ON THE FLOOR
Sunna Ardal Rosengren is a singer, author, composer, performer and visual artist based in Stockholm. She created the pop duo SUN together with Yoann Durant (soul, rap and electronic). SUN performed at the Venice Biennale, Banlieues Bleues Festival in Paris, ccap studio and Svarta Huset in Stockholm, P.A.R.T.S in Brussels, Backhouse Gallery in LA. She was invited by Anne Imhof as a guest teacher at the School of Fine Arts in Munich. She curated the Music Week during Summer University at PAF (Performing Arts Forum). Sunna directs and performs in her own music videos, as well as performing in other artist’s videos (Elliphant, Oxmo Puccino). She performed and sang in “Sadness Extended” choreographed by Cristina Caprioli/ccap.
Anja Arnquist has collaborated with Cristina Caprioli/ccap since 2009 in a number of productions. Since 2013 she is involved in the trans-medial project Here, here and here here and here, here here here and here, here., a duet for several and a writing project for which she has become a writer. Anja is educated at Balettakademien and DOCH, Stockholm. During the last years she has mainly worked with choreographer Björn Säfsten and Cristina Caprioli. Together with Björn Säfsten she has also choreographed and produced the performance Masterminds, which toured with Skånes Dansteater, Cullbergbaletten and Norrlandsoperan. Anja is producer and curator for artists and institutions such as NorrlandsOperan, Bill365 and Product.
Darío Barreto Damas is a dancer and interpreter. He started dancing naked in front of the mirror at the age of 3. During his education and the development of his own work he’s been moving around from Tenerife to Barcelona and Stockholm. Darío joined the ccap production A Line_up in 2017, working for the first time with Cristina Caprioli. He has studied at Institut del Teatre and DOCH and has worked for and with the Cullberg Ballet.
Ulrika Berg is working within the field of dance and choreography with Stockholm as her base. Among others, she has worked with Deborah Hay, Rasmus Ölme & Svärmen, Anna Koch, Sebastian Lingserius, Rebecka Stillman, Janne-Camilla Lyster, Ludvig Daae, and with the Cullberg Ballet in the works of Ezster Salamon (Reproduction 2015) and Deborah Hay (Figure a Sea). Ulrika has been a guest performer with the Forsythe Company (Human Writes) and with Trisha Brown Dance Company (Early Works). Together with Philip Berlin and Cristina Caprioli she initiated the project SUNDAY RUN_UP; an initiative with the aim to provide room for artistic practices and social processes. She has been collaborating with Cristina Caprioli/ccap since 2013. Since 2015 she is also a Senior Lecturer in Dance at DOCH/ Stockholm University of the Arts.
Philip Berlin is based in Stockholm and has since 2010 been working with dance and choreography. Recent collaborations involves Gisèle Vienne, Frédéric Gies and Louise Dahl. In 2015 Philip And Louise performed their work “Loss of disinhibition” at Moderna Museet in Stockholm as part of the project 89+ co-curated by Hans Ulrich Obrist and Simon Castets. Together with Ulrika Berg and Cristina Caprioli, Philip initiated the project SUNDAY RUN_UP. He has worked with CCN Ballet de Lorraine in France, where he performed in works by Merce Cunningham, Mathilde Monnier, Maria La Ribot and William Forsythe. Philip has also taught at DOCH and the Royal Swedish Ballet School, and is since 2013 collaborating with Cristina Caprioli/ccap.
Linda Blomqvist is a choreographer and dancer. Her work aims to expand the notion of choreography with a focus on alternative modes of production, process and practice from a speculative viewpoint taking various forms and expressions oscillating between stage performances, curating and publishing. Linda studied dance at The Royal Swedish Ballet School 1995-2004 and at P.A.R.T.S 2008-2010. She has been working with Anne Teresa De Keersmaeker, Mårten Spångberg, Alexandra Pirici, TG Stan and Cristina Rizzo, to name a few.
