This evening multi-hyphenate artist Thjerza Balaj has put together a program of four works by younger choreographers from Scotland, France, Greece and Hungary. The choreographers are all in the top twenty in Europe right now as part of the European network Aerowaves The Twenty22.
In this special international edition of New Sh*t Vol. 6 you will experience three solos and a quartet. As a rider taming a wild horse, Courtney May Robertson looks at the struggle between embracing one’s desires and regulating behaviour in accordance with societal pressures. In a quartet by Andreas Hannes the magnetism and binding between bodies and space intensifies and creates a tantalising atmosphere for an otherworldly dance. In a solo, Alexandre Fandard rehabilitates “the youth from the suburbs” as a symbol. Gergő D. Farkas investigates the collapsing borders between the living and the inorganic, the existing and the unreal by approaching the body as an apparatus driven by impulses and emotions.
After the performances we invite you to a festive hangout with DJ Nah Care and open bar.
Guest Curator Thjerza Balaj about the program:
“I’m thrilled to present New Sh*t Vol. 6, consisting of four brilliant works that I experienced last spring during the Aerowaves festival in Athens. Electric, fastpaced, sharp, eerie, sensitive - their urgent and uncompromising approach is what caught my eye. The pieces stand strong individually as well as next to each other and the varying tempos and expressions of the performances create the perfect emotional dramaturgy for the evening. From sunny Greece to cold northwest with love.”
Warping Soul by Andreas Hannes
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Photo: Floyd Renton
the pleasure of stepping off a horse when it’s moving at full speed by Courtney May Robertson / Photo: Anna van Kooij
As a starting point for this short solo, Courtney takes a metaphor for selfcontrol; a rider taming a wild horse. She looks at the struggle between embracing one’s desires and regulating behaviour in accordance with societal pressures. Visual projections encapsulate Courtney within an octagon. Through a combination of poetry, dance, and song, she travels across landscapes of personal desires, memories, and conflicts. The space acts like a time capsule; intimate home videos are spliced with samples from YouTube, documentaries, and old films. the pleasure of stepping off a horse when it’s moving at full speed is Courtney’s attempt to embrace the, sometimes messy, contradictions that make up a multifaceted human.
Courtney May Robertson is a Scottish performer based in Rotterdam. Upon graduating in 2013, she joined Club Guy & Roni’s Poetic Disasters Club and has since performed extensively across Europe in the work of Jan Martens, Connor Schumacher, and Florentina Holzinger, amongst others. She began creating her own small-scale / DIY produced performances in 2015. As of 2020 she is an ‘artist in residence’ at ICK Artist Space in Amsterdam. As a trained dancer Courtney’s work starts with the body, but spans various disciplines including video, generative art, and writing. Recurring topics in her work revolve around a widely spread phenomenon she has defined as ‘the relentless desire to dominate’.
courtneymayrobertson.myportofolio.com
Comme un symbole by Alexandre Fandard /
Photo: d´écran
Alexandre Fandard takes on the image of a young man from the urban margins; his postures and the fear he arouses. In turn barbaric, riffraff, potential terrorist, and eternal stranger, the “youth from the suburbs” is often a masculine figure, despised, adulated, sacrificed or eroticised. Alexandre Fandard’s creations as a visual artist and choreographer never remain fixated in one form and bring to the stage all these rock-solid archetypes. In this new research in solo, he rehabilitates the youth from the suburbs as a symbol. The dancer wears the French flat on his jacket and uses this symbol as an attempt to redeem this figure, while transforming himself into a national product in its own right.
Alexandre Fandard is a French visual artist and choreographer who always seeks new ways to express himself. His choreographic writing stems from the need to portray what is not said with words. After a brief stint at the International Dance Academy of Paris, he started performing works directed by Brett Bailey such as Exhibit b for three years consecutively, while continuing his work as a painter. This experience reinforced his taste and his desire to see space, movement, and dance through a radical pictorial perspective, where the image speaks as much as the body.
alexandrefandard.com
Deep Fake by Gergő D. Farkas / Photo: Pavlos Vrionides
Deep Fake is a series of events which speculate upon copy, and inauthenticity and investigate new possibilities of coexistence.
The piece challenges the monocracy of the solo by gently directing the spectator’s attention to the decentralized performance of sound, light, and object, turning the space into a living and breathing entity. By approaching the body as an apparatus driven by impulses and emotions, Deep Fake investigates the collapsing borders between the living and the inorganic, the existing and the unreal, with the structures that secretly (re)produce these binaries.
In Deep Fake, the performer is accompanied by composer Márton Csernovszky’s sweet yet eerie, sensitive yet expansive music, and by a tender object called Grid.
As the lovechild of cross-disciplinary aspirations and millennial greed, Deep Fake extends its invisible tentacles from the stage to the interwebs and takes over the two-euro domain deep-fake.world to become virtual and remain virtually immortal.
Gergő D. Farkas (they/them) is a choreographer and dancer currently based in Stockholm and Budapest. Gergő choreographs spaces where (non-) humans and (in)corporeal are equally super welcome to dance. Sometimes (actually, quite often), Gergő relates to dance as a hyperobject.
Currently, they are a resident artist of Performing Gender and tour their piece Deep Fake as a part of the Aerowaves Twenty22 selection.
deep-fake.world
Warping Soul by Andreas Hannes /
Photo: Floyd Renton
The dancers emerge within a space that is constantly in transit. At the mercy of external forces, they move within movement. Through the disorientation and reorganisation of bodies and space, Andreas Hannes explores the dynamics of bouncing and warping*. By questioning the body’s agency, he aims to intensify the magnetism and binding between bodies and space to create a tantalising atmosphere for an otherworldly dance.
