Ivana Müller explores the poetics of language, rethinks the notion of body, movement and voice and their forms of representation, revisits the place of imagination and the imaginary, and questions the idea of “participation” through her choreographic and theatrical work as well as her performances, installations, texts and videos. In her experimental, radical and formally innovative work, she often considers the idea of social choreography. The notion of the collective and collaboration is equally important in Ivana Müller’s approach to artistic practice itself. She often works in collaboration with artists, theorists, writers and gardeners, applying the principles of conversation and other forms of collective writing to the creation of the work. She teaches or has taught frequently, notably at the Institute for Applied Theatre Studies in Giessen, Université Paris 8, University of the Arts Zürich, University of the Arts Berlin, P.A.R.T.S. Bruxelles, e.x.e.r.c.e de ICI-CCN de Montpellier, CNDC Angers, DAS Theater-Amsterdam, and others.

Bojana Kunst is a theorist of performance, theatre and contemporary dance — with a special focus on the late 20th and 21st centuries — dramaturge and teacher. She is a professor at the Institute for Applied Theatre Studies at the Justus Liebig University in Giessen, where she heads the international master’s program in Choreography and Performance. She lives between Germany and Slovenia. Her research focuses on the philosophy and theory of performance and dance, the role of the body in performance practice, the relationship between performance and politics and various theoretical and practical aspects of dramaturgy. She is particularly interested in research-oriented alternative and experimental theatrical formats, collaborative and dramaturgical processes in self-organised forms of performance and dance creation. It approaches performance and dance practice as a field of knowledge that can contribute to the way we think, write and produce theory.

Portuguese choreographer and playwright based in Lisbon. She studied dance, but since 1999 her work has moved between the disciplines of dance, theatre and performance. Her work has been presented nationally and internationally (Portugal, Brazil, Germany, France, Norway, Holland, Belgium, Serbia, Croatia, among others). Between 2001 and 2014 she was the artistic director of Máquina Agradável. She has also developed various programming contexts with other artists such as Demimonde or Face-a-Face. Following works such as “Romance” (2015), “O Ato da Primavera” (2017), “Turning Backs” (2016), “Jogo de Lençóis” (2019) she continues her research into scenic devices that include the presence of the spectator as a constituent element of the show’s dramaturgy, incorporating or replacing the role of the performer. She is a mentor in several stage writing programmes and regularly collaborates as a dramaturge in dance and theatre projects. The plays “Romance”, “Cinderela”, “Civilização”, “Memorial” and “A Minha Vitória Como Ginasta de Alta Competição” are published by Douda Correria. She was awarded the DGLAB artistic and literary creation grant in 2020.

Henrique Frazão is a Portuguese artist and climate activist.
The fear of amnesia led him, from an early age, to want to record and save much of what he saw, learnt, thought and felt. In this sense, photography has played an increasingly important role, being seen as a means of immortalising concepts.
Since 2017 he has been developing a time capsule in which he intends to exhaustively archive sequentially recorded images. The clash with climate science data in 2018 made him see this project as even more urgent. In recent years he has been preparing an ambitious project called Voyager Ø, which was launched at Burning Man 2023.
The world as we know it will disappear in a few decades.
Let some memory remain.

(1978). Her work travels “between” choreography, cinema and visual arts. Since 2004, she has made pieces that explore the relationship with the spectator as the space in which the modes of representation are put into crisis. From “The Case of the Spectator” to her latest pieces, this relation has mutated from a place of “understanding” of theatrical and cinematographic conventions, that is, from the expertise, to the intentional loss of references where the artist, the piece and the spectator behave towards each other as strangers. She combines the production of her artistic work with educational, curatorial and editorial projects.

(1978) works between poetry and live arts. His last pieces are “The Message From Other Worlds” (2021) and “Variety of varities” (2022). He has participated in exhibitions such as “Interval. Sound Actions” at the Fundació Antoni Tàpies or “Visceral Blue” at La Capella. He edited with Ixiar Rozas the affect theory volume “Ejercicios de ocupación” (Ediciones Polígrafa, 2015) and he also curated the experimental arts program at Mercat de les Flors (2011-2015) and the Picnic Sessions at CA2M (2023).

Born in 1987, in Brazil, Volmir Cordeiro firstly graduated in theater and worked with the Brazilian choreographers Alejandro Ahmed, Cristina Moura et Lia Rodrigues. Volmir Cordeiro graduated in 2012 from Essais, Angers Choreographic Centerʼs experimental dance training, with Céu, a much-regarded solo work that extensively toured European and Brazilian dance festivals, and he is now working on a PhD thesis on the figures of marginality in contemporary dance. Volmir Cordeiro has performed in the projects of Xavier Le Roy, Laurent Pichaud, Rémy Héritier, Emmanuelle Huynh, Jocelyn Cottencin et Vera Mantero. In 2014, he created the solo Inês, and in 2015, the duet Epoque with the Paris based chilean dancer Marcela Santander Corvalán. He has just closed a first cycle of his work, made of the three solos : Céu, Inês and Rue (created in october 2015 at Musée du Louvre, in collaboration with FIAC). Volmir Cordeiro was the associate artist at Ménagerie de Verre in 2015 and since 2017 is associate artiste at Centre National de la Danse (CND – Pantin). Volmir regularly teaches in choreography courses such as Master Exerce in Montpellier (France), or Master Drama in Gent (Belgium).

Alessandro Sciarroni is an Italian artist active in the performing arts, visual arts and theatrical research. He has presented his work in dance and theater festivals, museums, galleries and unconventional places, in important institutions and events around the world, among which Biennale de la Danse de Lyon, Kunstenfestivaldesarts (Brussels), Impulstanz stand out (Vienna), Festival d’Automne, Centquatre and Center Pompidou (Paris), Festival TBA (Portland), Biennale di Venezia, The Walker Art Center (Minneapolis) or Museo MAXXI (Rome).
His work goes beyond gender definitions – he uses the theatrical structure, but he can use techniques and experiences of dance, circus or sport, regularly involving professionals from different disciplines. In addition to rigor, coherence and clarity, it seeks to discover obsessions, fears and weaknesses in the act of interpreting, through the repetition of a practice up to the limits of the physical resistance of the interpreters, considering a different dimension of time and an empathic relationship between the audience and the artists.

Vânia Rovisco distinguishes herself as a performative visual artist since 2008. She places her body in the art gallery where she then further expands her work to other mediums – through live installations, lights or video. From 2001 to 2007 she was the interpreter of choreographer Meg Stuart/Damaged Goods. From 2012 and 2015, she collaborated in curatorial terms with the Museum Arpad Szenes Vieira da Silva. In 2013 she debuted the solo The Archaic, Looking Out, The Night Knight and in 2014 she staged Silos de carros e estradas giratórias for 10 men. Currently she gives workshops, does movement direction and continues her work as an interpreter. She is co-founder of Aktuelle Architektur der Kultur –AADK art platform, and her latest project Reacting to Time – Portugueses na Performance deals with the archiving and transmission of works from the late 60’s. She was invited to curate and course-manage the Advanced Creation Program in Performing Arts (PACAP3) at Fórum Dança.