Louise Dahl is working within the field of dance and choreography. She is active as a performer in various productions and tours internationally. Louise has worked with choreographers such as Mårten Spångberg, Cristina Caprioli/ccap, Margrét Sara Guðjónsdóttir, Mette Ingvartsen and Mirko Guido. She completed her studies at DOCH in the context of the BA program Contemporary Dance and Performance.
Marcus Doverud works as a dancer and choreographer within performing arts and education. Marcus has been active part of the international performance related arts scene since he graduated from the Academy of Arts in Stockholm in 2006. Marcus studied aesthetics and philosophy at Södertörn University in Stockholm. First time he collaborated with Cristina Caprioli/ccap was in the Piece (2013).
Yoann Durant is a composer and improviser with a Master’s degree from the jazz and improvised music class of the Conservatoire National Supérieur de Musique et de Danse de Paris. He also studied contemporary music and Northern Indian music. Yoann plays saxophones _soprano & alto_, custom-built washing-machine tube and garden hose, acoustic and electrified. He practices a double reading of sound in his compositions and has developed a singular language based on a certain scarcity of the air circulation through the instruments and throughout the space. Captured by wide-opened static microphones, breath and sound take on multiple textures ranging from the precision of minimal electronic to the power of concrete harsh noise. He has toured in Australia, USA, Canada, Panama, Iceland, Norway, Sweden, Germany, UK, France, Switzerland, Denmark, Finland, The Netherlands, Italy and Spain. Since 2014 collaborating with Cristina Caprioli/ccap.
Frédéric Gies is an artist in the experimental dance field, and a senior lecturer in choreography at Stockholm University of the Arts. Frédéric has danced in pieces by other choreographers such as Jefta van Dinther, Antonja Livingstone, Petra Sabisch and Isabelle Schad. Frédéric’s piece Dance (Praticable), which premiered in Berlin in 2006, toured for ten years and was presented in fifteen countries. Since 2012, he is head of the Master Programme in Choreography at DOCH–UNIARTS. His latest works are tightly connected to techno music and to his club and rave experiences. For all of them, he collaborates with Fiedel, DJ resident in Berghain as well as with the visual artist Anton Stoianov. They are conceived as durational social gatherings with dance and techno music at their center, in which the audience is implicated in various ways.
Johan Jönson is a Swedish poet and author since fall 2011 a ccap collaborator in the production The Piece. Recent publications; “mot. vidare. mot.” (Bonniers 2014), med.bort.in (2012), Livdikt (2010), Restaktivitet (2007), Collobert Orbital (2006), Monomtrl (2005). His book Efter Arbetschema (2008) earned a nomination for the Nordic Council Literature Prize in 2009 and received the Annual Literature Prize from Aftonbladet in 2008. Livdikt was nominated for the August price 2010. He has also written several plays for the touring theatre group Teatermaskinen, which include Zoembient (2010), Logosfält (2005) and the trilogy gränsmaterial ww4, extasy +/- noll and woyzeckmaskinen (1999-2003).
Madeleine Lindh is educated at The Royal Swedish Ballet School. She started working with the youth company Europa Danse, where she performed in pieces by Mats Ek and Hans van Manen. Between 2005-2007 she worked with William Forsythe, Wayne McGregor, Agelin Preljocaj and Frédèric Flamand in the D.A.N.C.E program (Dance Apprentice Network aCross Europe). Madeleine has worked with Cristina Caprioli/ccap since 2009/2010. She also works with film editing, dance films, and film documentations. Toghether with Cristina Caprioli she made the film cloth in 2012. In 2013 Anja Arnquist, Cristina Caprioli and Madeleine Lindh started the choreo_writing project Here, here and here here and here, here here here and here, here. So far, the project has produced three publications, three installations, a performance, a lecture performance, a performative reading and a laboratory. Madeleine also collaborates with dancer and choreographer Linda Blomqvist, and has a long term collaboration with Anja Arnquist.
