photo: DANCE ALL YEAR LONG KOKKOLA @danceallyearlong, photographer Ulla Nikula @ullanikula


DANCE ALL YEAR LONG residency in Kokkola / Finland

Lilo & Marc keep on living an everyday passive activism: a being together that regards mutual responsibility and care as radically indispensable. Since some years we have found a performativity in our dance practice that lies between intimacy, distance, closeness, anaesthesia of the sexual body, humor, frustration, excitement and boredom that has gained a new urgency for us. We are more than ever convinced that our way of collaboration is politically and socially relevant in the context of normative society.

The research WHERE WE ARE NOW that we want to lead in Kahvila Saha stems from our last residency in 2016 at Cullberg, Stockholm. It follows the thread and claims a space for radical empathy. At the core of the movement material that we would like to work on lies the improvisation practice “Doing the same thing for three hours”. Here we undergo an infinitive variety of “doing the same thing”, a seemingly banal practice that brings up deep personal and social questions: are we moving in exactly the same way (is that even possible?), are we feeling the same thing, gazing in the same direction, are we part of the same situation, presence or future?

As our experience showed us, this practice is not only an interesting starting point for a choreographic and interdisciplinary research but also a state of mind which can help resolving inter-relational conflict. It can easily be brought outside of the context of art making and we would like to expand this research to the making of a performance but also share it with a broader audience in the form of workshop.

About us

As Lilo & Marc between 2014 and 2016 we have researched radical intimacy. We conducted different experiments pushing the limits of our togetherness. Our questions were: How would it feel to never be alone? What kind of exhaustion or energy boost would come up in being together extensively? Togetherness can be much more than the invariably romanticised archetypical couple of “man” and “woman”. There are countless lived forms defining oneself as a couple. We have been interested in becoming a new entity that could exist as such in our social surrounding: We stayed in physical contact with each other for 24 hours. Then we kissed for 39 hours over 15 days in a museum. And finally we stayed no more than three meters away from each other for two weeks, attached through a string.


photos: DANCE ALL YEAR LONG KOKKOLA @danceallyearlong, photographer Ulla Nikula @ullanikula



23 May – 4 JUN 2016 // LIFE LONG BURNING – residency with Liselotte Singer / Cullbergbaletten / Stockholm

Just walking the dead, sitting in the Dschungel, you are using me, i’m extending you and we are doing the same, with you seated here witnessing us. Where are we now, where are we now?

Being in a time and space that are far, far away, but also happen to be here and now. Both carrying and being carried, we are lost in time near KaDeWe, just walking the dead. Our complicity helps us to make momentary decisions as well as dwelling over time, we don’t need to be understood nor to worry, every action has its reason to be as we are an entity of two. Never alone, this is the way our two bodies are in the world, the world that was born from the earth, the earth that emerged from the cosmos, the cosmos that is supporting our body. We are a cosmic couple. Or maybe twenty thousand people
 crossing Bösebrücke, replicating, not reproducing, we are the history and the future of couples, we are the archetypical couple, but not Adam and Eve, not the Man and the Woman, not sexualised but sensual; cosmic. As long as there’s sun
, as long as there’s rain, as long as there’s fire, as long as there’s me, as long as there’s you*, we are indulging in a cosmic fatalism.

* David Bowie

* * *














SALTO is the first movement film by choreographer Marc Philipp Gabriel.

A single panning movement of the camera connects shots of the rough landscape of Madeira island, Portugal, and a single spinning jump of a human body emerging and melting back into the ground. A shimmering 10 min slow-motion rollercoaster of frictions between rocks, skin, saltwater, wind, fur, moss and concrete.

um filme de Marc Philipp Gabriel
com Tizo All

Duration: 10 mins.

©2020 Marc Philipp Gabriel

For a link to the video please contat macr@marcphilippgabriel.com


Pina Bausch Fellowship 2019

Marc Philipp Gabriel is a Berlin based performance artist working with body, voice, installation, video and architecture from the perspective of dance and movement. His fellowship partner is Dançando com a Diferença dance company (Portugal), who work with physically and mentally differently abled people of all ages. Marc will learn about their understanding of dance and their working methods, to deepen his understanding of joint creative spaces and to enhance his perception and sensitivity for artistic work with all the bodies we have.

