Asa Horvitz - A Dream That Belongs To No One
Sometimes a dream gets all over my body and won’t leave me alone. It’s sticky or rough or just a constant pressure on my chest, stomach, groin. The image and feeling linger for days and something, slowly, almost
imperceptibly, changes in me. Then I think of Ibn ‘Arabi, who wrote of the Alam-al-Mithal, a layer of reality in which dreams and images exist without us. The presences in the Alam-al-Mithal are not made up,
but have their own desires and needs.
It’s interesting that a dream is always whatever image. It’s specific, absolutely exact in its details, but it doesn’t matter what it is. What matters is that it arrived, it grabbed me, it came from somewhere, I can’t say where, but I can feel that it needs attention.
A Dream That Belongs To No One opens up an in-between space for images and dreams to emerge. In an attic at the hour of sunset, long wires tuned to the resonant frequencies of the space are bowed and plucked, creating a sonic landscape in which the audience is invited to sink in and let the hours pass. Through a process (score) in which songs, gestures, and physical actions are re-arranged and looped,
performers create an environment for whatever images to arrive, be listened to, argued with...
Asa Horvitz is a composer and performance maker whose work has been presented in the US and Europe. He studied composition with Alvin Lucier and Anthony Braxton, and spent seven years studying psychoanalysis and various ways of working with dreams. Recent work has been supported by Fondazione Prada Milano, ResKeil, Goethe Institut Hong Kong, and IMPOSSIBLE BODIES (NL). Asa lived in Poland and New York City before coming to DAS, and besides A Dream That Belongs To No One, is currently working on BASEBALL, a performance examining US mass shootings as an instance of possession by images, and GHOST, a staged concert using an AI system to think otherwise about archives and death.
Szymon Adamczak, Nahuel
Cano, Venuri Perera, Oneka von
Schrader, Camille Verhaak
Broedplaats Bogota, Scott
Gibbons, Marta Keil & Grzegorz
Reske, Jaxyn Randall
Tom Oliver Jacobson - Porcelain
a crisis only brings to light what was already there: the fearful and anxious, the ones who wish to save themselves, the ones who preserve, condemn and moralise, the ones who self-loathe, the ones who hope, the ones who cease very fast to hope; they were already there all along.
and they were afraid that the tools of killing would one day be taken up in their vicinity – and from one day to the next: dry account, bad credit, bad breath, and a lot to lose: friends, career, property, even their life.
but they never feared that those same tools would be picked up and used, even with a certain pleasure, by themselves.
long after their time, and after their archives had been lost, what remained in memory was a cabaret, hosted by the ones who remained– a reenactment of their values, failures, joys and conversations, the acts they loved, and the acts they forced onto others. the guests are invited to temporarily sit in the chairs of the Immunes, to live out their forgotten pleasures, if only for a night.
As a theatre maker and curator, Tom Oliver creates immersive works to present temporary glimpses of worlds outside of the dichotomy of utopia and dystopia. As a strong critic of the notion of capitalist realism and
its assumed universality, they believe that immersive theatre can offer ephemeral other worlds that serve as a multi-layered tool for an embodied imaginary. Artistic director and co-founder of the performance collective Tlön (2015-2019), and the recurring performance conference Human Life Center (2017- 2019). Recurring performer in the award winning performance company Sisters Hope (2015-) Co-conspirator for Current: A Space in Amsterdam together with Pankaj Tiwari. Currently active with the tentacular institute DUST (2020-). Tom Oliver Jacobson Porcelain
Concept & ideation Flavia Pinheiro, Tom Oliver Jacobson
Text Flavia Pinheiro, Tom Oliver Jacobson, Carolina Bianchi
Performers Flavia Bacteria, Tom Oliver Jacobson, Bondage Jane & Alexander, Pietro Elia Barcellona
Costumes Richard John Jones Maquette design Marie Panken Music Pietro Elia Barcellona Technical Support Paula Montecinos, Carolina Bianchi
Intern Vicky Athanasiadou
Light Design Udo Akemann, Harco Haagsma
Mariana Senne - I love you but I need to kill you now
The audience is invited to a seat around the table. Down there an inside world: a chamber of wonders, the fear room, a cage, a membrane in which time and space run differently, the sea, a place where we can
talk with the ghosts.
Down there a rebellion takes place. A kitchen rebellion.
You say love, I say unwaged work.
You say smile, I say pay for it.
You say post-colonialism, I say colonialism is a deep wound that is always re-experienced in the present.
You say peace, I say reparation.
Down there is a search for the inner motives of the rebellion of the wife, of the mother, of the sister, of the grandmother, of the daughter, of she.
The performance is both an exercise in unlearning patriarchy and a big mockery pull. Mocking the white man. More precisely, mocking white man’s logic. Mocking as a strategy of rebellion. The performance is exaggerated, full of humour and irony. The performance offers to the audience different types of spectatorship and thinks through the different politics involved in those various modes. The performance is an invitation. An invitation to light the match.
