SALTO is a shimmering slow-motion 10-min-rollercoaster of frictions between rocks, skin, saltwater, wind, feathers, fur, moss and concrete. A single panning movement of the camera circumscribes the dramatically contrasting landscapes of Madeira Island, Portugal. When a human body emerges from the ground in a single dance move, time is removed for a moment before everything melts back into matter. Letting the voices of non-human people resonate, SALTO silently comments on the capitalization of nature for colonial and touristic exploitation.

A FILM BY  Marc Philipp Gabriel
CAST  Tizo All
CAMERA / SOUND / EDITING  Marc Philipp Gabriel

Duration: 10 mins.

©2020 Marc Philipp Gabriel
For a link to the film please contact


Dance Days Chania – Video Dance
Chania, Crete, Greece / 18 July 2021 / World Premiere
Official Selection

Miracle Makers International Film Festival
Las Vegas, USA / 28-30 July 2021 / North American Premiere
Official Nomminee

TANZAHOi – International Dance & Dance Film Festival
Hamburg, Germany / 5 September 2021 / German Premiere
AUDIENCE CHOICE / Main Programme

DanceBARN ScreenDANCE Festival
Battle Lake, Minnesota, USA / August 2021
Official Selection

Berlin, Germany / 9 September 2021
Official Selection

Bienal de Danza de Cali
Cali, Colombia / 9 – 15 November 2021

Festival Internacional de Videodanza CUERPO MEDIADO 2021 Edición Serpentina
Rosario, Santa Fe, Argentina / NOV 22 – 28

IMARP – Mostra Internacional de Dança – Imagens em Movimento – Vídeo Dança
Ribeirão Preto, São Paulo, Brasil / 13 – 18 December 2021

Greensboro Dance Film Festival
Greensboro, USA / 15 February 2022
Official Selection

TANZAHOi on Tour – Taiwan Bottle Post
濕地 venue / Taipei, Taiwan / 20 February 2022

2º FESTIVAL INTERNACIONAL DE ECOPERFORMANCE / Cine Bijou – Praça Franklin Roosevelt / São Paulo / 28 April 2022

Lima,  Peru / 17 – 21 OCT 2022
Official Selection

FUGA 15 – XV University Festival of Performing Arts of Goiás / International Ecoperformance Exhibition
Goiânia, Brazil / 23-24 NOV 2022

All That Moves International Film Festival / Casa de Cultura do Butantã
São Paulo, Brasil / 26 – 27 NOV 2022
Official Selection

click here for SALTO on


Giro narrates the trajectory without showing us the destiny – the camera follows the movements as such creates its narrative – the character hides behind the camera and reveals that feelings don’t want to be shown – Perhaps the film tells a story of loss or recovery even – but the capturing movements confuses perspectives – the soundtrack guides us into something particular – enigmatic like the landscapes that unveil environments and its capacity to dazzle – the film is a book that has been opened and not yet closed. A spinning game of guessing – a time that has not yet come and long ago left behind.

Short Film | 4:56 min

a film by Tis Aly & Marc Philipp Gabriel
music Leah Arafah
performance Tis Aly
camera Marc Philipp Gabriel

support FONDAZIONE PISTOLETTO – CITTADELLARTE  |  NEUSTART KULTUR – DIS-TANZ-SOLO  | MovieValley International Film Festival Bologna

Danse Macabre & The Burning of the Bugs

Inspired by the queerness of the insect world, Danse Macabre and the Burning of the Bugs is an absurd tragic-comic response to the horror of the bug Apocalypse.

Danse Macabre and the Burning of the Bugs is a tragic-comic response to the current species extinction in the insect world, the horror of the silent Bug Apocalypse, the violence we inflict on the planet and each other and the absurdity of our self-induced overheated end of days. In the 90’s when all the performers were kids, there were 4 times more flying insects than now. Since then the amount of beetles, flies, bees and butterflies has reduced by 75% – in just 30 years! If we don’t queer the f*ck up, we are not going to survive! DMBB dives into a multi-layered exploration of the queerness of the insect world – loud, colourful, messy, full of sheddings, transformations, evolutions and deaths.

