studio 2.06

Paula Montecinos Oliva


In the DROP

28 & 29 October 2020

‘In the DROP’ is the set-up and crafting of a performative soundspace for re-existence. It is the reassembly of an an-archic body to reimagine a world to come. A soundspace that merges precarity and excess, abundance and fragility in a constellation of sonorous events overlapping and agglomerating around listening. An emergent system that involves forces of aliveness and violence, coupled at once, as one.

Working with the performativity of live sound, movement and voice, this research is carried out with the aim of subverting anthropocentric and colonial worldviews and modes of relation between bodies and materials, in favor of the coexistence, difference and affective proximity.

After the catastrophe, we listen; variegated, we explode. We aim for a bond in complicity and commitment. A perceptual engagement, from the quiet sounds to the noise that stretches listening. We listen through the vertebrae, through the soles of the feet and the back of the mind, for an auditory imagination unbound from capitalism.

 ** This sonic choreography was created in alignment with the social distancing measures of the global pandemic. While being presented for a small group of people in a multichannel sonic space, the sound is rendered and live broadcast through a digital radio to be listened to by a distant audience. In this way we are able to reach wider and unexpected audiences and explore the limits and convergences of virtual and actual presence, with listening as a mode of touch and connection through distance.

Sound and choreography: Paula Montecinos Oliva
Performance and collaboration: Karina Villafan, Tiana Hemlock-Yensen
Installation: Pedro Matías, Paula Montecinos Oliva
Artistic advisor: Fernando Belfiore
Artistic assistant: Flávia Pinheiro
Web and image: Andy Dockett
Broadcast mixing: Nahuel Cano
Research mentors: Hypathia Vourloumis, Katarina Batasaki, Constanza Piña Pardo

Thanks to: Thais Di Marco, Andy Dockett, Veza Fernández, Gabriel Milliet, Rodrigo Batista, Corazón de Robota, Annick Kleizen, Johan Mijail, Alice Chauchat, Konstantina Georgelou, cumpanis at DAS Choreography, Geert Oddens, Udo Ackemann.

Paula Montecinos Oliva is a Chilean choreographer, sound artist, somatic practitioner and researcher currently based in Amsterdam. Through her work – ranging from dance performance, concerts and sound installations – she proposes practices of affective proximity and auditory imagination as a way to investigate perceptual differences and challenge hegemonic-monotonic thinking.

Phoebe Osborne

Release the Horses (fka hydra)

In 2019, Phoebe Osborne began developing a trio titled hydra; a many-headed collective body in constant change, set to be performed in April 2020 for their masters presentation. Due to the implications of the COVID-19 pandemic, hydra lost this particular tendril of existence and a new solo work, Release the Horses (fka hydra), took its place. This solo attends to a void while carrying the imprints of hydra and the many voices that it held.

Choreography and performance: Phoebe Osborne
Dramaturgy: Karol Tymiński
Sound Score: Colin Self
Costume Design: Anne Cousineau
Videography: Lazar Bozic with assistance by Sam Taffel
Pre-pandemic Collaborators: Talya Epstein (performer), Lu Yim (performer)

Phoebe Osborne would like to offer special thanks to the following colleagues involved along the way: Sher Doruff (advisor), Will Rawls (mentor), Yasi Alipour (text editor) Jeroen Fabius, Annick Kleizen, Mikki Stelders, and Jordan Strafer.

Phoebe Osborne is a visual artist and choreographer based in Brooklyn, NY. The relationship of bodies and environments in their imminent and intimate negotiations drives the results of Osborne’s practice with video, sculpture, performance, and sound, offering various textures of exchange and kinship. Their process is a method of thinking about enmeshment as a politically complex aspect of participating within the world, prioritizing extensions of physical and psychic movement.


Osborne's works have been presented within the US and Europe, including commissioned performances at Transmediale Berlin, La Caldera Barcelona, SFMoMA and Oakland Museum of California, and Lenfest Center for the Arts. They have exhibited at False Flag (Long Island City), Southern Exposure (San Francisco), The Boiler Pierogi Gallery (NY), E-flux Bar Laika (NY), and Lenfest Center for the Arts (NY). Osborne was a 2017 recipient of the DanceWEB scholarship at Impulstanz in Vienna and is a current resident artist at the Hercules Art/Studio Program in Lower Manhattan. They hold an MFA in Visual Arts from Columbia University and are currently completing a masters at DAS Choreography in Amsterdam, NL. Osborne has an upcoming fellowship at A.I.R. Gallery in New York and performances in the FLAM Festival in Amsterdam later in the year.


Reza Mirabi

Time Will Tell

Time Will Tell was shown at DAS Graduate School on June 26 and 27, broadcasted on radio on July 9, and presented on site in adapted version under the Zeeburgerbrug on 14 August, and will be shown again at Veem House for Performance on 16 October, 2021.

Documentation video of performance.
Radio broadcast.

Time Will Tell is a choreographic storytelling piece.

