With the exhibition Trans Identities: From Argentina to the Balkans, we present two approaches to personal stories and archives of individuals whose identities are often overlooked or underrepresented in public discourse. The Archivo de la Memoria Trans from Buenos Aires brings together archival materials (photographs, letters, personal documents, etc.) presented across 13 categories, while the…
With the exhibition Trans Identities: From Argentina to the Balkans, we present two approaches to personal stories and archives of individuals whose identities are often overlooked or underrepresented in public discourse. The Archivo de la Memoria Trans from Buenos Aires brings together archival materials (photographs, letters, personal documents, etc.) presented across 13 categories, while the…
Transfiguration: A Divine Intervention unfolds across days of collective gathering that moves from reflection to preparation and finally into ritual encounter. Rooted in Indigenous Philippine cosmologies and shaped by queer and trans experience, the project explores the emergence of the dark feminine and the sovereign woman as a necessary archetype for our time.
ReInA en el Gondo tells a story of trans aging—a stage of life experienced by very few trans women. ReInA has had the chance to live. To live in order to tell her story. She resides in Gondolín, a hotel in Buenos Aires taken over by the trans and travesti community, transformed into a space of refuge and family.
If gender is a normative category—defined by civilizational expectations—then it also presupposes the existence of bodies beyond it: bodies that, in one way or another, do not fit into what is defined as normative.
The program begins with a screening of the experimental film Diwata by RAM Botero and Giulia Casalini, which explores precolonial Philippine cosmologies in which the divine is understood as immanent—present in land, body, and community. The film introduces an ecotransfeminist perspective in which the feminine divine is not located in distant heavens, but resides within forests, rivers, and landscapes.
Performed to evocative old songs by Egyptian singers and compositions drawn from the speeches of Egyptian politicians, the performance MANEATER follows a solo dancer as he uncovers Egypt’s complex and toxic relationship with its rulers, politicians, and its own people. Through dance and physical expression, the performer explores his own love for his homeland, attempting to reconcile patriotism with disappointment, while seeking a balance between the light of hope and the darkness of repression.
In All my bodies, Maiamar Abrodos — a renowned actress, set design teacher at EMAD, and a key figure in Argentine theatre — invites us to take part in a class that goes far beyond conventional teaching. What begins as a lesson on scenographic perspective and the body in theatrical space soon transforms into a deeply human journey through the many bodies she has inhabited — and the many others that have left an indelible mark on her life.
SANCTOMB is a performance art project by Køteren og Terrieren (Bjørk-Mynte Paulse and Jonathan Ibsen) that questions the afterlife: who it is created for and who is denied access?
Confessional and deeply affecting, at once fierce and tender, Your Love Is King is a play by Espi Tomičić, one of the most compelling emerging voices in contemporary drama. The piece weaves together personal and family narratives—from a mother’s illness and a complex sibling relationship to the author’s transition and fragments of a childhood marked by trauma and the struggle to survive.
In this raw and physical duet, which serves as a prequel to We Play So Hard We Hurt Each Other, Fernando Troya takes us back to a darker period of his past. A time of hypersexualization that often left him feeling bad and condemned. The piece shows how queer desire becomes conflict and the body its battleground. Unapologetically intimate, it wants to be seen, felt, and endured.
In this raw and physical duet, which serves as a prequel to We Play So Hard We Hurt Each Other, Fernando Troya takes us back to a darker period of his past. A time of hypersexualization that often left him feeling bad and condemned. The piece shows how queer desire becomes conflict and the body its battleground. Unapologetically intimate, it wants to be seen, felt, and endured.
At the center of the story are two friends heading to Babin Kuk to stop a wedding—because what is an invitation to others is an alarm for them. When love delivers its final blow and reason takes a holiday, they get into a car and set off on a hellish journey from Zagreb to Dubrovnik, in the high heat, with the music blasting and emotions that won’t fit even in the trunk.
ONLY UNDER is a performance about forces: invisible, structural, emotional, and physical. Inspired by wave mechanics, the work explores how movements—both choreographic and social—emerge only under certain conditions.
The play Ministrants, directed by Zlatko Paković and inspired by the drama The Maids by Jean Genet, powerfully and uncompromisingly opens the theme of confronting trauma and the power of the Church. The performance offers a stage exploration of the relationships between power, faith, and violence, pointing out how institutions that are meant to protect the community often become sources of pain and repression.
Change Language To: English
