Tupperware / Garage29 (Belgium)

Tupperware’s proposal is to invade theatre, overflow the scene and attempt to
open the imaginary spaces, working with a surprising object: the trash bags, some containers for our subconscious waste. Monsters is the reduction of our reality to the aesthetic beauty of a garbage bag. A Garage29 production, in co-production with Theatre La Balsamine, Halles de Schaerbeek and Marni Theater in collaboration with Danscentrumjette.

When Nicanor de Elia and Sabina Scarlat meet, the resulting artisting frame is GARAGE29, a dance studio and residency space and Tupperware, the associated artistic activity. This company develops its projects by attracting international artists and its goal is to seek a total commitment of the involved person as well as the need to succeed. The company initiates and organizes residencies, workshop-creation with public presentations or Free Hands and also organizes an OFFESTIVAL, focusing on the gathering of the artistic community, the use of space and the relationship to the public.

Sabina Scarlat, Sari Brunel, Tiziano Lavoratornovi, Nicanor de Elia

Duration: 30 minutes


Isabella Soupart (Belgium)

Alexandra Oppo, young perfomer, is the Great grand-daughter of Cipriano Oppo’s, Cultural Minister and Mussolini’s right-hand man. In this performance she queries her family’s history and its involvement in Italy’s 20th Century political, historic and cultural upheavals.

Isabella Soupart after studying graphic arts in Brussels, she trained with a number of prominent choreographers. In 2000, she founded her own company to pursue her unique brand of work which lies at the intersection of many different disciplines – theatre and dance, installation and performance, architecture, moving image and Fine Arts. This has enabled her to develop her own unique creative process. The result is a process that is completely committed to immediacy, as the unscripted performance unfolds spontaneously.

Dutch-Italian Alexandra Oppo entered the Brussels Conservatory in 2008 and she continues to explore different forms of expression: contemporary dance with Roxane Huilmand, Argentine tango, exploration of sound as of writing, solitary. Eager to test her camera-presence, it is during a summer film-workshop in 2012 that she meets Isabella Soupart.

Concept and Direction Isabella Soupart; Performed by Alexandra Oppo, Charles François; Light Design Jim Clayburgh; Visual artist: Jonathan Sullam

Duration: 20 minutes


Meytal Blana (Belgium)

A search after authenticity. The work Aurora arose from the stories of wild children (Feral children), children that spent the first few years of their life with no human contact; either raised by animals or secluded by abusive parents. While dealing with this subject, I came across the story of Genie: A child that had spent the first 13 years of her life strapped to a potty chair, locked isolated in a room. After her discovery in 1970 she continued to be passed on between different authorities, scientists and social workers. Her development of an alternate human physicality was a gripping matter. People seemed to be drawn to her, also me. This piece is dedicated to her.

Born in Israel, Meytal Blanaru is a Brussels based dancer, choreographer and teacher. Since moving to Europe, she has been working with Lisi Estaras in »Les ballets C de la B«, Damien Jalet in »Eastman« Dance Company, Samuel Lefeuvre, Roberto Olivan, Monia Montali and Yaron Shamir. She uses the Feldenkrais method as a base for her work, inspiration, and her approach to learning. Her artistic work has been supported by Associazione mosaicodanza, The Suzzane Dellal Center and Danscentrumjette. Meytal is the DCJ-resident for Spider Expand! (2012-2014).

Created and performed by Meytal Blanaru; Music: Noam Dorembus; Costume de- sign Yaarit Eliyahu; Diffusion Seventyseven Productions

Photo by: Leif Firnhaber Pinós
Duration: 16 minutes


Paul Blackman & Christine Gouzelis (Greece)

Within an unknown place and time, we search for the sensible version of a couple’s transparent and sober reality which scars their fragile state of mind. A theatrical displacement with a physicality that embodies the characters, leads us closer to a common connection with the performer and its audience. A cycle of attraction and decay that is full of contrasts and contradictions. Only to discover that this observation is of a lucid dream.

Christine has performed under names such as Jasmin Vardimon, David Zambrano and Hellenic Dance company. Her roles in performing, assisting choreographically as well as rehearsal director has also allowed her to participate in many interna- tional productions. Christine has toured the U.S.A., Australia, Asia, Scandinavia and Europe collaborating, performing and leading professional seminars.

Paul has previously performed with such companies as Jasmin Vardimon Company, Rootlessroot, Battery Dance Company, West Australian Ballet, Buzz Dance Theatre. Known for his versatility Paul has assisted choreographically for various artists including the “Dancing to Connect” programme which has currently reached over 54 countries worldwide. With a great passion towards sharing Paul leads professional and educational dance workshops for various institutes and studios internationally.