Concept, Creation: Joni Barnard, Marc Philipp Gabriel
Performance: Joni Barnard, Liselotte Singer, Kinga Ötvös & Marc Philipp Gabriel
Music: Kinga Ötvös & Team
Feature Song: Stash Crew
Scenography, Masks: Tis Aly
Costume: Rommelo Krause
Light: Gretchen Blegen
Dramaturgy: Olympia Bukkakis
Elisa Purfürst

Language: English
Duration: 60 min.

Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media within the program NEUSTART KULTUR.

photo: ©Mayra Wallraff /

Thu, 29.06.2023 | 19h

Fri, 30.06.2023 | 19h
Sat, 01.07.2023 | 19h

Venue & Tickets
Kastanienallee 79
10435 Berlin

TRAILER Danse Macabre and the Burning of the Bugs at DOCK 11, Berlin 2023 from Elisa Purfürst on Vimeo.

Also see Danse Macabre & The Burning of the Bugs on Tanzforum Berlin

Please contact for full video documentation.

photos: ©Mayra Wallraff /



Work in Progress: STAGE 2

photo: Zee Hartmann

CONCEPT / CREATION Joni Barnard & Marc Philipp Gabriel
PERFORMANCE Joni Barnard, Liselotte Singer & Marc Philipp Gabriel

NOV 2021 / Uferstudios Berlin / Residency Programme

In the frame of the Berlin Residency “TRIALS AND REVISITING”, Joni Barnard continued working on their collaborative performance Danse Macabre and the Burning of the Bugs. The project is a tragic-comic response to the current species extinction in the insect world, the horror of the Bug Apocalypse and the absurdity of humankind’s violent destruction of our habitat. Joni invited the videographer Elisa Purfürst, the dancer-performer Liselotte Singer, Marc Philipp Gabriel as a visiting performer and dramaturg and Tizo All for costume and scenic design and conception. For the residency the artists concentrated on creating soundscapes and layering realtime making and projected images to the performance. As further input, they consulted experts on insects based in and around Berlin and researched deeply the team’s experience, bias and discrimination towards interspecies interconnectedness.

photos: Zee Hartmann

Work in Progress: STAGE 1

Joni & Marc met 5 years ago in South Africa​. Since then the biomass of flying insects has declined by about 14%, as studies in Germany and Puerto Rico have shown. When Joni & Marc were kids, there where 4 times more flying insects than now. Since then the amount of beatles, flies, bees and butterflies has reduced by 75% – in just 30 years! Danse Macabre and the burning of the bugs is a response to the current horror of the Bug Apocalypse, the violence we inflict on the planet and each other and the absurdity of our self-induced overheated end of days. How many bugs have died today? 

CONCEPT / CREATION / PERFORMANCE Joni Barnard & Marc Philipp Gabriel

13 MAR 2021 / AS AN ACT OF LOVE – Chapter 2: Climate Change // PremArts / Berlin
& live stream

Joni Barnard is a rap and dance artist, live performer, choreographer, dramaturg and cultivator of embodied activism. She is adventurous and wild and loves collaboration, experimentation and play! She creates subversive work that encourages people to reflect on and question their identity and position in society. Socially and culturally, this is important in generating self awareness, improving interpersonal relations and igniting transformation. 
Marc Philipp Gabriel is a Berlin based performance artist working between body, voice, installation, video and architecture from the perspective of dance and movement. His work offers unconventional angles on social norms, contributing to the discourse of future models of how to be together on and with planet Earth.
This work is supported by Tanzpraxis Berlin and the Sonder-Stipendium of the Senatsverwaltung für Kultur und Europa.
📢 Make politics move, lift your voice and bodies for Berlin’s Dance Scene and the continuation of Tanzpraxis Stipendium.
#tanzpraxisberlin #tanzpraxis# senatberlin #berlindancescene #performingartsberlin #performingarts #cultureberlin #kulturberlin #berlinpolitics #dancematters #collaboration #invisiblework #phayafly #KingPony #SenKultEu #marquitogabriella


