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FURTHER AFIELD
Created and directed by Juliette Navis, this theatrical piece is the second in a triptych that interrogates three pop‑culture icons confronting existential crises. Through a fictional Céline Dion—at the height of fame and adulation—the work probes finitude and how one faces disappearance. The staging blends satire and intimacy, confronting taboos of money, death and sex with poetic choreography and sharp dramaturgy.
In French.
Samar Haddad King’s Shabaab blends dance, theatre and puppetry to trace the intimate bond between two Palestinian friends, Mohamed and Mahmoud. Through movement, dialogue and a haunting puppet by Sipho Ngxola, the piece reconstructs memories, imagined futures and the silences carved by colonial violence. The choreography explores youth, tenderness and forms of resistance, creating a fragile space where friendship becomes a means of survival and poetic witness.
In English and Arabic with French surtitles.
Luis Marques presents DEEP BLUE and INTERMITTENCES, two series of drawing-based works that transform line into landscape, rhythm and breath. DEEP BLUE offers expansive fields of blue where delicate marks build textured, contemplative seascapes. INTERMITTENCES reworks reclaimed screen-print test papers, letting traces, stains and accidents enter a patient process of repeated lines. Using pens, markers and even sewing thread, Marques negotiates control and chance, producing intimate topographies that meditate on time, repetition, memory and material transformation.
Opening: 2 September, 18:00
Closing: 13 September, 18:00
Two cinephile-focused screenings and a collaborative workshop present neglected perspectives by women filmmakers. Gertrud Pinkus’s Il valore della donna è il suo silenzio offers a contemplative portrait that privileges silence and restrained mise-en-scène, inviting reflection on gender and memory; Pinkus will be present. Une autre histoire, by Tula Roy and Christoph Wirsing, explores the history of Swiss feminism from 1910 to 1991.
A Wikipedia workshop accompanies the programme, focusing on documenting Swiss women directors – In French. To register: info@loreleyfilms.ch
Choreographed by Davi Pontes and Wallace Ferreira, Repertório N.1 makes dance an act of self‑defense. Drawing on voguing, ballroom culture, capoeira and queer community codes, the piece transforms the body into a territory of resistance, turning the gesture of a firearm back against the power it symbolizes. Performed without music, the work relies on breath, the impact of steps and the scrape of sneakers, moving between stillness, vogue poses and sudden, frenzied accelerations.
Choreographed by Saša Asentić, Le Sacre du printemps is a reimagined Stravinsky landmark performed by the inclusive company Per.Art. Drawing on historical versions by the Ballets Russes, Maurice Béjart and Pina Bausch and enriched with the voices of disabled poets from Serbia, Iran, Ukraine and the United States, the seven dancers invert the original narrative. The staging transforms ritual into a manifesto of survival, blending physical rigor, collective solidarity and poetic testimony to renew the score as a cry for life.
Guided visits of the temporary exhibition offer a thematic exploration of heritage and matrimoine through objects, photographs and installations. Curatorial narrative examines material culture, memory and identity, highlighting domestic artefacts, archival materials and contemporary practices. Visits are paced to encourage close looking and discussion, with attention to conservation, provenance and intercultural exchanges. The tours foreground under-represented histories and the material traces of everyday life.
In French.
FURTHER AFIELD
Created and directed by Juliette Navis, this theatrical piece is the second in a triptych that interrogates three pop‑culture icons confronting existential crises. Through a fictional Céline Dion—at the height of fame and adulation—the work probes finitude and how one faces disappearance. The staging blends satire and intimacy, confronting taboos of money, death and sex with poetic choreography and sharp dramaturgy.
In French.
Samar Haddad King’s Shabaab blends dance, theatre and puppetry to trace the intimate bond between two Palestinian friends, Mohamed and Mahmoud. Through movement, dialogue and a haunting puppet by Sipho Ngxola, the piece reconstructs memories, imagined futures and the silences carved by colonial violence. The choreography explores youth, tenderness and forms of resistance, creating a fragile space where friendship becomes a means of survival and poetic witness.