‘Choreographic storytelling’ is a practice that I have been coining and developing throughout my studies at DAS. It starts from the belief that every place, object or being is already and always telling ‘their story’. And we might hear these stories when we listen. So instead of overwriting these stories, what I see as crucial is to practice listening which in turn affords us to rather co-compose with all these stories that are already being told in this very moment. This is what I am pursuing with my Graduation piece: To look at listening as a choreographic process and political tool. What I started to notice is how listening is intimately interwoven with time.

The format of my Graduation piece is a conversation between 3 figures that meet in their deviance to time: The first is Nawal, a pigeon that moves backwards in time, the second is Moj, a wave that by meeting the shore over and over again slowly carves a threshold into the now, and the third is Zamin, ground, field and soil, who just cannot understand the clock and so lives forever in cosmic time. Their conversation is made up of fragments of memories and songs, poems and sounds, questions and dreams. They reimagine the lost art of conversation as a ritual of tending to time. A ritual of listening into places of yesterday. A ritual of remembrance and of fictioning to imagine what remains after all is lost.

Time Will Tell is a work that connects many artistic disciplines: the choreographic, the theatrical, the scenographic, musical composition and storytelling. 

With: Phoebe Osborne, Mina Tomic, Marko Ivic
Sound composition: Marko Ivic
Sound tech: Alexandros Papamarkou
Advice: Bruno Listopad, Liesbeth Groot Nibbelink
Video recording: Jan-Willem de Graaf
Video edit: Adèle Grégoire

Thanks to Fernanda Libman, Alexander Blum, Sher Doruff, Jeroen Fabius, Annick Kleizen, Rosanne Jonkhout, Márk Redele, Vera Morais.

In loving Memory of Mariana Nobre Vieira.


Over the last 3 years during his studies at DAS Choreography, Reza Mirabi has been imagining choreography as a process of listening.

”Rather than listening to, I look for ways to enter into a state of listening and remembrance and thereby to shift in the background. What are the political and aesthetic implications for today that listening inherently proposes? To enter in a state of listening can be a somatic, peripheral and even synaesthetic process and thereby never limited to our ears. In a state of listening, we feel movement, hear time, sense the forgotten, unfold memories, and see the unheard.”

Emmilou Rößling

Copernicus Drifting

A dance with and from Amanda Barrio Charmelo, Rachell Bo Clark & Emmilou Roessling.
15th of October 2022, 8pm at DAS Graduate School.

How can something so slippery as dance, that basically disappears the moment it is over, be preserved? How can something be shared that vanishes, and how can something vanished be passed on? Dance poses a problem to ways of recording and remembering, and perhaps also to what it means to make something. “Copernicus Drifting” ventures into the shady terrain where looks deceive, words hide behind their meaning and dance turns on itself.

Three women are dancing together, evoking a space that is contemplating the notion of paradigm shift, an irreversible advancement within a discipline and the tension generated between new forms of knowledge and the necessary coming to an end of established world views. These overlapping ambiguities, drifting time and space and that what is left in the intervals of transmission, link to sensations of anxiety and grief paradoxically experienced as a doubling of a wishful anticipation of what has yet to come.

Choreography: Emmilou Roessling
Performance: Amanda Barrio Charmelo, Rachell Bo Clark & Emmilou Roessling
Original Music: Mårten Spångberg
With dances derived from audio described contributions by: Vincent Riebeek, Isabel Lewis, Anna Nowicka, Fia Neises, Tarren Johnson and Alice Heyward

This is a first showing for a future piece that will premiere in the fall of 2022 with Tanzfabrik Berlin. Supported by Dis_Tanzen Förderung, Studienstiftung des Deutschen Volkes.


Emmilou Rößling is an artist working at the intersection of choreography and visual arts. Her work evolves around questions concerning representation and perception often striving towards different forms of camouflage. Recent pieces include THE FRATERNITY (2020), FLUFF (2019), WATER COOLER CHAT (2018) and CASCADE (2017), presented in different contexts like Judson Church New York, Kunstverein Moabit, Sophiensaele Berlin, Impulstanz Festival Vienna, Arsenic Lausanne, Beursschouwburg Brussels, Mousonturm FFM, Uferstudios Berlin and Frankfurter Kunstverein. She studied dance and choreography in Gießen and Amsterdam, and is currently studying at the Städelschule in Frankfurt.

Josefa Pereira

Pink Bestiary: Glimpse

Pink Bestiary is the insistent appearance in my trajectory within this master, and it is in the process of an artistic research that keeps searching for its strategies, questions and practices.

This creation, that I sometimes call trilogy, journey, field, or knot, is composed of three different acts for a body anatomically dissected along different axes.

Through ‘Hidebehind’ (front x back), ‘Glimpse’  (left x right), ‘Yet Untitled’ (up x down) which for now takes the expression of a ‘Tiny Lecture’, I have been developing situations that investigate the conditions of appearance and disappearance in a staged situation, thinking through problems around skin and surface, color and light, affect and effect. 