„There is a refreshing candidness and honesty that drew us to Marc Gabriel’s approach. Through his work one sees clear intimacy in his own search, taking the risk of an experimental form with a high social accent. As expressed in his statement, Gabriel declares “I am learning to cultivate being honest to my own needs (which eventually has lead me to dance!) and to see not-fitting-in as a strength rather than weakness. I often tell people that I love dance “because you can’t fake anything without everybody noticing”. Pretending something to yourself is pointless, so for me dance practice is practicing honesty in life. That’s why I love the motto “We dance with the body, not despite of the body” of Dançando com a Diferença. We are curious to see how the time spent with his chosen partner will inform and influence his approach and crafting of his own work, in terms of enriching his skills as well as widening his perspectives. We are hopeful that it will translate into further and compelling ways of expressing Marc’s deep humanity.“

– Jury-Statement


Fellows 2019: Marc Philipp Gabriel, Martha Hincapié Charry, Lee Méir and Ariel Moreira

Drag in Japan – AJIMA

Shot at locations in Japan, April 2019

CONCEPT Marc Philipp Gabriel & Maija Karhunen
MAKE-UP Marc Philipp Gabriel
COSTUMES Maija Karhunen
PHOTOGRAPHY Marc Philipp Gabriel

“Drag in Japan – AJIMA” is a performative photo project that extends the notion of drag from gender performance on stage to identity performance in public.
It is the second series of photos after  “Drag in Japan – TASO” that pictures a fictive character based on the performers own identity.

“Drag in Japan” uses Japanese urban architecture, parks, cultural sites, people, flora and fauna as a backdrop. The project unfolds as a journey of spontaneous photo shootsactivating public space and people into moments of a show. The character AJIMA is copy-pasted into Japanese public contexts. She enters cityscapes and landscapes, claiming reality into fiction into reality into fiction. Surfing the paradoxes of Japanese contemporary culture, situations continue to emerge from editing, blending and overwriting past, present, future, space and perception. The question of culture, appropriation and ethnicity is queered along with body shape and gender. While a human figure appears in front of a background, she might not be the protagonist, but a pivot point around which the context unfolds its own agency. Urban and rural Japan is rendered into ephemeral stage scenography.


Between Horizons is a new collaborative piece from an international team of artists working in our current epoch. Creating a space of visual and physical navigation, this performance invites the audience to filter through visions of how our lives are shaped by circumstance, privilege, and transformation. Pondering the Anthropocene – our current geological time frame identified by the impact and rupture of humankind – we take apart seemingly unbreakable structures, patterns, and loops posing the paradigm: to kill the thing that gave birth to you or to find hope in the dark? Using tools of performance art, stage, music, light, and text, a space inside of a place will be unfolded putting thoughts into motion as well the thought of why, at times, there is rarely any movement at all.

Yogin Sullaphen, Gretchen Blegen, Marie Fricout, Kieron Jina, Marc Philipp Gabriel


National Arts Festival South Africa 2018
Makhanda (Grahamstown). Venue: Graeme College

06 JUL  20:00
07 JUL  12:00 + 18:00
08 JUL  14:00 + 18:00


Grażyna Roguski has developed a loosely woven tableau vivant of gestures and actions, which lies somewhere between a fashion show and a moving sculpture and makes reference to Carolee Schneemann’s 1964 performance ›Meat Joy‹. FLEISCHLICHE FREUDEN deals with the situation captured in long-since canonised images of the Fluxus movement in the ‘60s and ‘70s, one loaded with societal connotations and to a degree fetishized or ritualised. It asks what these gestures mean in a contemporary context – in the context of our shared consumption of sexuality, art and fashion.

In this performance, developed for the space P100 by Trippen and the exhibition ‘Walk the Talk’, Grażyna Roguski engages with the power dynamics between sexes and identities in an economy of the immaterial and transient, between standardisation and endless variability. The stiffened forms of the textiles link organic with artificial and create, like second skins, autonomous shells of the performers’ human bodies.
The performance FLEISCHLICHE FREUDEN / trapped by convention, tempted by passion by Grażyna Roguski is a cooperation between Herrmann Germann Conspirators and P100 by Trippen. Curated by Natalie Keppler.

