Project „Image we combat with“ is an transformation and development of choreographer Alina Belyagina self-solo „Pure.Image“  – Finalists and audience winner euro-scene Leipzig „The Best German dance solo“ 2019 

We open up a space for an experiment with the extreme in an imaginary environment that has no direct cultural and contextual connotations, however, allows us to use some material, such as field recordings from protests, and intertwine it with other in a new performative text. 

We would like to find more interaction with drill which remind as a weapon as well.  We work in the direction to show a confusing emotional and mental statement by contemporary media. Creation immerses us in an imaginary landscape that can be understood as a non-place in the sense of the French anthropologist Marc Augé. This non-place of course can be marked as cosmic or/and distopical.  Within this environment a human-like creature appears.  We see how this body struggles with the “injection” of aggression. 

What happens to a human body when it is immersed in a state of ultraviolence? How does the fact of having a weapon in our hands choreograph our movement, formulate our intentions?  In the centre of our artistic investigation is a body that reflects everything that happens outside. Thinking about the ways how ideologies shape our bodies and minds, in a very subtle way they restructure us from the inside, choreograph our bodies and finally make our bodies unable to act freely.

Amie Jammeh was born in 1993 and has origin from The Gambia and Sweden. She began dancing at a young age, starting mostly with hiphop and urban styles, and decided to go more into the contemporary scene when she was in her 20s. In 2017, she graduated from Iwanson International School of Contemporary Dance in Munich and after graduating she worked with the director of the school, Johannes Härtl, for 2 years. In 2019 she attended a Martial Arts Academy in China where she studied Tai Chi, Qi Gong and Shaolin Kung Fu, and from which she graduated from the same year. She is now working as a multidisciplinary freelance dancer while also continuing her studies about Chinese martial arts as well as studying to become a movement therapist. The different choreographers/directors that she has been working with so far includes Anouk Van Dijk, Falk Richter, Dustin Klein, Nadine Gerspacher, Ryan Mason, Anta Helena Recke, Mario Lopes, Bui Rouch, Patrick Delcroix, Alessandro Sousa Pereira and so on. She is also a part of KDV Dance Ensemble in Berlin since last year.

Alina Belyagina works between dance and theatre with extensive use of video and text. Alina is educated at the Moscow State University of Culture and Arts.  She spent three years in Poland learning ancient Greek and Latin and working as a classic ballet teacher in Silesian Dance Theater and Rozbark Dance and Movement Theater. After moving to Germany she started her choreographic career by participating in Soltunatu Tantsu Lava The PREMIERE`17 residency in Tallinn and then started working with Freies Theater München where she continued to study dance while doing projects in Brussels and Tel Aviv.  Alina created video and movement installations for Baltic Contemporary Art Gallery (PL), Dance Atelier Reykjavik. In 2018 to this day she is a guest choreographer for Gesher Theater. Alina’s projects are related to the urban area, cyberanthropology, transhumanism and  xenofeminism. She is inspired by the digital visualization and the pieces of art dealing with complicated questions.

Performance idea, concept Alina Belyagina

Performer Amie Jammeh

Music editing Eldar Baruch

Dramaturgy Polina Fenko

Medicine by its proclaimed scientific objectivity is an easy and powerful tool for solidifying the rule and validity of white supremacy and patriarchal cisgenderism. Just as religion, medicine served, in its own way to maintain the powers which shaped its creation and sustained the validity of its dominance. Through the exploration of the relationship between Christian religious hegemony and western medical authorities from a genderqueer feminist perspective, ‵‵Secret Garden′′ focuses on how womxns’ feelings on shame and guilt can be linked to religious (eg. The Latin Fathers of the Church held women responsible for bringing original sin into the world, and for being a continuing source of seduction) and medical (eg. In the 19th century, hysteria was considered a diagnosable physical illness in females) stigmatizations. Based on observations, discussions, readings of testimonies, feminist historical documentations and lesbian archives, the choreographic material of this solo emerges from an extensive research on the concepts of the unconscious, trauma, hysteria and paralysis both in terms of symptoms and expressions.

Rebeka Petra Kiss is a Budapest-based contemporary dancer and performance maker. She graduated at the Hungarian Dance Academy in 2018. She worked with Katalin Lőrinc, Pal Frenák, Eva Duda, Adrienn Hód, Krisztián Gergye, Anna Ádám, Inverse Dance. She is a member of the Willany Leó Improvisation Dance Theater from 2015 until today. She won second place with her own solo in the senior solo category at the VIBE International Dance experience (Wien, AT) 2018.