Panagiotis Michalatos is an architect registered in Greece and UK. He holds an MSc in applied IT from Chalmers Technical University in Sweden. He has worked as a computational design researcher for the London based structural engineering firm AKT. While in AKT along with colleague Sawako Kaijima they provided consultancy and developed computational solutions for a range of high profile projects by architecture practices such as ZHA, Thomas Heatherwick, Fosters and partners, Future systems and others. Their work, in the development of computational design as a quasi-discipline in-between disciplines has been published and presented in international conferences. Panagioti’ s work in interaction design and digital media has resulted in a since 2003 collaboration with ccap in a number of productions, not least the performance “cut-outs and trees” that was a commission by ENPARTS and premiered at the Venice Dance Biennale 2010. Currently assistant professor at the Cambridge University Graduate School of Design where he runs the program Quantitative Aesthetics what Spring Course 2014 has been outlined by Cristina Caprioli’ s CHOREO_DRIFT project.
pavleheidler graduated from Performing Arts Research and Training Studios in 2012 and took their MFA degree in Choreography-specialisation-Performance from Dans och Cirkushögskolan in 2015. Alongside ccap, in recent years they’ve been nourishing collaborative relationships with Silvia Marchig (KIK Melone), Sonja Pregrad and Marko Gutić Mižimakov; with the WELD Company; with Ilse Ghekiere; with Manon Santkin; with Mira Mutka; and TOGETHER ALONE. TOGETHER ALONE stands for the volatile and developing agreement that defines the relationship between pavleheidler, Ilse Ghekiere, Mira Mutka, Samuel Draper, Manon Santkin, Eleanor Campbell, Matilda Lidberg, Roos van Berkel; and others. In February 2016 pavleheidler have been awarded Fellowship at SITE Sweden. For more information, writing and teaching, please visit the following virtual locations. / pavleheidler.wordpress.com / attogetheralone.wordpress.com / dancerswriting.wordpress.com /
Louise Perming was educated at Balettakademin in Stockholm and has been working as a freelance dancer since then. In 2010 she joined the season based company NUDANS at GöteborgsOperan. After graduating she started working with a project within the Cullberg Ballet in the performance Masterminds by Björn Säfsten and Anja Arnqvist. Her major freelance work has been in Sweden with choreographers such as Charlotta Öfverholm in Compagnie Jus de la vie, Tromäki Dance company in a collaboration with dancer and choreographer Shumpei Nemoto. During the last year she has also worked in Ireland (Dublin) together with Maria Nilsson Waller. Apart from dancing she teaches and enjoys rock climbing.
Pontus Petterson is dancer and choreographer. He received his dance training at The Danish National School for Contemporary Dance and holds a master in choreography from the University of Dance and Circus in Stockholm. His choreographic work ranges from fortune telling to choreographies/dances on the main stage, from a necklace to sweet whispers in you ear. It is a love for dancing with a particular interest in objects that bridge to a choreography that is as much daring, useless, beautiful and something else. As a dancer Pontus Pettersson has worked for choreographers like Deborah Hay, Danish collective EKKO, Emma Nordanfors, Mårten Spångberg, Ohad Naharin and Stina Nyberg. att att was the first ccap production for Pontus.
Agnieszka Sjökvist Dlugoszewska was educated in National Ballet School in Bytom and participated as a dancer at Swiss International Coaching Project for Choreographers under artistic direction of Rui Horta, Richard Wherlock, Jorma Outinen, Ismael Ivo, Jochen Heckmann, Nils Christe. She danced with Polish Dance Theatre Ballet Poznan, Tanztheater Osnabruck and Ballet Theatre Augsburg before joining Cullberg Ballet in 2007. Agnieszka danced in works by Jefta van Dinther, Deborah Hay, Eszter Salamosrrsn, Stina Nyberg, Cristina Caprioli, Daniel Sjökvist, Cristian Duarte, Crystal Pite, Johan Inger, Helena Franzen, Ina Christel Johannessen, Benoit Lachambre, William Forsythe, Dan Johansson, Birgit Cullberg, Mats Ek, Ewa Wycichowska, Örjan Andersson, Jens Östberg, Tilman O’Donnell, Jochen Heckmann, Alexander Ekman, Gregor Zöllig. In 2018 she’s one of the performers in ccap’s TREES.