In this investigation, I enter into a dichotomic machinery that is still defining human and nonhuman relations, to ask how it could be tricked, cracked from inside the perception, and through flesh and matter. How to fabulate and act towards the envisioning of an otherwise? How to enter the vertiginous gaps that keep conditioning what is targeted as the other? With insisting while fleeing, and staying while escaping as part of my strategies, I've been investigating how polarities like life/death, human/non human (monstrous and otherness), known/unknown could be bent, twisted, inverted, allowing for contrasts to turn into liminal spaces for existing in the cut, in the borders and in the blind spots, in which one and other could exist in simultaneity, superposition, or perhaps even disappeared.


#1 ’ Hidebehind’ is the monster that inhabits the dark forests without ever being seen. It has never been described and it is known for causing the disappearance of those  it captures. It has the incredible ability of always hiding behind tree trunks or h(a)unting the back of those who dare to walk through dark forests. 

With insistent strides starts a twirl in a journey backwards. By evoking a potential of continuum, and being moved through the dangerous soil that emerges, the performance tensions through seemingly opposite forces - front and back, inside and outside, beginning and end, presence and absence, reality and fiction. 

#2 ‘Glimpse’ is a brief and partial view, or a slight and momentary appearance of something. An image escaping. 

In this investigation, I invent a dispositive that creates a tension between the right and left side of the body that it activates. From this contrasted and rhythmic machinery, polarities are generated and agitated: continuity and interruption, mobility and stillness, visibility and invisibility, verticality and horizontality, as a space for friction, and for deviation through the gaps and cracks. 

#3 ‘Tiny Lecture’ is a movement that intends to approximate and share some of the worries that have permeated this research so far. It is an act for staging and blurring one of the many strategies inside this research process within my artistic gesture: a sewn text - a monster text to be voiced; an essay where Pink ghosts the audience and also some writers in an act of incorporation and possession - to be moved and to move some of the thinkers and the thinking rehearsed so far.

Concept and performance: Josefa Pereira
Light collaboration: Luis Moreira and Vinny Jones
Light props and support: Harco Haagsma and Udo Akemann
Sound: Agatha Cigarra
Collaborators: Aves, Daniel Lühman, Maura Grimaldi, Natália Mendonça, Patrícia Bergantin, Taygoara Schiavinoto Moura Ramos
Photographers: Aline Belfort, Bruno Claro
Video: Sergio Gridelli
Thanks to: Vitor George, Lucas Camargo de Barros and Mafalda Jacinto | Residency EM TRÂNSITO –Temps d'Images, Estúdios Vitor Córdon (Lisboa-PT); Musibéria (Serpa-PT); Casa da Dança (Almada-PT).


Josefa Pereira (BR), performer and choreographer. Based in Portugal, she also lives in bridges and partnerships with her city, São Paulo, where she graduated in Performing Arts (PUC-SP, BR with a PROUNI scholarship), and in Amsterdam where she is graduating at DAS Choreography masters (AHK, NL as a grant recipient of Gulbenkian Foundation). In her trajectory  there are several collaborations and performances in projects of São Paulo artistic scene, context in which arouse interests around collectivity, presence and gesture as a field of aesthetic and political tension. She is currently a performer and creator in "Monstra" directed by Elisabete Finger and Manuela Eichner. "Jaw" (2018) and "Mare" (2017) are pieces in partnership with the artist Patrícia Bergantin with whom she founded Tectonica Platforma. Pereira is currently dedicated to the creation and touring of Pink Bestiary: "Hidebehind" (2018), "Glimpse" (2020), Tiny Lecture (2021) and Yet Untitled, to première in 2022.

Veza Fernández


‘Alalazo’ from ἀλαλά is a force call of one and at the same time many voices entering a battle, screaming, cheering, resisting, giving birth to a moan of ecstatic joy. It is the voice that has to come out shamelessly, exceeding all the prejudices and muting processes it has undergone throughout history. It is the voice that convokes invoking. The female* voice in its most sentient edges explored as an exceeding force. A space of exploring other forms of listening and connection.

In ‘Alalazo’ I, Veza Fernández cast a bodily voice in visceral dialogue with the electronic landscape magic of the composer and producer Rana Farahani (aka Fauna) by dragging reverberation through space and climax until what touches palpitates within the you and me. My voice channels what this dialog brings to the surface of my skin. I become the product of such an encounter, stepping out of me, by bringing it all in. Did you know that listening is sounding what was not audible for the ear before? That the voice is a vehicle that dramatises the relation between the inner, the gut and the outer? Who decides what is in and out anyway. All are equally resonating surfaces: porous, translucent, hairy, dotted, sweated, sensitive like the skin. The instrument of the sentient voice.

In order for this to happen we need to come closer to each other. Before clicking play in order to see the video recording, think about how you can create proximity to the screen or to me. Maybe through using headphones or by softening your gaze, making breaks to look out of the window. Or maybe you need distance and you prefer to cook while you let the piece run by your side. Imagine it is a long video clip to revisit in different moments or you see it all at once. Watch it extremely alone or with your loved ones holding hands, searching for the frequency of goosebumps.