Grażyna Roguski, born in 1983 in Tübingen, DE, lives and works in Berlin. In 2013 she completed her media art studies at the HfG Karlsruhe; since 2017 she has been Joachim Blank’s Meisterschülerin at the HGB Leipzig. Selected exhibitions: 2018 Kunstverein Leipzig DE; Vitamin C, Berlin DE; 2017 1a Space, Hong Kong; Museum Lytke, Leipzig DE (solo); SORT, Vienna, AUT (duo); Hamburger Bahnhof – Museum für Gegenwart, Berlin DE; 2016 Museum Arnhem NL; The Plug, London GB; 2015 Württembergisher Kunstverein, Stuttgart DE; 2014 Konsumverein Braunschweig DE (solo).

Natalie Keppler is a curator and researcher; she lives and works in Berlin. As a independent curator she works for the Hamburger Bahnhof – Museum für Gegenwart – Berlin and the Berliner Festspiele at the Martin-Gropius-Bau. In her curatorial practice she engages in particular with artistic strategies of repetition and memory in visual and performance art, as well as their presentation.

Grażyna Roguski

trapped by convention
tempted by passion
at P100 Project Space by Trippen
Potsdamer Strasse 100, 10785 Berlin
with Susanne Grau, Kasia Wolińska, Marc Philipp Gabriel
Soundtrack specially compiled by Lucy Railton

Fri 01 June, 7–10 pm
Performance 7.30–9 pm
Curated by Natalie Keppler


photos: Jaewon Chung

Drag in Japan – TASO

Shot at locations in Japan, April 2018

CONCEPT Marc Philipp Gabriel & Asaf Aharonson
MAKE-UP and COSTUMES Asaf Aharonson
PHOTOGRAPHY Marc Philipp Gabriel
Supported by SEIUNKAN AIR Artist-in-Residence programme, Komoro, Japan

The character TASO (performed by Asaf Aharonson) moves between modes of transness, starting from the act of drag as a tool for transgressing genders in public spaces. In the first part of the research, TASO travelled for 10 days, embracing tactics of “guerrilla dragging” in public urban, touristic and rural spaces of Japan (Tokyo, Kamakura, Kyoto, Hiroshima, Naoshima; in male-only-hotels as well as changing into drag in the Shinkansen train), the encounters documented by Marc Philipp Gabriel in the format of a photo journal, a catalogue of experiences. In the second part, TASO and Marc encountered the rural SEIUNKAN AIR residency in Komoro, Nagano-ken, settling the drag experiment in a concluding performance in different spaces around the village.

The project became a reality performance of otherness in everyday life. Out of days of simply doing ordinary things in drag, eating, walking, sightseeing, abrupt moments of performativity arose through spontaneous camera shoots, activating the space and the public into fragments of a show.

At the residency in Komoro, Asaf performed different nuances of  TASO in the every day business of a guest house, without revealing his ordinary identity until the last day.

Over the course of the 16 days, several individuals were inspired to join the drag experience in their own way, quickly developing different kinds of intimacy with the character TASO. The material is still very fresh and will be curated and edited into a photo exhibition and book later this year.

Video documentation of final residency showing, Komoro, Japan April 2018:

photos: © 2018 MARC PHILIPP GABRIEL. All Rights Reserved


The performance AJIMA stages a character that oscillates between real and fake, private and public, quotidien and theatrical. Throughout the piece, the ambiguity of our wavering identities and roles, our assumptions on others in social interactions become a life exhibition, are cast a spotlight on, and are processed in a collective ritual. The self-referential character AJIMA is alternating and shifting between revealing and hiding, lying and telling the truth, looking and being looked at.

PRODUCED AT Hochschulübergreifendes Zentrum Tanz Berlin (HZT)

THANKS TO Jess Curtis, Maria Francesca Scaroni, Cécile Bally, Inna Krasnoper, Wenzel Vöcks

SUPPORTED BY Goethe Institit / NATIONALES PERFORMANCE NETZ (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision by the German Bundestag.


