COMO UM JABUTI MATOU UMA ONÇA E FEZ UMA GAITA DE UM DE SEUS OSSOS
The performance presents the audience with the image of a male body subjugated by an object: an orange high-heeled shoe whose heel is a 30-cm stake. Unable to stand and occupy an erect, masculine and dominating position, this body moves slowly across the horizontal plane through a choreography that condenses images referring to a woman’s objectification. Based on the transformation of the shoe and its placement on a male body, the work raises questions regarding gender identity and the role of objects in this process.

Abb
A playful balancing act by a robotarm. This enormous machine balancing itself on a stainlesssteel semi sphere. When the arm moves, stretches, the balance point of the entire construction shifts which makes the whole machine lean over until it -almost- tips. The robot seems curious to find its tipping point, searching for the limits of balance without ever really being able to fall over. The machine is playing a children’s game with enormous power and robotic precision.

Limited Spaces N2
On approaching the piece, the viewer must mount a bicycle and start pedaling at a suitable and steady speed — only then will the projection of a film onto the screen start. In order to watch the film to the end one has to continue cycling without stopping. This work is built around a performance, produced by two actors: a man riding a bicycle and a woman, who, concealed behind the screen, moves depending on the man’s velocity, unintentionally creating changing reliefs which resemble sculptures. The abusive nature of the relationship embodied in the performance clearly draws on the ancient Greek myth about sculptor Pygmalion and his “artwork” Galatea on the one hand, and on the other references more contemporary feminist discourse, something to which the artist is far from being indifferent. The faster the man pedals, the faster and more forcedly the woman moves. Few trained artists could withstand such a speed.

Wave wall
A wall of 122 wind-activated pendulums are each magnetically coupled with its neighbors so that the whole wall moves as a slowly undulating surface similar to a large piece of fabric rippling in the wind. In winds greater than 15 knots, the wall’s coherent wave-like movement becomes more chaotic as the pendulums break their mutual magnetic coupling. The pendulums can also be manually activated.

Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?