Performers Paul Blackman & Christine Gouzelis, JukStaPoz; supported by Dance Cultural Centre (DAN.C.CE)

Duration: 20 minutes


Saša Božić & Petra Hrašćanec (Croatia)

Love will tear us apart is a solo created for performer Petra Hrašćanec. The work itself fuses several genres and is somewhere between a rock concert, confession and abstract dance. The question of ownership over the performance at first was positioned within an abstract dance frame dealing only with the body and the politics of observation, extremely expanding into a broader arts and social context. Love in the title relates to love for dance, the act of dance itself, while the work debates the difference between dance and its realization as a social event through the constitution and definition of the performer herself. Performer Petra Hrašćanec executes dance numbers, chosen love songs, while in the intermission we are to learn about seemingly ephemeral details about the origins of this production, weaving a fine net of relationships between powers which define the act of performance. The audience is invited to actively take on the responsibility about the sequences in the hierarchy of the act of performing.

Saša Božić, a theatre director who is equally fascinated by dance, frequently works in tandem with choreographers to produce shows that incorporate elements of both contemporary drama and dance. His fascination with popular culture came to the fore in Love Will Tear Us Apart that is very much a celebration of dance in its more contemporary, abstract forms.

Petra Hrašćanec is one of the most eminent Croatian contemporary dancer, she is the winner of Croatian Drama Artist Society Award 2012 for her performance in Love will tear us apart.

Luka Švajda was born in 1995 in Požega. He attend dance workshops in Croatia and abroad and he has participated in Aida of the Croatian National Theater, in Kids in a play of Anton Lackhy and Re-wired choreographies for the preconscious body of Martin Sonderkamp.

Concept Saša Božić; Choreography Saša Božić, Petra Hrašćanec; Performed by Pe- tra Hrašćanec / Luka Švajda; Music selection Saša Božić, Petra Hrašćanec; Producer: Štefica Bartolin; Production: de facto

Photo by: Danko Stjepanović
Duration: 30 minutes


Loge 22 (France)

Konkretheit allows us to address the two main lines of our artistic approach : the choreography, its essence and its format – the restitution mode to the viewer. How, in which place, in which environment or context do we present this work to an audience to amplify their perception and sensitivity of the movement. The concept of Konkretheit is simple. To extract from the most raw material a poetic form, an elsewhere. The goal is to focus on the concreteness (Konkretheit) of movement to reveal a dance. Take Displace Cut Carry Carve Spread Attach Dig Weave Hammer Crush Pick Blow Match Strike Serve Release Insert Smooth Lift…

Loge 22* is a frame for research and creation of moving art forms, bringing together authors and performers. Loge 22 is conceived as a choreographic laboratory which promotes a political concept centered on the cooperative. With this guiding principle, 10 projects have been created since 2005, based on ideas by one or two authors but developed by all of the members of the group.
Loge 22 co-organises SPIDER and managed, for two seasons, an artistic-residence venue in Lyon: Rhizome.

Created by Marie Goudot, Thomas Michaux, Julien Monty, Michael Pomero, Adam Weig, Sandy Williams; Music Loge 22; Régie Générale Lise Poyol; Production Loge22; Supported by Rosas, Anne Teresa de Keersmaeker, Forest Centre Culturel, collège des Bourgmestreet Echevinsde Forest, Raffinerie, Charleroi Danses; Financial supported by DRAC Rhône-Alpes, la ville de Lyon, la Région Rhône-Alpes

Photo by: Loge 22
Duration: 20 minutes


Collectif Piquée d’un faune : Sylvie Bouteiller et Pauline Rigot-Muller (Belgium)

Our aim is to entirely match the curve of the productive perception and the making of a functioning space of sensations and empathy in the repetition of short mo- ments, where physical vibrations and vibrations of sound and light are in a dialogue. The device that projects the images gives the notion of rhythm. The photographs, originally on film, articulate space and time. The immediacy of a body that oscillates between human and chimerical representation. The sound explores the notion of grain in the sound spectrum.

At the crossroads of fields, where performance and composition are creative act, Sylvie Bouteiller’s favorite instrument is the amplified microphone and bitten acid where physical gesture and poetic gesture dialogue with the imaginary. Sylvie discovered electroacoustic music through concrete experimentation of sound material in her improvisations and installations and composed the acousmatic music.

Pauline Rigot-Muller, painter, dancer, choreographer, earned an MFA from the Ecole de Recherche Graphique in Brussels. She collaborated in the piece «Trio», choreo- graphed by Roxane Huilmand in 2008. Her first solo painting exhibition took place in 2009 (Gallery Caroline Vachet) and since then has participated in many painting exhibitions all over Europe. She has worked in different dance pieces: Human after All, Landscapes in an open cage, Back to wate, Inner Skin, etc. Since 2007, she is a member of the collective Piquée d’un faune. Her aim is to find a language that merges several artistic disciplines, ranging from performance art to painting.

Performers Danse Collectif Piquée d’un faune : Sylvie Bouteiller, Pauline Rigot-Muller; Support Danscentrumjette; Dispositif de projection Julien Maire

Duration: 15 minutes


Matej Kejžar (Slovenia)

In This Is Not a Hit, his latest work, Matej Kejžar, the choreographer, dancer as well initiator and artistic director of Spider Expand!, turns back to the body; to liberation from all its connotations and representations; to persistence in exhaustion which is simultaneously a driving force of movement and the production of pleasure. Kejžar, who has recently collaborated intensively with, in tandem with the drummer Marjan Stanić in an solo drumming tour-de-force that lasts for over an hour dissects established rhythmic patterns in such a way he barely lets himself breathe or the spectator watch.