1 + 2 FEB 2019 / Sophiensaele / Berlin

17-23 JAN 2018 / Zodiak / Helsinki

1 – 3 DEC 2017 / Les Urbaines / Arsenic / Lausanne / Switzerland 

24 MAR 2017 / Old Market Theatre / Swallowsfeet Festival / Brighton

3 + 4 FEB 2017 / “Keine Disziplin” Festival / Gessneralle Zürich

6 – 10 APR 2016 // BUZZCUT // Festival / Glasgow

19 + 20 JUN 2015 // SÅNAFEST // HØLEN / SON / Norway

23 + 24 + 25 SEP 2014 / 20:00h // CENTER OF PERFORMING ARTS “MITOS” / Lemesos, Cyprus

13 + 14 + 15 NOV 2013 // Studio 11 / Uferstudios Berlin


saanafest2015_elvetunge_tilt-01_200pxHZT BerlinMITOSGoethe InstitutNPN_weiss



“This piece by Marc Gabriel was the most memorable of the night … AJIMA will remain in people’s minds for a long time to come.” – The Verse, UK. AJIMA


/ / / / / / / / / / / / / / / / / / / / / / / / / / / / / /

INTERVIEW with Marc on The Vile Blog for BUZZCUT (March 2016)

Can you tell me a little bit about the work that you are bringing to Buzzcut?

AJIMA is a solo for Maija Karhunen that I devolped with her three years ago. We studied choreography together in Berlin. I proposed her to stage a freakshow with her as the freak – and she said yes.

I’m lucky she didn’t call the police to arrest me instead… Maija was born with glass-bone disease and usually moves around in a wheelchair. We realised very early that my projection of a freak-show on her wouldn’t lead to anything interesting to us. Instead, we started collecting social projections that people cast on each other all the time. And in the end – we did make a flamboyant freak-show! But one that empowers the performer rather than the director or the spectator.

What is it about Buzzcut that attracted you to perform as part of it?

The philosophy of sharing and exchange is really what makes this festival special and relevant to us. Often you perform in a place and there is no time and space to engage with the surroundings because schedules and budgets are tight or just because no one has thought of exchange to be crucial to art making. I think it is essential to sustainable art making.

I’m not so much interested in selling my work as much as possible – I’m interested in engaging with the audience, with other art makers and in contributing to the discourse of future models of how to be together on (and with) planet Earth. I see it as a long term process. And I feel that Buzzcut has evolved from a similar spirit.

Buzzcut is concerned with the idea of ‘community’. Does community have a special meaning for you, and what relationship do you feel your work has within wider communities?

Communities are vital parts of society. We are losing more and more the sense of and understanding for what it means to be part of a community and how to commit. Not so much because of the much scolded digitalisation of social interaction, but because of growing anxieties and fear that neo-liberal capitalism is fuelling.

We are pushed to fear the unknown, the ominous other (I am speaking from a Western European perspective), although excluding those that are different has always proven to be a short sighted error of reason. Women, queers, “the disabled”, blacks, Muslims, the exotified, the environment, many more and any overlapping groups of these, they all had enough of being denied a voice, being dis-empowered, marginalised, alienated, suffocated.

Communities have risen to cut through to the surface and strike back to lift the oppression. My work is concerned with offering unconventional angles on things, centring the other, while targeting all kinds of alienation of past and present day Western patriarchal society. AJIMA was the first of a series of works that playfully unfolds the mechanism of social alienation.

What are you hoping that the audience will experience?

I’m hoping for the audience to catch themselves thinking in patterns that they didn’t know they were pursuing. And not punishing themselves for it, but becoming aware for who they are and what they do.

Realising if that is what they want to be. I want to instigate people to reflect on themselves and to be optimistic about what is to come.

MONSTRATOR – Helena Botto


Monsters are scary, terrifying and ugly -this is how we imagine them. Yet they are also representations of anarchy and signify longings of being ‚different’. Monsters give us the lusty creeps; ’angst lust’. Because they exist outside of the norm, monsters threaten our identity and agitate our certainty whilst confronting us with our own self. Through differentiation they simultaneously serve a reassurance of normality. In the 19th century freak shows became an important de-monstration. Exhibiting the monstrous and pairing it with the voyeuristic audience’s expectations these shows had a regulating functionality. The monstrous arrived within the everyday life whilst being domesticated by keeping it within specific boundaries. But what happens when the line between monster and curious onlooker blurs? In her new piece Helena Botto together with choreographer Marc Philipp Gabriel and her team examine the aesthetics of the grotesque, absurd and the freaky body as well as the theatrical apparatus of a freak show. They open new perspectives for the audience of what might be perceived as’ the other’.