photo: Anna Spindelndreier

Anajara Amarante: BUTCHING COWBOYS

Flamboyant and butch queen, crip and queer: Butching Cowboys celebrates a new body norm. Anajara Amarante takes the audience into their queer version of South American surrealism and creates entire dance landscapes out of it. On stage, the performers free themselves from everything that makes them feel out of place – symbols, clothing and doctor’s offices –, and also leave behind learned and imposed behaviors. Closely connected to the artists, the audience experiences a crescendo evening that is both visual protest and ritual celebration. Grief and anger about a society in which a multitude of bodies still find no place become a new way of self-empowerment here.

Anajara Amarante is a chronically ill, queer Brazilian artist. Their main media of work is the moving body. Their professional interests are personal and political: queer, dissident bodies, marginalized communities and art practices. Their main artistic practice is concentrated in the field of performing arts (focus choreography), with previous formations in Biology and Communication. As a Brazilian living in Europe, Anajara is interested in immigrant people, the construction of their identities, and post-colonialism, as well as the construction of joy, inclusion, and diversity. Tis Aly is a queer BIPoC artist with a strong wish for social justice. Tis Aly’s artistic work is a place of collision, meeting the individual and the collective simultaneously. Marc Philipp Gabriel is a Berlin based performance artist working with body, voice, installation, video and architecture from the perspective of dance and movement. SorrySuSu999 is a Berlin based artist with a BA in Anthropology. Their interest goes around performance art to translate their observations about society.


Extravagant und Butch Queen, crip und queer: BUTCHING COWBOYS feiert eine neue Körpernorm. Anajara Amarante nimmt das Publikum mit in eine queere Version des südamerikanischen Surrealismus und lässt daraus ganze Tanzlandschaften entstehen. Auf der Bühne befreien sich die Performer*innen von allem, was sie sich als »Fremdkörper« fühlen lässt – den Symbolen, der Kleidung und den Praxen der Ärzt*innen – und lassen angelernte und erzwungene Verhaltensweise hinter sich. Gemeinsam mit den Künstler*innen erlebt das Publikum einen Crescendo-Abend, der visueller Protest und rituelle Feier zugleich ist. Trauer und Wut über eine Gesellschaft, in der eine Vielzahl von Körpern immer noch keinen Platz finden, werden hier zu einer neuen Form der Selbstermächtigung. Anajara Amarante ist ein*e chronisch kranke*r brasilianische*r, queere*r Künstler*in und beschäftigt sich mit Identitätsbildung, Postkolonialismus sowie der Konstruktion von Freude, Inklusion und Vielfalt.

Konzept | Choreographie | Performance | Bühne   Anajara Amarante
Performance | Choreographische Assistenz   Tis Aly
Licht- und Bühnendesign | Performance | Video | Produktion   Marc Philipp Gabriel
Kostüme | Produktionsassistenz   Suzanne Stavast

Premiere: Queering the Crip, Cripping the Queer Festival / Sophiensaele Berlin
16+17+18 SEP 2022

1 + 2 MAR 2024 | 20h | sorry but not sorry festival / Kampnagel Hamburg

photos: Mayra Wallraff / Anna Spindelndreier

Read our FANZINE: Book of Colors

AUDIO Version of the FanZine:


Accessibility information

The audience is arranged in an L-shape on two sides of the stage. The performers often come close to the front row, and in one scene they briefly enter the audience only partially clothed. Straw is used as well as stage fog several times, which is blown directly into parts of the audience. A loud wind machine, animal masks and confetti are also used. In the second scene, a tense atmosphere is created for several minutes. In addition, there are two sudden loud moments. In another scene, the room is almost completely darkened and an uncanny atmosphere is created with frightening voice echoes. Later, a prop is hit several times with a loud bang. In the last scene, loud music, a spinning disco ball, coloured light changes and fog are used simultaneously. The performance is a Relaxed Performance. Relaxed Performances welcome all visitors for whom sitting still for long periods of time in the theatre is a barrier (for example autistic people, people with Tourette’s, learning difficulties or chronic pain). Noises and movements from the audience are welcome. Visitors can leave and return to the auditorium at any time.