In English and Arabic with French surtitles.
Luis Marques presents DEEP BLUE and INTERMITTENCES, two series of drawing-based works that transform line into landscape, rhythm and breath. DEEP BLUE offers expansive fields of blue where delicate marks build textured, contemplative seascapes. INTERMITTENCES reworks reclaimed screen-print test papers, letting traces, stains and accidents enter a patient process of repeated lines. Using pens, markers and even sewing thread, Marques negotiates control and chance, producing intimate topographies that meditate on time, repetition, memory and material transformation.
Opening: 2 September, 18:00
Closing: 13 September, 18:00
Two cinephile-focused screenings and a collaborative workshop present neglected perspectives by women filmmakers. Gertrud Pinkus’s Il valore della donna è il suo silenzio offers a contemplative portrait that privileges silence and restrained mise-en-scène, inviting reflection on gender and memory; Pinkus will be present. Une autre histoire, by Tula Roy and Christoph Wirsing, explores the history of Swiss feminism from 1910 to 1991.
A Wikipedia workshop accompanies the programme, focusing on documenting Swiss women directors – In French. To register: info@loreleyfilms.ch
Choreographed by Davi Pontes and Wallace Ferreira, Repertório N.1 makes dance an act of self‑defense. Drawing on voguing, ballroom culture, capoeira and queer community codes, the piece transforms the body into a territory of resistance, turning the gesture of a firearm back against the power it symbolizes. Performed without music, the work relies on breath, the impact of steps and the scrape of sneakers, moving between stillness, vogue poses and sudden, frenzied accelerations.
Choreographed by Saša Asentić, Le Sacre du printemps is a reimagined Stravinsky landmark performed by the inclusive company Per.Art. Drawing on historical versions by the Ballets Russes, Maurice Béjart and Pina Bausch and enriched with the voices of disabled poets from Serbia, Iran, Ukraine and the United States, the seven dancers invert the original narrative. The staging transforms ritual into a manifesto of survival, blending physical rigor, collective solidarity and poetic testimony to renew the score as a cry for life.
Guided visits of the temporary exhibition offer a thematic exploration of heritage and matrimoine through objects, photographs and installations. Curatorial narrative examines material culture, memory and identity, highlighting domestic artefacts, archival materials and contemporary practices. Visits are paced to encourage close looking and discussion, with attention to conservation, provenance and intercultural exchanges. The tours foreground under-represented histories and the material traces of everyday life.
In French.
FURTHER AFIELD
Created and directed by Juliette Navis, this theatrical piece is the second in a triptych that interrogates three pop‑culture icons confronting existential crises. Through a fictional Céline Dion—at the height of fame and adulation—the work probes finitude and how one faces disappearance. The staging blends satire and intimacy, confronting taboos of money, death and sex with poetic choreography and sharp dramaturgy.
In French.
Samar Haddad King’s Shabaab blends dance, theatre and puppetry to trace the intimate bond between two Palestinian friends, Mohamed and Mahmoud. Through movement, dialogue and a haunting puppet by Sipho Ngxola, the piece reconstructs memories, imagined futures and the silences carved by colonial violence. The choreography explores youth, tenderness and forms of resistance, creating a fragile space where friendship becomes a means of survival and poetic witness.
In English and Arabic with French surtitles.
Luis Marques presents DEEP BLUE and INTERMITTENCES, two series of drawing-based works that transform line into landscape, rhythm and breath. DEEP BLUE offers expansive fields of blue where delicate marks build textured, contemplative seascapes. INTERMITTENCES reworks reclaimed screen-print test papers, letting traces, stains and accidents enter a patient process of repeated lines. Using pens, markers and even sewing thread, Marques negotiates control and chance, producing intimate topographies that meditate on time, repetition, memory and material transformation.
