GEWEBE – a queer anatomy of connection
Contemporary dance solo · 30 minutes · non-verbal · 2026
My role Concept · Choreography · Performance · Set · Costume · Visuals
The room breathes. Then a body grows out of the fabric.
The room is threaded with white, organically meandering veins of fabric that stretch across floor and walls. A dreamy, abstract soundscape plays as the audience gathers – nothing is visible but the wide stage design. Under UV light the veins glow and stir with every draught. The room breathes.
Slowly the tissue begins to move – seemingly out of nowhere, from within, from below. Skin appears, parts of a body that looks human but doesn’t behave like one. It grows out of the web of veins into the room. A hypnotic landscape unfolds, and the audience forgets they are watching a human body move. Over 30 minutes the space develops a logic and language of its own and holds it without compromise.
Read more ↓Less ↑
GEWEBE is a transformation of body, set and video projection in which the boundaries between body and material blur, dissolve and are called into question. The piece draws on my engagement with queer theory, Donna Haraway, mycelial networks, posthumanism and the fascial system – combined with a clear aesthetic of body and movement. I translate these complex, abstract influences through a precise choreographic and visual language into an immersive, non-verbal experience – a ritual for the audience as much as for me.
That is exactly where the piece draws its strength: it works only with images and kinaesthetics. The theoretical depth is not explained but made physically legible – in a way language never could.
My role in the piece
GEWEBE is my work on every level: I conceived and choreographed the piece, I perform it, and I designed and made the set, the costume and the generative visuals – including 30 square metres of embroidered, UV-reactive tulle that is set, costume, projection surface and co-performer all at once.
The idea grew out of a simple spatial and physical limitation and was followed with curiosity, guidance and support. The particular challenge: I barely leave my spot. Without travelling through the space, I hold the audience spellbound for the full duration – through the articulation of shoulder blades and muscle contractions alone, through micro-movements that light, fabric and sound amplify into hypnotic events. Dance, textile art, video and sound merge into an immersive space in which the boundary between body and material becomes porous.