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 ANART are dedicated to promoting human rights and democratic values through their work, and to advocate for equality, freedom, and justice through dance. Their performances are calls to action that encourage audiences to uphold and protect fundamental principles.

The members of ANART have backgrounds in Ukraine, Estonia, Spain, Brazil, USA, and Denmark. Originating in Copenhagen, ANART has evolved from the dance piece flowers also cry by Anastasia Krasnoshchoka that sheds light on the lived experiences of Ukrainian women amidst conflict and amplifies their voices in advocating for justice.

Their current project addresses the environmental impact of war, focusing on the destruction of the biggest in Ukraine Hydroelectric Power Plant and the Kakhovka dam by Russian forces in June 2023.

ANART aim to expand the boundaries of performance art to narrate profound stories and foster meaningful dialogue. Committed to social and political engagement, their projects challenge audiences to consider critical issues and perspectives by integrating activism into their art and embracing vulnerability.

Contact: admin@teater-a.dk

#yodo – you only die once is a project about dying, death, grief, and the politics of care – topics that are often pushed to the margins in European/Western contexts. Initially, #yodo consisted of three artists, but is now run solely by Michi Maxi Schulz as an ongoing artistic research and participatory performance project.

Rooted in embodied practice, community-based formats, and the everyday realities ofcare work, Michi develops immersive workshops, performative scores and intimate public encounters that invite participants to listen to their bodies, speak the unspeakable and rehearse tenderness, honesty, and mutual support.

#yodo is developed alongside ongoing dialogue with care workers activists, and participants, and continues to expand as a trans-local practice creating formats that can adapt to different communities and build temporary containers of trust where vulnerability becomes a collective strength and care is understood as cultural work

Contact: yodo@posteo.de

DRIVER is a choreographic research project that speculates on the universe of truck drivers; the romantic americana imagery, escapist wanderlust, and idealized loneliness – stories of adventure and freedom, but also, or perhaps even more so, bleak realities of long days, underpayment, and loneliness.

The artists had been thinking about engaging with the work reality of drivers, in comparison to working as a dancer/choreographer, for a while before Moving Identities. The perceived physical passivity in the work of drivers – sitting down for long periods of time, whilst also being in motion. Through a lot of reading, they got curious about truck drivers and the myths and fictions surrounding their work.

DRIVER materializes and discusses speed as a sensuous, individual, but also common and socio-political experience. It questions who has the agency and ability to influence speed and who must abide by the speed of others, or alternatively, fall behind.

Contact: info@udviklingsplatformen.dk

STICKY Productions is a collective of queer, female, dance artists based in Norway. Their practice delves into the bodily and the sensitive, the playful and the peculiar.

The artists share a drive to create environmentally conscious work that centres new or untold narratives about nature from a queer perspective. Their new immersive dance performance OOZE approaches the world of slugs through an imaginary, sensory, and somatic journey that welcomes sexuality, sex, fluidity, and transformation.

Using slugs as a slippery metaphor for Queerness, they allude to how homosexuality and gender variance historically have been written out of biological science, labelled as abnormalities or anomalies. They hope that the performance can bring a wider awareness through playful embodiments of slugs and gastropods.

 Contact: stickydans@gmail.com

Jennifer for a day are interested in alternative narratives as antidotes to neoliberal hegemony, gender as a vehicle against the state, femme rage, and the poetics of the cosmos found in the synecdoche of the human body. They are performers, dancers, artists, strippers, musicians, stage and costume designers, media artists, and researchers that have been working together in different constellations since roughly 2018 – not as a fixed collective, but as a container for chaotic growth.

For Moving Identities, they worked with the materialism of femininity through various morphing identities and archetypes: the horse girl, the tussi, the baroque camgirl, and explored these through systems and images, using non-playable characters, cybernetic movement, flop, noise, strip, lip-sync, and glue. 

Jennifer for a day is no longer together as a group but continue their chaotic growth beyond this project.

 Contact: lauramordavi@gmail.com

The Farsi word Gomrâh means lost or the lost ones. Gomrâh have been developing a new ritual for mourning the losses that come with moving far away, and from grieving lost ones from afar. 

The three members of Gomrâh found each other in Belgium during the pandemic and immediately became friends. An actor, a musician, and a designer/photographer, they all shared a sense of lostness – not only in living far from their families, but, like most young artists, also in finding their footing in a European art scene.

While living in Europe, they have each lost friends and family members in Iran, without being able to grieve as part of a community.

This rift sits at the heart of their first collective project, Mourning in the Wrong Language. How do you carry loss in solitude? How do you grieve in a place that doesn’t carry the collective memory of your loss? And what role can art play in creating spaces for remembrance where new rituals can emerge?

Contact: gomrah.collective@gmail.com

M0nster.L4b create an imagery of queer creatures through performance, choreography, film, and drag. They often work site specific and collect and engage with material from specific environments.

With personal backgrounds in Chile and Brazil, the collective’s works go beyond Barcelona with a deep interest in borders, identity, and moving as sites of transformism. The materials, objects, and impressions they collect allow them to build relationships between their own identities and the territories they work within by activating drag technology.

To M0nster.L4b, the phenomenon of drag, and its hybrid identities, are queer methodologies that allows them to relate to contexts like ecology, migration, decoloniality, and transgenderism.

Contact: m0nster.l4b@gmail.com