IN THE OFFICE
Anna Grip has worked with Cristina Caprioli since 1982, first as a dancer and later on as a collaborator. She has worked as rehearsal director and teacher at several dance companies and institutions of dance education. Between 1991-1995 she was ballet master and artistic director of Östgötabaletten, Sweden. In 1997 Anna, together with Cristina Caprioli and Dansens Hus, initiated and directed a pilot project of alternative dance education. 2000-2004 she was head of The Danish National School for Contemporary Dance. Between 2006-2013 she worked with Cullberg Ballet, first as the company manager and later as artistic director. Since fall 2014, Anna is a senior lecturer at the BA program in dance at the University of Dance and Circus in Stockholm.
Masha Taavoniku started working as a coordinator at ccap in September 2015. She has a bachelor’s degree from Södertörn University with majors in art history and aesthetics. Previously she worked at Tensta konsthall and several years within the Swedish labor union movement.
Frida Tiger is a freelance producer working with different projects within the performing arts. She started at ccap fall 2017 where she’s coordinating the production TREES. She has a bachelor’s degree in art theory from Södertörn University.
ON & ABOUT
Håkan Larsson is a photographer and a filmmaker. Håkan is formerly a professional dancer who has worked with the Cullberg Ballet, Scapino Ballet in Rotterdam, Holland and Den Norske Opera & Balett, Oslo, Norway, to name a few. Håkan has been ccap press photographer and collaborator since 2010, 2014 also co-producer and co-curator of the exhibition CLOTH.
Eleonora Bergendal is a graphic designer regularly working with ccap publications, brochures, folders etc. Eleonora has designed several of the ccap publications such as the Here, here series (yellow novel, photo book and TEXT BOX), cloth.0, CHOREO_DRIFT and IN_FORMATION.
Gabriele Brandstetter is Professor of Theater and Dance Studies at Freie Universität Berlin. Her research focus is on: History and aesthetics of dance from the 18th century until today, theatre and dance of the avant-garde; contemporary theatre and dance, performance, theatricality and gender differences; concepts of body, movement and image. Selected publications: Tanz-Lektüren. Körperbilder und Raumfiguren der Avantgarde (1995); ReMembering the Body. Körper-Bilder in Bewegung (2000, with co-editor H. Völckers); Schwarm(E)Motion. Bewegung zwischen Affekt und Masse (2007, with co-editors B. Brandl-Risi and K. van Eikels); Tanz als Anthropologie (2007, with co-editor C. Wulf); Dance (and) Theory (co-ed.: G. Klein).
Mark Franko is Professor of Dance and Coordinator of Graduate Studies, Boyer College of Music and Dance, Temple University, and Professor in Performance and Visual Studies, School of Performing Arts and Media, Middlesex University. His choreography has been produced at Lincoln Center Out-of-Doors Festival, Berlin Werkstatt Festival, Getty Center, Montpellier Opera, Toulon Art Museum, Haggerty Art Museum (Milwaukee), Akademie der Künste (Berlin), Mozarteum (Salzburg), and at many New York and San Francisco dance venues. His latest publication, Martha Graham in Love and War: the Life in the Work (Oxford University Press) was published in June 2012. Previous publications include Dance as Text: Ideologies of the Baroque Body (Cambridge University Press, 1993); Dancing Modernism/Performing Politics (Indiana University Press, 1995); The Work of Dance: Labor, Movement, and Identity in the 1930s. (Wesleyan University Press, 2002) Excursion for Miracles: Paul Sanasardo, Donya Feuer and Studio for Dance (1955-1964) (Wesleyan University Press, 2005). Co-editor (with musicologist Annette Richards) of Acting on the Past: Historical Performance Across the Disciplines (Wesleyan University Press, 2000); and editor of Ritual and Event: Interdisciplinary Perspectives(Routledge, 2007)
Mattias Gardell is Professor of Comparative Religion at Uppsala University. His research focuses on the tension between religion and politics, often in relation to some mechanism of exclusion such as racism, anti-semitism or islamophobia. Previous publications include the monographs In the Name of Elijah Muhammad: Louis Farrakhan and the Nation of Islam, 1996; Rasrisk – a comparative study of black and white religious nationalism 2003; Gods of the Blood. White Separatism and the Pagan Revival, 2003; The transforming landscapes of political Islam 2005; Tortyrens återkomst (The Return of Judical Torture) 2008; Islamofobi, 2010; Revolution i Egypten together with Jan Hjärpe, Per Björklund and Bitte Hammargren. Mattias Gardell is aslo an active member of the Ship to Gaza.
