Dalija Acin Thelander

 “Fields of Tender” is a performance created in the frame of Dalija Acin Thelander’s three-year research project “Towards sensuous ecologies, Rethinking ableism in choreographic and movement practices”, carried out at Stockholm University of arts and supported by Swedish Research Council. The purpose of the research is to develop new transdisciplinary artistic methods that are attuned to neurodivergent perception, enabling the experience of communality, inclusiveness and empowerment through immersion, choreography and body practices. The project aims to generate knowledge concerned with fostering sensory immediacy, kinesthetic-embodied response, affect, and intersubjectivity. It aspires to explore new ways of performance structuring which draws on the notion of liminality and on ‘open work’ as an artistic method for devising contingent, inherently unpredictable and unrepeatable performance structures and frames. Fields of Tender poetics revolve around the notions of tenderness, affection, love and sensual; in/tangible, imaginary and ethereal; generosity, empowerment and togetherness - spiced with extravagance and allure.

Alba Ramió i Güell

Cavitat f. it is an invitation to enter inside me and through me. It is a scenic project that seeks to identify what is the memory that remains in the body, what forms of expression it has and if it is possible to resignify them. All crossed by inheritance and the somatization of relations.
It is a performative solo characterized by the expression of the circus and not by the form of the circus. interdisciplinary and personal.
We are in the research phase and we are looking forward to sharing the material and being able to discuss impressions.
In this residency at Arts Printing house we have had the opportunity to work on the dramaturgical concept and test technical elements. From Spain, on the stage: Alba Ramió i Güell and from outside: Angeles Ciscar.

Izabelė Kuzelytė, Alise Bokaldere ir Jason Dupree

We are questioning the assumption that art needs the sacrifice of the artist to be created. This project and process is new for all of us. We have chosen to focus on in the project, not what we are making but how we are making. As artists working professionally in the field, we have noticed a lack of wellbeing for artists. Most of the time the art becomes more important than the experience. So we are approaching this creation starting from the artist. From physical, mental and financial sustainability. We want to challenge the system we are used to and create an environment that is suitable for both the artists and the art.

Julian Vogel 

CERAMIC CIRCUS is a glimpse into a universe, into my very personal world of objects and bodies in motion. Partly absurd and senseless, but it is also fascinating, beautiful and always surprising, because suddenly things are possible that you thought were impossible. It is a contemporary reference to the traditional circus and its great quality of making the seemingly impossible possible, of creating illusions in which worlds are created.

Lizeth Wolk & Aleksey Smolov  

 NOT TO BE MENTIONED is a performance exploring the topic of single parenthood through self-analysis, accessing our own memories (cognitive and material) of childhood and finding the ways to embody, transpose and communicate findings through our artistic practices and points of interaction. The show digs deeper into understanding the possible pair dynamics leading to a single parenthood, social constructs and stigmas, as well as how being a single son or a daughter of a single mother results in our habits, choices, actions and perception of the life, when we are already around the age of creating our own families. What are we searching for in a partnership? Why do we continue hanging on to a sinking ship or why do we quit so easily? How does one show that the love that they once had for the other has disappeared? How does one show love?