Concept and artistic direction: Helena Botto Performance and development: Helena Botto, Marc Philipp Gabriel Sounddesign: Joshua Rutter Video: Philipp Weinrich Dramaturgy: Susanne Mayer Mentoring and scientific consultation: Susanne Foellmer Light design: Gretchen Blegen Production: Julia Danila

„Monstrator“ is a co-production with Hebelhalle|Künstlerhaus|Unterwegs Theater Heidelberg, supported by Choreographisches Zentrum Heidelberg | TanzAllianz, Goethe-Institut Porto, Mala Voadora, Espaço Instável | Teatro do Campo Alegre Porto and the Berlin venue Vierte Welt

PREMIERE  2 + 3 AUG 2017 / Ausufern Festival / Uferstudios Berlin
10 + 11 NOV 2017 /
Hebelhalle Unterwegstheater / Heidelberg
13 DEC 2017 / SODA ALUMNI FESTIVAL / Uferstudios / Berlin
5 + 6 JAN 2018 / ACUD / Berlin


Helena Botto – Studies on Monstrousness

7-27 NOV 2016 / 3rd Study on Monstrousness / Residency at TANZAllianz Coreographisches Centrum Heidelberg, Heidelberg

22 OCT 2016 /   2nd Study on Monstrousness / Presentation “Tanz Stipendium Berlin Senate 2015” / Ada Studios, Berlin

4-12 SEP 2016 / 1st Study on monstrousness / Monstratorum (research) / Residency at Lugar Instável, Teatro do Campo Alegre, Porto


3rd Study on Monstrousness – some notes on the structure

To kill the Monster one needs to keep it apart, but at the same time, to introduce it into the everyday realm, one will make out of it a curiosity (fair) and so it will paradoxically become a liberator of anguish.

José Gil in Monstros, 1994

This performative research is rooted on the exploration of monstrousness and aims to bring a critical insight on the theatrical apparatus of the Freakshow, the popular fairs of wonders and Humans Zoos.

Freakshows and Human Zoos arose in the middle of the XIX century – as a consequence of the apogee of the western european colonialism – and were a display that emphasised division and Otherness, rooted on the dichotomy: I versus The Other.

Often disguised by the name of “World’s Fairs”, those shows (de-monstrations) offered a particular regulating mechanism where the display of the “monstrous”, or of the “Other” was meant to satisfy and pacify the voyeuristic desire of an audience by attempting to reassure their own normalcy.

The three weeks residency at the Choreographic Center of Heidelberg constituted the third of the five condensed blocks of this research. The previous two blocks were in September (Portugal) and in October (Berlin). The objective of this phase was tending toward the construction of a structural draft that would allow the exploration of, and reflect upon ways of transforming the conventional roles of the “Monster” (the Other), “the Freakshow Host” (the Showman) and the Audience, and to test a few procedures in order to build the skeleton of the future performance.

How strict should the borders of this triangulation remain in order that the spectrum of the former dispositif can still remain visible? And how much can one merge them?

In aesthetical and methodological parameters this research is making use of grotesqueness, absurdity, the exploration of the moustrous, in its comic, morbid and scary variations aiming to achieve states of hybridness in which the content becomes blurred and often unidentifiable.

A public showing at Ada Studios, in Berlin the previous October, inserted within a specific frame, brought back into the work adapted and recontextualised performative material that I had started to develop in 2015 within the frame of the “Portuguese Monster” – where I was developing material related to the role of Portugal as a colony, its mentality, its cultural and folkloric manifestations, a.o. (Helena Botto)


Marc Philipp Gabriel & Kieron Jina „Down to Earth“

photo: Dieter Hartwig 

DOWN TO EARTH is a whirling dance of constructed identities shaped by increasingly complex constellations that go beyond the universal social interrogation of “where are you from?” and “what do you do?”. Existing examples of socially coded dance, music and cultural artifacts collide until alien identities are born and shattered on stage, drawing on the human body as a projection canvas. What agency do we really have in rupturing our identities? Kieron Jina (South Africa) and Marc Philipp Gabriel (Germany) work together since 2013. For “Down to Earth“ Yogin Sullaphen (South African) joins as a collaborator to assist in musical composition.