Choreography & practice: Veza Fernández
Music composition: Rana Farahani (aka Fauna)
Space & costume: Sarah Sternat
Production: mollusca productions
Light and sound: Christina Bergner, Lukas Froschauer and Paula Montecinos
Outside eyes, mentors and ears: Lau Lukkarila, Jamila Johnson-Small, Raoni Muzho Saleh, Jule Flierl, Paula Montecinos Oliva, my peers and tutors from DAS Choreography
Photo: Hanna Fasching
Video: Sergio Gridelli

With the support of Stadt Wien Kultur MA 7, Im_flieger, NadaLokal, YAA Young Artsupport Amsterdam, and Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.


A co-production between brut Wien and Verein für Expressive Angelegenheiten.

Veza Fernández is a choreographer and a dance, voice and performance artist based in Vienna. Her work deals with the realms of the poetics and politics of expression as a place of relation, imagination and transformation. Her pieces are sensitive and intense, polyphonically casting a convocation of voices and presences that yearn to move and to be moved. Her background stretches between Philology, Pedagogy, Theater, Music and Contemporary Dance. Fields that in a way or the other influence her artistic researches and modus operandi within art making and art presenting. Her work is strongly rooted locally, infiltrating - from within the underground scene - bigger Dance and Theater institutions.

Alexa Solveig Mardon


Antero crosses realms

Amparo González Sola

La conspiración de las formas

This video was made by Yarara Rodriguez and is a sort of testimony (or a trace) of the creation process of the work La conspiración de las formas ("The shape’s conspiracy") developed in residence at the Museo Sivori (Buenos Aires) in November 2018.


Performers and research: Carolina Stegmayer, Claudia Ganquin and Amparo González Sola
Conceptual dialogues: Rosario González Sola
Video realización: Soledad (Yarara) Rodriguez.
Idea & direction: Amparo González Sola.


La conspiración de las formas ("The shape’s conspiracy") is a dance in erosion, a session of alchemy, a ritual of transformation, an attempt of transubstantiation. A journey in which everything - matter, images, sound, sensations, ideas - is exposed to erosion, degradation and transformation.


Amparo González Sola was born in Mendoza (Argentina), currently lives between Buenos Aires, Amsterdam and Paris. She is a choreographer, dancer, researcher and teacher. In her work proprioception, politics, philosophy, decolonial feminism and studies of fascia are intertwined. She works both in theatrical and non-theatrical spaces, bringing together people from different backgrounds, generations and disciplines. Currently she’s developing the project Exploring Reciprocity in the context of her Master at DAS Choreography (AHK, NL).


In the past she has created Charged (WIP 2019, Dansmaker, NL), La conspiración de las formas (2018, Sívori Museum, AR), Caravana (2017, Spring Performing Art Festival, NL – TACEC La Plata, AR) Hay alguien ahí (2016, Bicéfalos, AR) and El Becerro de Oro (2015, Bienal Arte Joven, AR). She has also presented her work, proposed perceptive practices and given workshops in international contexts. She is part of the collective Escena Política (Buenos Aires) and she collaborates with other artists, thinkers and activists.

Flávia Pinheiro


Glitch is a short-lived fault in a system. A choreopolitical approach of an open public machine of desire. This machine will evoke the invisible that has not yet been born throughout devices that shift the spacial notions, the inner/outside perception, the verticality, the ontogenetic interfaces with the parasympathetic control, allowing a queerness to unfold and to unveil other beings and modes of existence.


Glitch is a failure attempt of naming a procedure for the unborn. It is usually a minor malfunction; also: an unexpected defect, fault, flaw. Could an untrained body, a disobedient one, queer flesh, be a glitch in this system?


A counter time which refers to a number of things of the same kind, growing or held together; performing the same task, controlled by a queer-bacteria in vitro. This inhuman micro condition; a political captive in a disenchantment realm holds the displacement for the radical detour to become.


Choreographer/dance-maker: Flávia Pinheiro
Performer/collaborator: Tom Oliver Jacobson
Performer: Agnė Auželytė-
Performer: Dora Brkarić
Performer: YuJing LIU (Hugo)
Performer: Ciro Goudsmit (Zero)
Performer: Sára Korom (Sashu) 
Musician/performer: Gabriel de Oliveira
Images: Neda Ruzheva and Antonia Pushkareva
Mentors: André Lepecki and Pedro Manoel


Research collaborators: Mari Paula, Rodrigo Batista, Hedra Holdbach, Yuri Bruscky, Lia Leticia, Guilherme Luigi, Francisco Baccaro
Thanks to: Rodrigo Batista, Thais di Marco, Paula Montecinos, Mariana Senne, Annick Kleizen, Susy Blok, Laura Cull


I am a choreographer, performer, dance maker, researcher and teacher from Recife, Brazil. 