Anna Ádám is a Paris-Budapest-based visual artist and performance maker whose work blurs the boundaries between choreography, image, and object, with emphasis on the body and on the movement as the central forms of expression. She graduated at the ENSAPC Art School in Cergy, France, in 2016. By combining performing arts, visual arts and curatorial practices, Anna Ádám’s work transgresses normative discourses, challenges gender boundaries, systems of representation, standards of beauty together with the established codes of the fashionable body. Anna Ádám also considers teaching and community building as part of her main artistic medium. In 2015 she founded the „School of Disobedience“, which is an experimental and anti-canonical performance art school. Composed of thematic classes, the program introduces the concepts of oppression, domination, exploitation, marginalization, powerlessness and violence from a critical feminist perspective. Since 2016 she presents regularly her work in both theaters (E-Werk Kulturzentrum (DE), Theater MU (HU), National Theater (HU), Piccolo Teatro (DE)…) and exhibition spaces (Ludwig Museum (HU), Museum of Modern Art Yerevan (AM), National Museum of History Paris (FR)…), and holds workshops in universities across Europe (Austria, France, Hungary, Malta…).

Concept, direction, scenography, setting, costume Anna Ádám
Choreography Anna Ádám, Rebeka Petra Kiss
Performance Rebeka Petra Kiss
Music Boldizsár Komjáthy
Lights Mátyás Major
Supporters Hungarian University of Fine Arts, L1 Association, MU Theater, National Cultural Fund of Hungary Imre Zoltán Program, OFF-Biennale Budapest, Otthon Project, SIN Cultural Center
Production Gray Box

My photography and fine art mainly originates in the exploration of the self – and (self – ) identity. Embracing my naturally dark, beautiful and eerie inner visual voice, I stage and compose portraits and still life images, that use techniques of surrealism. Often, the main technique includes distorting and mystifying objects, people and atmospheres, by using glas, lenses, image manipulation or symbols to enrich the image.

My believe is: manipulating the image plays with the realism of the subject and makes another layer of reality visible.The main motivator to create images is my need to deal with feelings, memories and contemplative thoughts through a katharsis – like state of mind. I am very fascinated by spirituality, rituals, the magic of transcendence and therefore highly inspired by folklore, fairytales, phantasy stories and overall – magical things that trigger thoughts and imagination.

Christina Heurig is a mainly self-taught art director, photographer and set designer based in Berlin/Germany and Switzerland. She graduated 2017 as communication designer with her book experience project ‚Der Sandmann‘. Her work focuses on fine art and portrait photography, building miniature models for puppetry theatre and animation movies, as well as set design for theatre and movie scenery / production design. Essentially, she uses dark beauty, surrealism, mystery and phantasy elements to illustrate and explore emotional or cognitive layers of the soul.

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Ginny Sol W. is an artist and designer of colour based in Wuppertal, Germany studying communication design at Peter Behrens School of Arts. Being an environmental- and feminist activist their artworks mostly focus on themes such as queer identity, discrimination, sexism, fascism and the ongoing thread of the climate crisis. In addition to that, Ginny has given talks about eco-conscious living and our impact on the planet and humanity itself at L’Oréal, DZ HYP, WDR and more. Raised by an artist mother herself, Ginny grew up surrounded by art and fortunately had their talent and passion for it recognised and encouraged from an early age. Through this they soon learned to express themes that took a great role in their life through various artistic media. Now they are mostly focused on making intricate analogue collages, combining carefully selected and collected recycled magazines, postcards, brochures and more with tape-designs, drawings and stickers. They also have a great interest in analogue photography, usually centering around abstract and surreal motives. Apart from all of this Ginny loves spending time with their tricolour cat Alice (usually only referred to as „Bebi“ by the family) and munching away on all kinds of Asian food (all vegan of course). Whenever possible, they try to organise trips to the museum or art-creating sessions with their friends to help the creative juices flow.

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Iris Forstenlechner (white, cis, queer; Pronomen: she/her) malt und zeichnet, schreibt und arbeitet (im Sozialbereich und an feministischen Utopien). Sie hat gerne Besuch auf irisforstenlechner.wordpress.com oder @die_a_ndere. Erste Veröffentlichungen ihrer Bilder und Texte, u.a. bei absolut-zine.de

Julia Knaß (white, cis, bi; Pronomen: she/her) lebt in Graz, arbeitet im Sekretariat, ist Mitgründerin des literarischen Heftes „mischen“ und ehrenamtlich Redakteurin bei der queer-feministischen Radiosendung „genderfrequenz“ (Radio Helsinki). (Webseite: abwesenheitsnotizen.at) Zuletzt erschienen: „Ist das 1 Literatur“ (mit Anna Neuwirth, bei Sukultur).

Katharina Holstein-Sturm was born in 1968 in Hamburg, studied Graphics Design in Würzburg and spent time as a resident artist in London with the Shoreditch Photobiennale. She is a member of the German Artists Association BBK and of GEDOK, the german women’s artist association. She has had numerous exhibitions in Germany and Europe. She lives and works in a small village close to Hamburg, is married and has three children.