‘Warping Soul’ was inspired by the practice of continuous skipping (as in skipping down the street) that Andreas Hannes has been developing since 2017. Key elements of his practice were road-trips, transiting landscapes and aerodynamic forces.
Andreas Hannes is a Greek eclectic maker who explores gravity and aerodynamic forces. He uses rhythm and vibration as a source for informing and revealing the body within environments. Growing up in a musical environment, Andreas Hannes danced extensively in the living room. After completing his studies in classical percussion at the University of Macedonia in Thessaloniki (Greece), he moved to the Netherlands to follow his passion for film. He worked as an independent director and producer of short films. In 2018, Andreas graduated from School for New Dance Development. Andreas summarises his artistic work under the notion of relational, physical and metaphysical distance. He investigates by playing with the proximities and tensions between bodies, traditions, and disciplines which, at first glance, might not be considered relevant or engaging. The spectacle, entertainment, science fiction and time tenses fuel his creative force, with all the social and political implications they bring along.
andreashannes.com
Photo: Benedicte Ramfjord
The curator for New Sh*t Vol. 6 is the Copenhagen-based Thjerza Balaj (She/Her). She is a Norwegian / Kosovo-Albanian multi-hyphenate artist, working with performance, fashion design, and film. Immediacy and intimacy are important elements in her works. Her choreographic practice deals with the female gaze, power dynamics and the uncanny. Playing with shifting intensities is a consistent approach in her seemingly hardcore yet ephemeral practice.
With the recurring format New Sh*t, Dansehallerne checks in with what’s new in the choreographic landscape. For each edition, a younger guest curator is invited to present a progressive program of choreographers whom the curator believes to be the artists of tomorrow! For this edition of New Sh*t the selected works are all part of the European network Aerowaves (The Twenty22).
Since New Sh*t was launched in 2020 the popular platform has been happening twice each year.
Save the date for next New Sh*t August 29th, 2023.
the pleasure of stepping off a horse when it’s moving at full speed
Choreography, performance & visuals
Dramaturgy
Outside eye
Courtney May Robertson
Merel Heering
Kristin de Groot & Yoko Ono Haveman
Technical support Edwin van Steenbergen
Trailer & Video registration
Paul Sixta
Press photos Anna van Kooij
Music
Produced by
Financially supported by
AAR - A01 & A02, Empty Set - Order, Cities Aviv - Title Piece, Death GripsDisappointed
Dansateliers Rotterdam
Municipality of Rotterdam & Kickstart
Cultuurfond With thanks to: Bas de Geus, Adam Peterson & Nik Rajšek
Choreography and performance
Staging and sound creation
Lightning design
Alexandre Fandard
Alexandre Fandard
Chloé Seiller
Soundscape Rodrig De Sa
Photos Cie Al-Fa
Production Cie Al-Fa
Coproduction
Centquatre (Paris), L’Étoile du Nord (Paris), La Passerelle - scène nationale de St-Brieuc, La Briqueterie -CDCN, Les Hivernales - CDCN (Avignon), L’Espace 1789 (Paris), La Villette (Paris), Danses à tour les étages (Tremplin), Sept Cent Quatre Vingt Trois/Cie 29x27, Festival Hip Opsession - Pick Up production, Karukera Ballet, DRAC 2021 (Aide au projet).
Support
Théâtre de Vanves, Festival TRENTE TRENTE, Festival Fabbrica Europa and Collectif 12
Deep Fake
Choreography and performance
Assistance and art direction
Music
Márton Csernovszky
Lights Kata Dézsi
Advice Imre Vass
Photo Pavlos Vrionides
Video Gergely Ofner
Web design Dániel Kophelyi
Financial support
The National Cultural Fund of Hungary’s “Imre Zoltán Program” Financial management: Sín Arts Center
Financial management
Sín Arts Center Thanks to: Sín Arts Center, Workshop Foundation
Choreography
Performers
Andreas Hannes
Beatrice Cardone, Adam Khazhmuradov, Laura Moura Costa, Alberto Albanese
Music Mix
Song
Gary Shepherd (DJ Streamer)
Soul by Rival Consoles feat. Peter Broderick – Courtesy of Erased Tapes
Lights Marcel Slagter
Advice Kristin de Groot
Photos Floyd Renton
Made possible and originally produced by
Conny Janssen Danst & Dansateliers, Rotterdam, The Netherlands
Commissioned dancers by Conny Janssen Danst Supported by ICK Dans Amsterdam & Small House Productions
With the involvement of and gratitude to: Bruno Listopad, Antonia Steffens, Charlie Laban Trier, Elisa Zuppini, Sigrid
Stigsdatter Mathiassen, Paulina Prokop
Type
Performances
Duration
Approx. 2 hours and 20 minutes including intermission
Venue
Dansekapellet, Bispebjerg Torv 1, 2400 København
Accessibility
There are a number of wheelchair and companion seating locations in the theater. Please give us a notice in advance if you need such a space.
Program
19:00 Doors open
20:00 Performance program
Dansehallerne Team
Artistic director
Danjel Andersson
Head of Activities
Hanne Svejstrup
Producer
Anne Mette Berg
Graphic Design
Steinunn Thorsteinsdottir
Communication
Anne Mette Berg
Technical coordinator
Nils Engelbrecht
Sound Engineer
Johannes Hornberger
Lights
Madeleine Lind Hoppe
Technicians
Per Lydersen &
Emil Vodder Kristensen
- the pleasure of stepping off a horse when it’s moving at full speed / Courtney May Robertson
- Comme un symbole / Alexandre Fandard
- Intermission
- Deep Fake / Gergő D. Farkas
- Warping Soul / Andreas Hannes
22:20 DJ NAH CARE playing in the foyer
We would love for you to stay and hang out as we invite you for a drink and the bar is open. Please note that one of the performances uses stroboscope light