I work in performances, videos, installations and urban interventions, in collaboration with artists from different fields, such as contemporary music, visual art, cinema and digital art. My work investigates the body in relation to low tech and analogical devices, the failure, error and catastrophic procedures according to the ambiance in which I am drowned. I am graduated in Performing Arts at UFPE, Recife, Brazil (2006). As a dance teacher (choreography, composition, improvisation), I worked at the Dance Academy at Federal University of Pernambuco (2016-2018), SESC (2004-2006), Oficinas Oswald de Andrade SP (2017), Centro Coreográfico RJ (2019), FAFIRE (2019), and Universidad de Missiones ARG (2009). I studied a Master in Visual Arts at UNA in Buenos Aires and a Master in Art History in Universidad Nacional de San Martin also in Argentina. Furthermore, I have worked extensively as a researcher, and facilitate pedagogical and international curatorial processes: Manta Residency (Argentina) and Mercadança. I am currently at DAS Choreography, master program in Amsterdam.


I received several awards for my choreographic works: Funcultura, Funarte, Itau Cultural - and I have participated in different national and international festivals including Panorama (RJ), Cena aberta Brasil (SP), VERBO2017- Galeria Vermelho, Dança no MIS (SP), MIRADAS, JUNTA Festival (PI), Festival Internacional de Dança do Recife, Cena Cumplicidades, TREMA Festival, Mostra Brasileira de Dança, FETEAG, Aldeia Vale Dançar / SESC Petrolina, FIG Festival de Inverno de Garanhuns (PE), RIO, Cena Rio Internacional (CCBB - RJ), Festival MOVASE/Manaus, Mostra Internacional de Video Dança Amazônia (Manaus/AM), Festival Internacional de Videodanza do Uruguay (Uruguay), Festival International de Video Movimiento (Colombia), FIVC - Festival Internacional de Videodanza (Chile), MIVSC - São Carlos Videodance Festival (Brasil), Dança em foco - Festival Internacional de Vídeo & Dança (Brasil), Projecto Corporalidad Expandida (Argentina), and MIT (SP).


In 2017 I started my studies in BMC® - Somatic Movement Educator Program at School for Body-Mind Centering in Brazil, São Paulo. I received a scholarship to study at CND Centre Nacional de la Danse in Paris/Pantin in 2016/2017 for Training in Performing Art from National Foundation of Arts / MinC, Ministry of Culture of Brazil. I stayed in Paris for 3 months taking the Regular Formation of the Dancer at CND Centre Nacional de la Danse/Pantin.


My most important dance pieces are: Ruins of a disappearance future (2019), Bacteria (2018), Antelope (2018), How to keep myself alive? (2017), Flood (2016), Diaphragm: Essay on Impermanence (2016), Diaphragm: Dispositive version Beta (2015), Sound Contact (2014), and All that is solid melts into air (2006). I have participated in several collective exhibitions with my visual works (Cataclismo 2019, Galeria Garrido, VERBO 2017 - Galeria Vermelho SP, Mulheres que frequentam 2019, Galeria Mau Mau, Bienal do Barro 2019). In 2020 I presented my first individual exhibition Abysses of a failure body which included videos, photographs, sculptures and performance. My latest work Ruins of a disappearance future was planned for SESC Av. Paulista SP in 2019, but postponed due to the pandemic of COVID-19.


I was awarded in SESC Palco Giratorio with the performances How to stay alive? and Contact Sound - getting the chance to perform these pieces in 26 different cities. I got a grant to research and create Ruins of a disappearance future, How to keep myself alive?, Flood, Bacteria and Antilope from Funcultura - Pernambuco. The were all supported by governmental funds.


In the first year of DAS Graduate School, I was commissioned by the Dutch Embassy in Brazil to develop the project Golden Bacteria, and I was selected for a residency in Barcelona at La Caldera. I collaborated with Rodrigo Batista for Kidnnaped Theater sponsored by Productiehuis Rotterdam Theater. For my first year pieced called Glitch - in vitro I developing a collective choreographic process with dancers from SNDO with André Lepecki as external mentor. I had a short residency time in ICK, Amsterdam. I developed many artistic collaborations with DAS Theatre: DAS Talks - and the graduation projects of the theatre makers Andrej Nosov and Tom Oliver Jacobson; I was also the external advisor of two students  in their 1st year at SNDO - School for New Dance Development.


I was granted by the Fonds Pondium Kunsten Perfoming Arts Fund of the Netherlands to develop a dance open air intervention called Glitch - in vivo.


In my second year I collaborate with the artist Thais di Marco in Het Huis Utrecht. I am currently collaborating with Lote van der Berg in her new pice in Ter Apple called Rhizome for Jonge Harten festival. I am an active student member participating in OC as chair for DAS Graduate School.

Forough Fami


Isis Andreatta


VERDE ABISMO ["GREEN ABYSS"] started in 2020 in the context of the Programme for Advanced Creation in Performative Arts (PACAP4) of Forum Dança in Lisbon, Portugal. This project had as the conceptual starting point asking myself how to activate through physicality a certain vitality, care and "amazement", having as reference the universe of the Brazilian visual artist Lygia Clark. In her work, Clarks suspends the value of art as an object and starts to attribute the immanence of the clinical and care gesture as an aesthetic experience in itself. One of the initial methodological questions of this creation was about how to ethically deal with madness and vulnerability aiming to open a field to experience incarnations of dreams, imagination and invisibilities, as well as the ideas of "amazement" and “delirium” as plasticity of the phantasmagoria of the body.