Opening: 2 September, 18:00
Closing: 13 September, 18:00
Two cinephile-focused screenings and a collaborative workshop present neglected perspectives by women filmmakers. Gertrud Pinkus’s Il valore della donna è il suo silenzio offers a contemplative portrait that privileges silence and restrained mise-en-scène, inviting reflection on gender and memory; Pinkus will be present. Une autre histoire, by Tula Roy and Christoph Wirsing, explores the history of Swiss feminism from 1910 to 1991.
A Wikipedia workshop accompanies the programme, focusing on documenting Swiss women directors – In French. To register: info@loreleyfilms.ch
Choreographed by Davi Pontes and Wallace Ferreira, Repertório N.1 makes dance an act of self‑defense. Drawing on voguing, ballroom culture, capoeira and queer community codes, the piece transforms the body into a territory of resistance, turning the gesture of a firearm back against the power it symbolizes. Performed without music, the work relies on breath, the impact of steps and the scrape of sneakers, moving between stillness, vogue poses and sudden, frenzied accelerations.
Choreographed by Saša Asentić, Le Sacre du printemps is a reimagined Stravinsky landmark performed by the inclusive company Per.Art. Drawing on historical versions by the Ballets Russes, Maurice Béjart and Pina Bausch and enriched with the voices of disabled poets from Serbia, Iran, Ukraine and the United States, the seven dancers invert the original narrative. The staging transforms ritual into a manifesto of survival, blending physical rigor, collective solidarity and poetic testimony to renew the score as a cry for life.
Guided visits of the temporary exhibition offer a thematic exploration of heritage and matrimoine through objects, photographs and installations. Curatorial narrative examines material culture, memory and identity, highlighting domestic artefacts, archival materials and contemporary practices. Visits are paced to encourage close looking and discussion, with attention to conservation, provenance and intercultural exchanges. The tours foreground under-represented histories and the material traces of everyday life.
In French.
FURTHER AFIELD
Created and directed by Juliette Navis, this theatrical piece is the second in a triptych that interrogates three pop‑culture icons confronting existential crises. Through a fictional Céline Dion—at the height of fame and adulation—the work probes finitude and how one faces disappearance. The staging blends satire and intimacy, confronting taboos of money, death and sex with poetic choreography and sharp dramaturgy.
In French.
Samar Haddad King’s Shabaab blends dance, theatre and puppetry to trace the intimate bond between two Palestinian friends, Mohamed and Mahmoud. Through movement, dialogue and a haunting puppet by Sipho Ngxola, the piece reconstructs memories, imagined futures and the silences carved by colonial violence. The choreography explores youth, tenderness and forms of resistance, creating a fragile space where friendship becomes a means of survival and poetic witness.
In English and Arabic with French surtitles.
Luis Marques presents DEEP BLUE and INTERMITTENCES, two series of drawing-based works that transform line into landscape, rhythm and breath. DEEP BLUE offers expansive fields of blue where delicate marks build textured, contemplative seascapes. INTERMITTENCES reworks reclaimed screen-print test papers, letting traces, stains and accidents enter a patient process of repeated lines. Using pens, markers and even sewing thread, Marques negotiates control and chance, producing intimate topographies that meditate on time, repetition, memory and material transformation.
Opening: 2 September, 18:00
Closing: 13 September, 18:00
Two cinephile-focused screenings and a collaborative workshop present neglected perspectives by women filmmakers. Gertrud Pinkus’s Il valore della donna è il suo silenzio offers a contemplative portrait that privileges silence and restrained mise-en-scène, inviting reflection on gender and memory; Pinkus will be present. Une autre histoire, by Tula Roy and Christoph Wirsing, explores the history of Swiss feminism from 1910 to 1991.
A Wikipedia workshop accompanies the programme, focusing on documenting Swiss women directors – In French. To register: info@loreleyfilms.ch
Choreographed by Davi Pontes and Wallace Ferreira, Repertório N.1 makes dance an act of self‑defense. Drawing on voguing, ballroom culture, capoeira and queer community codes, the piece transforms the body into a territory of resistance, turning the gesture of a firearm back against the power it symbolizes. Performed without music, the work relies on breath, the impact of steps and the scrape of sneakers, moving between stillness, vogue poses and sudden, frenzied accelerations.