Das Projekt „Fragmentierte Realitäten“ thematisiert die Untrennbarkeit von Mode und Natur. Die Collagen dienen dabei als visuelle Aufforderung, die gravierenden Auswirkungen der Modeindustrie auf unsere Umwelt zu hinterfragen.

Lisa Jureczko ist freiberufliche Fotografin, Künstlerin und Autorin. Ihre Arbeiten thematisieren die gravierenden Auswirkungen der Modeindustrie auf Mensch und Umwelt, soziale und politische Missstände sowie die gesamtgesellschaftlichen Ausprägungen und Folgen psychischer Gewalt. Ihre Arbeit ist dabei stets interdisziplinär und intersektional ausgelegt, und soll insbesondere der Entstigmatisierung dienen. Geboren und aufgewachsen ist Lisa Jureczko in Düsseldorf. In Köln und Rom studierte sie Kunstgeschichte, Italienisch und Archäologie. Im Rahmen ihrer wissenschaftlichen Arbeit beschäftigte sie sich mit Antikenrezeption und Portraitforschung. 2014 wagte sie den Quereinstieg in die Mode- und Beautyfotografie. Es folgten zahlreiche internationale Publikationen und Ausstellungen. Ihr aktuelles Schaffen ist geprägt durch den Ansporn,  künstlerische, wissenschaftliche und aktivistische Positionen miteinander zu vereinen.

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maruhni ist Musikerin, Dj und Produzentin. Sie hat viele Jahre verschiedene Blasinstrumente gespielt und erlernen dürfen, dabei war die Klarinette ihr Wahlinstrument im Orchester. Da sich ihre Interessen zweitweise auf den Schwerpunkt Theater fokussierten, gab es einige Jahre ohne nennenswertes musikalisches Engagement. 2019 hat sich ihr die Möglichkeit geboten mit Platten aufzulegen und DJ zu werden. Eine neue Leidenschaft ist entstanden. Durch den coronabedingten Lockdown und die damit einhergehende Veränderungen der Musik- und Clubszene ist ihr Interesse gewachsen, eigene Musikstücke zu erschaffen. So hat sie sich in diesem Jahr die Handhabung einer DAW und die Ausgestaltung musikalischer Werke beigebracht. Ihre Musik ist geprägt durch ihre Liebe zu Percussionselementen, sowie düsteren Basselementen. Und immer dabei sphärischen Elementen, die sie zum Teil selbst mit verschiedenen Instrumenten eingespielt hat und in der DAW verändert, um aus klassischen Sounds etwas neues auszugestalten.

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Samiya Younis was born in Nottingham, England in 1984. She is a British-Kashmiri-Pakistani artist based in London. Samiya grew up amongst eight other siblings there was always sibling rivalry for her parents‘ affection, who would favour her two brothers over their daughters. Throughout her life, Samiya wanted her independence and voice as a child spent time creating to escape. At the age of 17, she left the family unit to avoid a forced marriage. Years later at the of 24, while working in an office, she decided to pursue her interests and enrolled herself into art college. Here Samiya flourished and further developed when she decided to take her Bachelors degree in sculpture at the University of Arts London.  After completing her degree, Samiya was offered a place to study sculpture at the Royal College of Art in London. Here Samiya delved even more into her Fine art practice, exploring her identity, culture and struggles as a second-generation woman of migrant parents from a South Asian culture, exploring gender violence, and the histories and legacies of colonialism.

Samiya has taught Fine Art programs in Oxford and Edinburgh. She has led textiles and drawing workshops with Women’s groups in Oxford and London and has exhibited work in group shows in London and China. She is co-founder of LinkUP, a mobile-network-based social group formed at the RCA for artists of colour, giving voice to different forms and practices. She is an artist, curator, educator and advocate/voice for women’s empowerment and liberation. Samiya is a mentor, supporting students in Art and Design at HE Colleges in London, and is currently doing a PgCert Academic Practice in Art, Design and Communication, specialising in Inclusive Learning and Teaching, University of the Arts London.

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Yume No Yukari is a portrait, fine art and fashion photographer from Dortmund, Germany. She lived some time in Japan studying at Sophia University Tokyo and graduated in Social Psychology and East Asian Studies with focus on History, Politics and Gender at Ruhr University Bochum. Inspired by ancient aesthetics, psychology and dreams she uses experimental photo and edit techniques for creating surreal imagery which focuses on themes like culture/subculture, identity and feminism while working out essential forms, characteristics or emotions. She is engaging for women’s empowerment and more visibility of female and non binary artists. At the moment she is part of the exhibition series “Under Feminist Construction” on occasion of international women’s day in Bochum. Her work is published nationally and internationally.