The proposal is taking the idea of the plasticity of the perception as a perspective of expanding binarisms such medicine versus poison, facing art as a field politically committed to the creation of imagination whose definitions of abnormality or difference can be understood not as a contrast or opposition of a normal, but as modulation, spectrum, transience and flow. The possibility of the body activating and ceasing a certain "internal tremor" that enters in the field of disfigurement of bodily matter, being a kind of call for the morphological and perceptual transmutation of the space and invisible forces around it.


In “VERDE ABISMO” I’m interested in looking specifically at the body's capacities for regeneration, preservation, and recomposition through movement, betting on an idea of health as an experience of being taken by a tragic party of life and death, being precisely the possibility of enchantment of this tragedy that inhabits the perception of the anatomy of the body that would evoke a possible fiction for the experience of the queerness and the abyss that inhabits the inner space of the body.  


Choreography and performance: Isis Andreatta
Sound co-creation: Sara Vieira Marques
Collaboration: Alina Ruiz Folini and Natália Mendonça
Video: Aline Belfort
Residence: Alkantara, Espaço do Tempo and Espaço da Penha
Photos: victorino coragem


Isis Andreatta (1988) is a Brazilian artist from São Paulo, now  in movement, to base between Lisbon and Amsterdam. She works mainly as choreographer, performer and art educator. Her artistic practice has been focused on the emergence of movement with interest in investigating non-hierarchical relationships between perception, imagination and physicality. She's been interested in contexts involving a practice of the interdisciplinarity among knowledge situated in the frontiers between art, therapy, philosophy and politics such as: contemporary clinic in mental health, principles of somatic education, decolonial philosophies and cultural studies.


Isis studied at UNICAMP, Campinas State University (BR), for a Bachelor in Dance and Arts Education [2006-20110] and did a master's Degree in Arts of the Scene [2013-2015]. She’s doing a professional formation as somatic educator at the Brazilian Institute of Eutonia [2018-2021]. In 2021, she started a Master in Choreography in DAS / Amsterdam where she is working on her current solo piece “Green abyss” which started in 2020 at the 4th edition of the Programme for Advanced Creation in Performative Arts of Fórum Dança in Lisbon curated by João dos Santos Martins in collaboration with Alina Folini Ruiz, Natália Mendonça and Sara Marques.


In 2015 she created the solo "Vitreo" in collaboration with Gustavo Lemos (sound designer) through a selected project financed by a public funding program for choreographic creation by the State Secretary of Culture of São Paulo named PROAC. She's part of the Grupo VÃO since the formation of the collective in 2009 where together with Julia Viana, Juliana Melhado and Patrícia Árabe works as co-director and performer in several dance research and creation projects with a focus on collective direction. The most importants creation and projects by Grupo VÃO is “Escândalo” [2020/2021]; “FIM” [2018]; “Como viver só em bando” [2017]; “No Hay Banda é Tudo Playback” [2017]; “Move Cover” [2016]; “Quem com porcos se mistura farelo come” [2013] and “bando” [2011]. Since 2015 she has expanded her practice by entering the interface between therapeutic care and contemporary dance. In collaboration with Rafael Costa and Fernando Ramos, she is a co-coordinator of the Open Theater and Clinic Group, a context of artistic and clinical approach with people undergoing psychiatric treatment in São Paulo, Brazil.

Mario Lopes

Movimento III


“salivando os nós do corpo”

an artistic research on possible futures through the existence and technologies of Afrodiasporic bodies and their transcendences.


Afrotranstopia is the intersection between technologies, existences and afrotranscendences. With this project I intend to fill with content this idea of Afrostranstopia, the possibility of existence, where there seems none. It is a research project to construct a real/virtual platform to share non-Western technologies of production, to shape digital experiments and its accessibility, and train ourselves in how to elaborate strategies for reparative decolonial practices. As a research project it departs from my last art work and movement studies, from the acknowledgement of technologies of afrodiasporic people on how to live the day-by-day, and from the urgency to research these practices for a future change. As an artistic project it is meant to be an articulated choreographic work of many organized on an accessible digital platform. My research methods are conversations and co-existence. Through spending words and time, by listening, I build trust to move together. The movement research builds on Black embodied experiences, and strategies to dissolve the knots it left. My movement research will develop with what my peers add to this body condition, how they train to overcome, and to resist. Out of research and reality the art project deals with speculation and confidently builds the content from it. The platform afrotranstopia will accumulate and speculate on possible technologies, wisdom, training exercises and artworks.


Therefore my wish to dig deeper in what afrotranstopia is. It has to do with people and their way of practicing life despite less access, traumas on the path and racism. This I call technologies. They are technologies not merely to survive but to live. (This is to contrast what slavery taught, to merely survive and therefore having ones own humanity being denied.) I want to collect and study these technologies of living, organize them and make them accessible through text, audio, video, pictures, works of art. We learned in the manifestations of racialized people, that a systemic change is necessary. That on an individual level discrimination is re-lived daily, microaggressions hinder racialized people to choose freely and traumas are inherited and passed on to next generations. While the structural change does not happen (after all the light at the end of the tunnel is too far away, we must train to make holes in the tunnel) we must speculate.