Matej Kejžar finished SNDO in Amsterdam and he joined The X-Group. He worked with several production houses from Ljubljana such as Maska, Exodos, PTL, Emanat. As a guest choreographer and teacher he was invited to P.A.R.T.S., SNDO, SEAD, TSEH, TUNA, Deltebre Danza, DejaDonné, ZPA, etc. He lives in Brussels, working as a member of Rosas and he works on his own practice called Time & Space Re-Mixed.

Concept, choreography, performace Matej Kejžar; Music, live music Marjan Stanić; Light design Petra Veber *; Technical director *Hipi Jaja; Video technique Andraž Avsec; Producer Žiga Predan; Production: Pekinpah / Kink Kong, 2009

Photo by: Matija Lukić
Duration: 50 minutes


Leja Jurišić, Teja Reba (Slovenia)

Durational performance Sofa is a context specific event. Authors each time develop its context in relation to the political situation and broader event in which it is performed. “A decadence of figures, performed by Leja Jurišić and Teja Reba in the performance Sofa, illustrates the erosion of cultural and neoliberal Europe and the ever stronger rejection of intellectuality. A stinging performance in which each individual spectator can choose their own rhyme“.
Helmut Ploebst, Der Standard, 4 December 2010

Leja Jurišić graduated the Science of Law and in 1991 she won the title of National Champion of Yugoslavia in gymnastics,. As choreographer she created the critically acclaimed solo R’z’R and with Teja Reba they also created Between Us. As a dancer and performer Leja collaborates with artists such as Tim Etchells/Forced Entertainment, Sebastijan Horvat, Janez Janša and Meg Stuart.

Teja Reba is an evolving interdisciplinary artist that grew up between Yugoslavia and France. She has collaborated and toured extensively with theatre director Janez Janša. She began to devellop her own work in collaboration with the choreographer and performer Leja Jurišić since 2007. She is working closely with Loup Abramovici with whom they created the event 650 experiences.

Authors and performers Leja Jurišić, Teja Reba; Light design and scenography Petra Veber; Production Žiga Predan; Production Pekinpah / Kink Kong

Photo by: Petra Veber
Duration: 20 minutes

Pascale Barret hybrid Artist of the International Scene, plays with tangible and virtual media, science and history to address issues of identity. She combines and distorts practices with the growing awareness that technology tends to transform our perception of self and Others. Since 2001, she has exhibited her visual and per- formative art work in solo and collaboratively, in flesh and online. Pascale shares her practice around reading, residency, workshop, curating and collaborates in art and science research laboratories. In 2010, she got an award to attend Interactive Screen at the Banff Centre (Ca). Pascale takes part in the programme SciencesPo Experimen- tation in Arts and Politics spearheaded by Bruno Latour.

Jim Clayburgh is one of the original members of The Wooster Group and was their resident designer from 1976 to 1995. And designed theater pieces at the Salzburg Fes- tival, Pepsico Festival, The Performance Group, The New York Shakespeare Festival, The Ontological-Hysteric Theater, Creation Company. Recently, Mr Clayburgh has directed and designed “LOLITA”, an imagined opera based on the novel by Nabokov and “Line of Oblivion”, a musical/ theater piece based on a short story of Carlos Fuentes and designed a new opera “Lear, A King” by Francois Sarhan. Currently he collaborates with Johanne Saunier in the company Joji Inc.

Sari Brunel studies Applied Arts at Duperré School in Paris in Stylism and Textil De- sign. She then proceeds with her training at the Opéra de Paris and Théâtre du Soleil, La Cartoucherie. From that time on she gaines experience working successively as designer for Joseph and Du Pareil Au Même, decorator for the Lafayette Galeries in Paris, tailoress at the Théâtre du Frêne with Guy Freixe, and the Théâtre de la Mon- naie in Brussels. Beginning of 2012, she joins the Tupperware Company (Garage 29) for whom she designs the entire costume wardrobe set for their show Monsters.

Rafael Muñoz-Gomez, fascinated by electronic music for years, has been playing as a dj in Brussels since 2004. This passion for music, especially for the minimal techno movement, led him to get into the Royal Conservatory of Mons (Belgium) in the Acousmatic Composition class of Annette Vande Gorne. Rafael is keen on repetitive music, rhythm, sound features and the study in minute detail of it. Nowadays, he tries to base his work on a mix of all these elements. He played various experimen- tal live dj performances in festival such has Festival Transnumériques, City Sonic, Festival Résonances, Museum Night Fever at La Monnaie and the MyMudam days at the MUDAM, museum of Modern Art of Luxemburg. Rafael is also in charge of the acousmonium of Musiques et Recherches since January 2014.