LAVA starts where the crack opens wide, to drip drops of a liquid future. Reminding us of the forces of nature and its inherent movements of transformation.

The real witches of daily life, besides fighting for their existence, are taking care of a large number of people. So does Earth to us. The feminine has dealt with and taken care of life on Earth. What flows from Lava is a history that tells us the evolution of the revolution. Where beings and the intelligence of nature have taken the course of change. The water, the essential liquid on Earth, carries stories in itself that remain unheard. We strive to pay attention to the messages and signals that flow over time from the beginning(s) to the end(s).

Marise, remembering from the future, imagines landscapes which possibly have already happened or not yet started. Is Ivy her continuation or a reminiscence of the past? Does time flow in a chronological line or move like the ties and the course of water? Do we imagine the future or do we determine it from the moment we step in or out? LAVA (= port. for “wash”) refers to the act of cleaning on a human scope, but also to the volcanic liquid embodying both destruction and fertility of life. LAVA sheds light on the importance of taking care of the elements that constitute all living beings on Earth and beyond.

um filme de | a film by
Tizo All and Marc Philipp Gabriel




27 JUNE 2022 / World Premiere / Atlantic International Film Festival  / Barranquilla, Colombia
WINNER: Best Experimental Short Film

16 SEP 2022 / Wild Dogs International Screendance Festival / Calgary, Canada
Official Selection

WINNER: Mejor Cortometraje / Nuevas Miradas

1-12 NOV 2022 / FICBC – Festival Internacional de Cinema em Balneário Cambori / Brazil
Official Selection

11 – 17 NOV 2022 / Boreal Screendance Festival / Iceland
Official Selection

20 NOV 2022 / Nature & Culture: International Poetry Film Festival / The Poetic Phonotheque / Copenhagen, Denmark

26 – 27 NOV 2022 / All That Moves International Film Festival / Casa de Cultura do Butantã / Cine Satyros Bijou  / São Paulo, Brasil
WINNER: Best mobile Short Director

05 APR 2023 / 01 NFT | New Media | Experimental | Digital Arts Film Festival | United Kingdom 2023
Special Mention

25 AUG – 1 SEP 2023 / Festival de Videodanza Cuerpo Digital Bolivia
Official Selection

11-15 SEP 2023 / Miracle Makers International Film Festival / Los Angeles, USA
Official Selection

01 JUN 2024 / IV International Ecoperformance Film Festival / Cine Satyros Bijou / São Paulo, Brazil
Official Selection

06-07 JUN 2024 / Montfleuri sur Mer / Pinamar, Argentina

11-14 JUN / Bucharest National Dance Center / Bucharest, Romania

movie stills


Marise Alvez de Andrade
Ivy Menezes
Bruna Loraynne
Kiune Bezerra Ribeiro

Anajara Laisa Amarante
Bibiana Pusch
Clarinda Siqueira
Hosana Santana Santos
Maria Rita Muniz de Andrade
Raissa Capasso
Sarah Pusch
Solano Kunt Kintey Santoso
Tizo All
Yasmin da Conceição Andrade

Marc Philipp Gabriel
Tizo All

Tizo All

Marc Philipp Gabriel

Marc Philipp Gabriel

Tizo All


Chariklia Lehmann
Lilo Fischer
Dörte Alex

Samuel Bergmann

Marc Philipp Gabriel

Gilsamara Moura
Assentamento Terra Vista – Arataca – Bahia
Funceb – Salvador – Bahia
Iki Iki Taiko Dojo Berlin
Antônio do Capão



Kulturaustauschstipendium Global – Berliner Senat für Kultur und Europa

Gefördert durch die Beauftragte der Bundesregierung für Kultur und Medien im Programm NEUSTART KULTUR, DIS-TANZEN des Dachverband




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.


