the Coronavirus pandemic, were invited to film themselves practicing the same action with their loved ones, in the privacy of their home. And by that turning this unique proposal of intimacy and connectivity back into their personal and familial relationships.

Performing: Shuli Enosh, Sigal Bergman, Yasmeen Godder, Matan Daskal, Ari Teperberg, Ofir Yudilevitch, Dor Frank & their household partners
Music: Tomer Damsky
Edited by Omer Alsheich


11th May, Tilburg


Since 2019 I am developing an institute for movement heritage; Motus Mori Institute. For the coming years I will build an archive for the endangered human movement. My team and me collect personal movements of people in different cities, preserve them in the dancers’ bodies and expose it in long-durational movement exhibitions. – Due to the current coronacrisis we cannot execute the work of Motus Mori as we planned. However we decided to continue our work of preserving the human movement, especially in these times of physical isolation.

In this first introduction-video I’d like to give you an insight in the working methods of Motus Mori Institute, introduce you to the dancers and share our current activities in quarantine:

For the next Motos mori videos please >> continue here 


10th May, Rio de Janeiro



10th May, Budapest



9th May, Budapest


over at my sister’s garden / during an online family event for easter / her face in a small cube without context / she is at home, blue sky and the concrete wall, the huge / circles under her eyes, her child sitting in a swing / so we can keep distance / reduce our presence to the cube / sending her ’many hugs’ / she hung up all the clothes in the garden / she had a run which is the one time she can / be alone…

>> Continue here

9th May, Glasgow


I am very conflicted at the moment about invitations to respond to the current situation. I am torn, wondering if perhaps I should say nothing at this time.  Part of me feels that artists are really not the important thing just now, that we should cede space to those who keep people alive and safe. That we should not continue to feel the pressure of putting things into the world to justify our existence…
I feel in one moment that I should not share anything, but then I start to write and then comes this enormous text…

>> Continue here 


9th May, Vienna

CLAUDIA BOSSE (theatercombinat)

>> For the English translation please follow this link


8th May, Budapest

DÓRA BÜKI (Proton Theatre)

The keyword is uncertainty. As an independent company without constant state support we know this word well. In the current situation uncertainty reached a totally new level. An aera with mostly only questions, but nearly no answers…

>> Continue here

Imitation of life (photo: D. Matvejev/Proton Theatre) „We would have had 4 guest performances with it, to Rome, to Madrid, to Turin and to Tampere…“


8th May, Santiago de Chile


In this photo I’m in my apartment in Santiago de Chile.  I live very close to downtown, almost there. Few months ago we were living our revolution and the streets of my neighborhood were full of people all the time. We were angry but happy. Something very important was going on and we had the future of our country in our hands. That idea made us dance and laugh and share animated conversations every day. We danced a lot.  My neighbors and I literally danced at night in the middle of our street. We shared food and wine. The streets were deeply alive. Now we are in the opposite scenario

>> Continue here

7th May, Montréal


„Four Long Moments Near the Beginning“ : On March 17th 2020, I wrote: One of my first thoughts in the early days of the pandemic was: social distancing and closing borders, those are things dictators like. I knew I had to be careful how I said such things. These were also scientifically proven strategies to reduce exponentiality, contain the situation and reduce harm.

>> Continue here


7th May, Bucharest


I am trying to respond to the question of “What artistic contribution could interact with the current situation?” in this particular framework, with the resources and the medium of expression it can offer in times of spatial isolation and physical distancing imposed by the coronavirus crisis. I agree with the necessity of new artistic statements, voices and contributions within the current landscape, which is also a landscape of struggle. At the same time, as an artist I don’t think the arts should try to keep the same pace of production during these few months, when faced with such a reduction of possible communication spaces:

>> Continue here

5th May, Ljubljana


Physis is a face of nature, body is expression of it. It looks beautiful, graceful and sublime. But it’s also cruel, violent, hostile and painfully pragmatic. Power. We have all in our hands, our legs, our intestines and our germs. Our bodies are colonized, our minds are possessed. Intellect is conditioned, organs infected. Our inner politician demands regulation of nature, our hidden anarchist screams to accept the rules of chaos. It’s time to let the body to speak before the machines will liquidate the language of pain and make us stop to listen.

This video is a part of our preparation for a new piece with the working title “Physis. Where does it hurt?” It was created during lock-down due to covid-19 pandemic 2020.

Video by Bojan Jablanovec & Anita Wach
Music by Eduardo Raon / Add music: Dooley Wilson, As Time Goes By
Produced by Via Negativa, 2020