Mario Lopes, born in Sao Paulo, Brazil, is a choreographer and articulator. With more than 15 choreographic works performed in Brazil, Germany, France, Chile, Mexiko, Uruguay, Austria, Switzerland and Finland, he has lately been developing the last part of his triology “Movimento” in collaboration with artists in Sao Paulo, Munique, Maputo, Helsinki and Lyon. Movimento III – celebration, post-tsunami foams” premiered this year as a film at the Triennal Frestas for Contemporary Art in Brazil and embraces the concept of Afrotranstopy. Since 2008 Mario Lopes has articulated the PlattformPLUS that collectively organizes projects to promote artistic encounter and mobile residencies, such as veiculoSUR. 2004 Mario founded a non-profit association, Humanizavida, with the goal of humanizing spaces in health and education through the arts. Since 2009 he works as a cultural articulator focusing on the promotion and circulation of works and projects that seek social transformation.


Main events with invited works: 2021 – Triennale Fresta Art Contemporary SESC São Paulo with the cinematographic choreographic work “Movimento III_Celebration, post-tsunami foams”. 2021 – La Biennale de la danse de Lyon, public program, Seminar "Displacement as choreography" with Anna Konjetzky. 2020 - BERLINER THEATERTREFFEN as choreographer and performance in the work of Anta Helena Recke. 2020 - FESTIVAL RADIKAL JUNG as choreographer and performance in the work of Anta Helena Recke. 2020 - TANZplattform München, symposium Transtopie. 2019 – BIENNALE D’ART CONTEMPORAIN LYON, public performance “SUDAKAS”. 2018 – Berlin Biennale for Contemporary Art with the choreographic work “Movimento I, parado é suspeito”. 2012 – Internacional Festival PAIDÉIA de Teatro for Children and Youth: A WINDOW FOR UTOPIA with the choreographic work “Vrumvrunzinho”. 2011 -  7TH Biennale Internacional Dance SESC – Brasil with the work “Entre”.

Simone Gisela Weber

Leashed Unleashed

The multimedia performance Leashed Unleashed deals with control structures and their effects on our bodies. The piece is a synthesis of choreographic material and poetic stories of very personal and intimate confrontations with (self) control which thus achieve divergent spaces of perception. The choreography is inspired by field research and interviews with people who deal with adjustments of the body to (self) imposed societal mechanisms of control on a daily basis.


A project by Kimberly Kaviar & Zhenya Salinski.


Choreography & performance: Simone Gisela Webe & Juan Felipe Amaya Gonzalez (Kimberly Kaviar)
Text & performance: Zhenya Salinski
Audiovisual design: Max Wigger
Light design: Timo von der Horst
Stage: Yoav Admoni
Costume design: Sara Wendt
Dramaturgy: Tim Jakob
Consulting: Thomas Schaupp
Production management: Sophia Keßen Props
Video: Sara Wendt


Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media. Co-production: Berliner Ringtheater.


Simone Gisela Weber is a Berlin-based artist, performer and choreographer. She studied theatre and cultural studies at the University of Leipzig and graduated from the Hochschulübergreifendes Zentrum Tanz Berlin (HZT) with a BA in dance, context and choreography. Throughout her artistic development she has established long term artistic collaborations and a solo artistic practice, which she increasingly fuses together after keeping them as two separate artistic agencies.


In her solo artistic practice she works at the intersection of choreography, performance and fine arts. Her interest lies in the construction of complex physical and visual compositions in which the body is placed in a state of risk. She believes that the confluence of forces from the material and immaterial worlds brings out the unknown and the unusual. In her work, she draws inspiration from ubiquitous habits and bodily states, which she critically questions through an interplay of different media.


She is co-founder of the performing arts collective “Kimberly Kaviar," which has developed various experimental performances and installations that explore theatrical dispositifs as well as themes around creative processes and artistic collaboration. Kimberly Kaviar developed works such as Veneralia (2015), 3D WHITE (2016) and Foundation (2017). 3D White was invited to the P-Bodies Festival in Leipzig. MANIFEST: A Work on Progress (2017), an eight-hour performance installation, was shown in Berlin at Uferstudios. In Retrospective: Ecology of Occupation (2017) they experimented with the workshop format, and this work was shown in the Super Local Berlin series by Constanza Macras/DorkyPark at Studio Verlin and was invited to the Performa-ca Festival in Puebla, Mexico. In 2021 Kimberly Kaviar realized the video essay and performance installation LEASHED UNLEASHED in cooperation with Ringtheater Berlin and Theaterhaus G7 Mannheim, supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media. Kimberly Kaviar was selected for the LAFT Berlin's "Newcomer" mentoring program in 2018 and mentored by curator Ricardo Carmona in Berlin until the end of 2019.