30 SEP + 1 OCT 2021 / Grenzenlos Kultur Festival / Staatstheater Mainz / Germany

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 / Gessnerallee 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.

X Fastidiosa

a short film by by Tizo All & Marc Philipp Gabriel

In the pandemic-stricken olive groves of Puglia, Southern Italy, two human bodies emerge from the trees for a dance of death.

The film is an artistic response to the rapid spread of the xylella fastidiosa bacteria in Southern Italy as a result of lacking biodiversity in the hundreds of years old monoculture olive groves. Over 60% of trees have been infected and are dying with no cure. Local olive farmers are deprived of their income basis.

PERFORMANCE Tizo All & Marc Philipp Gabriel
MUSIC Marc Philipp Gabriel
CAMERA | EDITING Marc Philipp Gabriel

Duration: 1 min


8 JAN 2021 / 22. SzólóDuó International Dance Festival / Ork_Kota_Platfrom / Budapest, Hungary

7+8 AUG 2021 / @knowboxdance (online)

24 SEP 2021 / COCTELITO DE VIDEODANZA / Oaxaca, Mexico

24 OCT 2021 / WINNER Best Short Film – Green Fork / MovieValley International Film Festival / Bologna, Italy

22 – 28 NOV 2021 / Festival Internacional de Videodanza CUERPO MEDIADO 2021 Edición Serpentina / Rosario, Santa Fe, Argentina

11 DEC 2021 / kNOwBOX dance Film Festival / Dallas, USA

13 – 19 DEC 2021 / kNOwBOX dance Film Festival / emuARTSPACE / Seoul, Korea

13 – 18 DEC 2021 / IMARP – Mostra Internacional de Dança – Imagens em Movimento – Vídeo Dança / Ribeirão Preto, São Paulo, Brasil

8 OCT 2022 / Dance Spotlight / Kranj, Slovenia


X Fastidiosa is on

find X Fastidiosa on

©2021 Marc Philipp Gabriel & Tizo All

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.

30 SEP – 10 OCT 2021 / Exhibition / Grenzenlos Kultur / Staatstheater Mainz, DE


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.

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


13 -27 AUG 2021 / artists in residence / Künstlerhaus Lukas / Ahrenshoop, DE

5 – 16 APR 2021 / artists in residence / La Zouze / Marseille

AUG 2020 / DANCE ALL YEAR LONG residency in Kokkola / Finland

Performance at Lange Nacht der Kunst 2021 Ahrenshoop:

Research presentation Kokkola:

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

* * *













A.I.R _ Absolut in Ruhe

by Tizo All

“My artistic practice is a place of encounter and collision between the individual and the collective. My awareness is where the intangible is present. The senses are awakened and a process of transformation can start, because the trigger is the body in its multiple and amplified forms.” 


The space and the deep sea are soaked in fluid storms and silence that our auditory system can’t grasp.

Silence is seeking for peace or a confrontation of memories and actual feelings.

Is silence a matter of absence? What is voluntary, what is imposed?

The voices that have been silenced with their life. The voices that spread hatred with their filthy discourses and should keep their mouths shut. The ones which are not heard because their signals and symbols do not support a system of continuous destruction.

For the brave voices that sing their life and scream their manifestos.

We keep silent.

May this be a new form of communication?

We inhabit Tivoli Park as a site for a specific performance of silences.

Not seeking for answers. Leaving residual presence in silence.

CHOREOGRAPHY & PERFORMANCE Tizo All, Marc Philipp Gabriel

Duration: 10 hours

Comissioned by

SPIDER Festival 2021 / Ljubljana, Slovenia

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