Choreography & Performance: Kieron Jina & Marc Philipp Gabriel | Music: Yogin Sullaphen | Light: Gretchen Blegen | Set: Marie Fricout | Rehearsal director: Liselotte Singer

Coproduction: Tanzfabrik Berlin and University of Johannesburg Arts and Culture.
Supported by: Internationaler Koproduktionsfonds des Goethe Instituts | Dance Umbrella Festival (Johannesburg) | National Arts Festival, South Africa | NATIONALES PERFORMANCE NETZ (NPN) International Guest Performance Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media on the basis of a decision by the German Bundestag.


Nominated for “Best Cutting Edge Production 2017”, South African Theatre Magazine Awards for Stage


„This piece is, to vary the fitting programme notes, a hybrid of cultural artefacts, socially coded dances and music, a playfully exotic dance that neither denies the desire for appropriation, transformation and identity change, nor for the fen-fire-like in-between.” (Astrid Kaminski, tanzraumberlin)

“Why is this faking of rituals, this colourful ethno-kitsch so good? Perhaps because it is made so easy to experience the seductive part of it, and because at the same time the comedy of the unsuccessful attempts at enchantment is now and then shining through, but remains unspoken. And also because the multi-ethnic globe-hopper-cast makes it clear how thin the boundaries are between expropriation, appropriation, and self-ownership in a world of mutual interdependence and influence.” (Astrid Kaminski, tanzraumberlin)


4 – 6 JULY 2017 / National Arts Festival / arena programme / Grahamstown, South Africa

12 MAY 2017 / Theatertreffen / international programme / Berliner Festspiele, Germany

10 MAR 2017 / #UPINTHESKY Workshop / Con Cowan Theatre / Johannesburg

2 + 3 MAR 2017 / Dance Umbrella / Johannesburg

24 + 25 FEB 2017 / Open Spaces #1 / Tanzfabrik Berlin

DOWN TO EARTH means basic, both feet on the ground, straight forward, exactly what is expected. No surprises please. No more than necessary, no bullshitting. Just be yourself, please, innocent like a child. DOWN TO EARTH is exactly that — and not! It is unexpectedly the expected. The descent of the strange stranger from non-earth to Earth. The alien figure within us, the reflection of what we are – not -, and what we could have been. Digging up questions like: why-are-we-like-this and why-not-like-that? This is an encouragement for collective self-analysis.

Two faceless humanoid creatures, vulnerable and bare as they are, drop down in our communal centre, the theatre stage, and proceed to take us on a bumpy road trip through the building and bursting of culture, where the distinction between artificial and real becomes blurred and dichotomies of gender, power and social norms are revealed in their threatening ridiculousness. Emptied out, we ask ourselves, is this the world we would like to be in?

Kieron Jina, Marc Philipp Gabriel (performers) and Yogin Sullaphen (musician) are using a bunch of random “man-made” stuff to summon an artificial world of creatures, cultural codes and artifacts from past and present times, touching on the nostalgia for another future and heading for a rebirth into another past.

“When you are down to earth, don’t forget to look at what’s up in the sky!” — (someone wise)

When two hands touch, there is a sensuality of the flesh, an exchange of warmth, a feeling of pressure, of presence, a proximity of otherness that brings the other nearly as close as oneself. Perhaps closer. And if the two hands belong to one person, might this not enliven an uncanny sense of the otherness of the self, a literal holding oneself at a distance in the sensation of contact, the greeting of the stranger within? So much happens in a touch: an infinity​ of others—other beings, other spaces, other times—are aroused.”

Karen Barad

Marc Philipp Gabriel & Kieron Jina „Down to Earth“

Marc Philipp Gabriel & Kieron Jina „Down to Earth“ Marc Philipp Gabriel & Kieron Jina „Down to Earth“

photos: Dieter Hartwig 

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