Together with Julia Keren Turbahn, Simone maintains a long-standing artistic collaboration, working on the state of hesitation as a productive force. Hypothetic Bodies (2021) is her latest choreographic work in this series, which explores odd temporalities and the potential of stasis, and first premiered in digital form in collaboration with Uferstudios Berlin and Maschinenhaus Essen. Hypothetic Bodies was supported by the Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media and Kunststiftung NRW.


As a performer Simone has worked with deufert&plischke, Anna Aristarkhova, I Jung Lim, Ellinor Ljungkvist, Sanna Blennow, Jan Rozman, Nile Koekng and Boris Charmatz among others.

Zander Porter


( ◡‿◡ *) Remember when grumpiness evolves in a rather short time towards a sense of longing and total existential evacuation… Some temporal segments are structured by concise “5, 6, 7.1, 8” – whereas others are documented impromptu and post-produced. Quadruplets presently demonstrate comparable rhythms; one emerged at the beginning with a camera attached to its face. Gathered within a social solo of (dis)embodied emote-reactions, their togetherness asks if similitude is always already algorithmic.

▓▒░(°◡°)░▒▓ Attitudinize… and plug into the wall-socket (full-recharge fantasy)! “Emoji-bot” is a four-player avatar with human’s feet-coverings, polygonal posture, and misapprehended grandeur – of mortality, sass, age, and pending resurrection. It-we enacts a “post-embodied performance”: an onscreen departure from a cute world of mediated liveness which has been recently (re)constructed.


Artist, choreographer: Zander Porter
Performance: ketia, Harald Stojan, Annalise Van Even

( ˘ ɜ˘) ♬♪♫ Initially shortlisted for Akademie Schloss Solitude Web Residencies, Emoji-bot [Du{think}BTTR_off_alleine?] debuted after pandemic-unique residency at ACUD MACHT NEU in ACUD Galerie with DJ-sets by ketia and lil witch global, co-organized by Johannes Braun and Paula Ďurinová. Early sketches in the development of the work were shown and supported by DFBRL8R (performed by Stevie Hanley for What Remains), TV x KW Institute for Contemporary Art (for The Berlin Sessions: ClumpTV), and Natascha Sadr Haghighian (Bad Muskau). The exhibition is additionally partially supported by NEUSTART KULTUR and developed via early residency support from Tanzbüro Berlin.


Zander Porter is a US-American, Germany-based artist working between liveness and onlineness, manifesting physical, virtual, theatrical, and curatorial performances from mediated experiences of togetherness, identification, and (dis)embodiment. In xyr practice, Zander negotiates attention, gender, affect, subjectivity, and participation through an approach to popular/internet culture and commodity detritus with a mixture of curiosity, reverence, and skepticism. Materials develop from contexts of alias roleplay, including online reality TV competition games, MMOGs (massive multiplayer online games), Berghain, the (Californian) nuclear family, and anonymous-online intimacies. Zander is part of XenoEntities Network (XEN), a platform for discussion and experimentation focusing on intersections of queer, gender, and feminist studies with digital technologies.

about studio 2.06

studio 2.06 is a room at DAS Graduate School in Amsterdam, Overhoeksplein 2, on the second floor. It’s a corner studio; from the windows, one can see the the water of the IJ. 


DAS Choreography is a low-residential MA program of the Academy for Theater and Dance, part of the Amsterdam University of the Arts. Most participants are not based in Amsterdam; three times a year they meet at DAS Graduate School for seminar: a few weeks of immersive, artistic exchange and conversation.

Since the start of the COVID-19 pandemic, studio 2.06 has transformed from a concrete room at DAS into a strategy, an always-reshaping proposition. With a recurring impossibility of gathering in the same city or the same room, the peers here have been looking for ways to continue their conversation. studio 2.06 emerged with cohorts 2020/2021 through WhatsApp groups, Zoom calls, and often also in living documents for sharing research and references – and for writing and thinking together. It later expanded to include past/future cohorts through inclusion in the wrong biennale (nº5, 2021) via Zander Porter.


studio 2.06 holds the graduation pieces of the cohorts 2020/2021 of DAS Choreography in an ongoing conversation with works and research from current cohorts 2022/2023. At once a living document, theater, and studio space, this website embraces a state of being-always-in-dialogue. 

With (documentation of) artistic research by:

Cohort 2018-2020:

Paula Montecinos Oliva 
Phoebe Osborne
Reza Mirabi

Cohort 2019-2021:

Emmilou Rößling
Josefa Pereira 
Veza Fernández

Cohort 2020-2022:

Alexa Solveig Mardon
Amparo González Sola
Flávia Pinheiro
Forough Fami

Cohort 2021-2023:

Isis Andreatta
Mario Lopes
Simone Gisela Weber
Zander Porter


DAS Choreography:

Artistic leader: Jeroen Fabius
Tutor: Sher Doruff (2018-2020)
Tutor: Konstantina Georgelou (2019-2023)
Seminar Mentor: Alice Chauchat, Setareh Fatehi
Production & curatorial support: Annick Kleizen

Web design: Céline Wouters
Programming: Jonathan Sachse Mikkelsen
Concept: DAS Choreography