Mariana Senne, born in São Paulo, Brazil, is a Berlinbased theatre maker and performer, who in her current research explores intercultural theatrical practices, developing new forms of staging, with a focus on feminist and postcolonial themes. She was a member and co-founder of one of the best-known and most innovative groups in São Paulo called Cia São Jorge de Variedades. Since 2013, she conceives her own authorial projects inviting collaborators to work with her. Mariana is a maker, a musician and a performer. She is at the same time an experienced, many sided artist and a thinker with a heart for activism.
Daniela Guse, Danilo Grangheia,
Jan Brokof, Kathleen Kunath,
Nadia Bekkers, Renan Marcondes,
Rodrigo Batista, Thiago Antunes
and Zé de Paiva.
Anta Helena Recke
Thais Di Marco
Eli Steffen - Ephemeral Archives
Ephemeral Archives is a participatory, ritualistic performance which invites audiences to sit into what is and is no longer. In an unfolding environment of clay sculptures and moving bodies, a practice of contemplation and touch grows through observation and engagement with moist, wet clay and its varied temporalities. Clay offers its own clock through cycles of drying and rehydrating. It takes the outline of the sculptor’s shape through movement but also pushes back, reshapes the human.
Drawing on lessons of New Materialism, Ephemeral Archives is a space of indeterminacies. The sculptures and movements serve as invitations for non-corporeal entities (ghosts, ancestors, divinities, etc.) to inhabit the space and the minds of the performers and audience alike. Rather than being preoccupied with what is real, Ephemeral Archives is a moment to sit with and expand into the questions, the uncertainties, maybe even the indeterminacies of the ghosts and hauntings we bring with us. To sit together with what is and what is no longer, what could be, what might have been, and what might still be.
Ephemeral Archives asks: How can we sit with the past that does not pass? How can we sit with this now, pregnant with what has been, as it stretches on? How can we be together with the losses and all that haunts this moment? And how can form, movement, and connection help us open together in ways we cannot alone? You are invited to sit with us. What forms will you choose for yourself and which will you offer?
Eli Steffen (She/her) is a speculative artist working in the fields of performance, visual art, and curation. At the heart of Eli’s artistic practice is the pursuit of a queer belonging, an effort to entangle with others and the world beyond the normative structures we have inherited. She seeks stories and visions of alternative possibilities and their monstrous others: faggots and sissies, chthulus and fairies, trash heaps and ghosts. Eli has been commissioned and produced by Gay City, On the Boards, Studio Current (Seattle), Risk/Reward (Portland), Dixon Place (New York), and Vashon Center for the Arts (Vashon Island), among others. Her curation has been featured in the Special Effects Festival (New York), and NW New Works Festival (Seattle, WA). This production is made possible through support from DOOResidency.
Performers Agat Sharma,
Ainhoa Hernández Escudero,
Lights Vinny Jones
Special thanks to Lewis Young
Tchelet Pearl Weisstub
Pankaj Tiwari - TENT: A School of Performative Practices
I grew up listening to a story from my father, about a mountain and a person. There was heavy rain, and people did not have anywhere to go. One person took courage and lifted up the mountain and everyone could come in. TENT: A School of Performative Practices is that mountain, a space of possibility and imagination, which invites all(most) to come in. It is temporary and creates a space of collective imagination.
When I see institutions around, I feel that they have strong buildings, technologies, resources, but they lack space for listening or most of the people do not feel represented by these institutions. These institutions become static. The air circulating in those buildings is too old and has started stinking.
TENT is an open space, body and structure, with fresh air. Being without a building, the air can circulate well. Space, where we can all imagine, try, converse, think and create, all the possibilities, which we can not do in other spaces/institutions. In front of the big buildings, the TENT can be seen as very weak. It can even fly just with the wind, but this is its strength. This is how TENT is accessible and gives space to others. We want the TENT to be a catalyst and do not want it to exist permanently.
On its opening, TENT: A School of Performative Practices invites artist Sarah Naqvi with their poetry (There has been a Death), Dimitri with their workshop on collective thinking and institution building, Rinella with her new visual works, and Pankaj with his negotiation conversation on the European dream. This is the opening and inauguration of a real school and its practices. TENT represents a collective manifesto of non-Europeans, living in Europe. TENT itself wants to be a learning subject and develop according to what it can learn while doing it.
Pankaj Tiwari is a theatre maker and curator from Balrampur India, currently based in Amsterdam. He currently works as co-curator with Zurich Gessnerallee, Switzerland. In January 2020, Pankaj initiated Current: a Space, Amsterdam, which curated performances and worked to build a new audience and a culture of intersectionality. Pankaj uses theatre, food and farming as a medium for community building. He is part of collective Inquilab with Sarah Naqvi and founded Insquare foundation with artist Dimitri van den Wittenboer, in Amsterdam. His selected work includes Fireplace (21), We are Here (21), Less is More (20), The Art of Walking (20), Doing Time (20), Being Home (2019).
Pankaj Tiwari (artist, creator),
Dimitri van den Wittenboer
(artist, co-creator), Sarah Naqvi
(artist, collaborator, co-thinker),
Rinella Alfonso (artist, visuals,
collaborator), Maria Magdalena
Kozlowska (artist, performer),
Tom Oliver J (conversation partner),
Agat Sharma (conversation
partner), Arijit Laik (text editing,
Nan van Houte