Choreographed by Saša Asentić, Le Sacre du printemps is a reimagined Stravinsky landmark performed by the inclusive company Per.Art. Drawing on historical versions by the Ballets Russes, Maurice Béjart and Pina Bausch and enriched with the voices of disabled poets from Serbia, Iran, Ukraine and the United States, the seven dancers invert the original narrative. The staging transforms ritual into a manifesto of survival, blending physical rigor, collective solidarity and poetic testimony to renew the score as a cry for life.
Guided visits of the temporary exhibition offer a thematic exploration of heritage and matrimoine through objects, photographs and installations. Curatorial narrative examines material culture, memory and identity, highlighting domestic artefacts, archival materials and contemporary practices. Visits are paced to encourage close looking and discussion, with attention to conservation, provenance and intercultural exchanges. The tours foreground under-represented histories and the material traces of everyday life.
In French.
FURTHER AFIELD
Created and directed by Juliette Navis, this theatrical piece is the second in a triptych that interrogates three pop‑culture icons confronting existential crises. Through a fictional Céline Dion—at the height of fame and adulation—the work probes finitude and how one faces disappearance. The staging blends satire and intimacy, confronting taboos of money, death and sex with poetic choreography and sharp dramaturgy.
In French.
Samar Haddad King’s Shabaab blends dance, theatre and puppetry to trace the intimate bond between two Palestinian friends, Mohamed and Mahmoud. Through movement, dialogue and a haunting puppet by Sipho Ngxola, the piece reconstructs memories, imagined futures and the silences carved by colonial violence. The choreography explores youth, tenderness and forms of resistance, creating a fragile space where friendship becomes a means of survival and poetic witness.
In English and Arabic with French surtitles.
Luis Marques presents DEEP BLUE and INTERMITTENCES, two series of drawing-based works that transform line into landscape, rhythm and breath. DEEP BLUE offers expansive fields of blue where delicate marks build textured, contemplative seascapes. INTERMITTENCES reworks reclaimed screen-print test papers, letting traces, stains and accidents enter a patient process of repeated lines. Using pens, markers and even sewing thread, Marques negotiates control and chance, producing intimate topographies that meditate on time, repetition, memory and material transformation.
Opening: 2 September, 18:00
Closing: 13 September, 18:00
Two cinephile-focused screenings and a collaborative workshop present neglected perspectives by women filmmakers. Gertrud Pinkus’s Il valore della donna è il suo silenzio offers a contemplative portrait that privileges silence and restrained mise-en-scène, inviting reflection on gender and memory; Pinkus will be present. Une autre histoire, by Tula Roy and Christoph Wirsing, explores the history of Swiss feminism from 1910 to 1991.
A Wikipedia workshop accompanies the programme, focusing on documenting Swiss women directors – In French. To register: info@loreleyfilms.ch
Choreographed by Davi Pontes and Wallace Ferreira, Repertório N.1 makes dance an act of self‑defense. Drawing on voguing, ballroom culture, capoeira and queer community codes, the piece transforms the body into a territory of resistance, turning the gesture of a firearm back against the power it symbolizes. Performed without music, the work relies on breath, the impact of steps and the scrape of sneakers, moving between stillness, vogue poses and sudden, frenzied accelerations.
Choreographed by Saša Asentić, Le Sacre du printemps is a reimagined Stravinsky landmark performed by the inclusive company Per.Art. Drawing on historical versions by the Ballets Russes, Maurice Béjart and Pina Bausch and enriched with the voices of disabled poets from Serbia, Iran, Ukraine and the United States, the seven dancers invert the original narrative. The staging transforms ritual into a manifesto of survival, blending physical rigor, collective solidarity and poetic testimony to renew the score as a cry for life.
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