André Lepecki is Associate Professor at the Department of Performance Studies, New York University and Artistic Professor at Uniarts/Stockholm University of the Arts. Doctoral degree from NYU. Selected curatorial work: chief curator of the performing arts festival IN TRANSIT (2008 and 2009), Haus der Kulturen der Welt, Berlin; co-curator of the archive Dance and Visual Arts since 1960s, for MOVE, Hayward Gallery, London (2010). Selected Awards and Fellowships: AICA Award Best Performance (2008) for co-curatoring and directing the authorized re-doing of Allan Kaprow’s 18 Happenings in 6 Parts (Performa 07); Resident Fellow Institute of Advanced Studies Interweaving Performance Cultures, Freie Universität, Berlin (2009). Visiting Professor Federal University of Rio de Janeiro (CAPES International Visiting Professor Grant, 2013). Edited Publications: Dance (2012), Planes of Composition: dance, theory and the global (2009, with Jenn Joy), The Senses in Performance (2007, with Sally Banes), Of the Presence of the Body (2004). Single authored: Exhausting Dance: performance and the politics of movement (2006), currently translated into 9 languages.
Boyan Manchev is philosopher, Professor at the New Bulgarian University (Sofia) and at the HZT – UdK (Berlin). He is also former Director of Program and Vice-President of the International College of Philosophy in Paris. His actual research, which proposes the perspective of a radical materialism, is focused on the fields of ontology, philosophy of art and political philosophy. Manchev has lectured widely at European, American and Asian universities and cultural institutions. He has organized and/or collaborated to number of projects, congresses and public forums dealing with philosophy, art and politics and has participated as theorist, dramaturge or performer in theater and contemporary dance projects. He curated the exhibition Out of Time at the Sofia City Art Gallery (March – April 2011). Manchev is the author of seven books and more than hundred book chapters, catalogues and other publications in various languages. In the last years appeared Logic of the Political (Sofia: Critique&Humanism, 2012), Miracolo (Milano: Lanfranchi, 2011), L’altération du monde: Pour une esthétique radicale (Paris: Lignes, 2009); La Métamorphose et l’Instant – Désorganisation de la vie (Paris: La Phocide, 2009); Rue Descartes 64: La métamorphose, ed. by B. Manchev (Paris: PUF, 2009) ; Rue Descartes 67: Quel sujet du politique?, ed. by G. Basterra, R. Ivekovic and B. Manchev (Paris: PUF, 2010). His book The Body–Metamorphosis (Sofia: Altera, 2007) deals extensively with contemporary art, performance and dance.
Felicia McCarren is a cultural historian and performance theorist teaching at Tulane University and participating in the seminar on the Cultural History of Dance organized at l’ EHESS in Paris. She is the author of Dance Pathologies: Performance, Poetics, Medicine (1998) and Dancing Machines: Choreographies of the Age of Mechanical Reproduction (2003) both from Stanford University Press, and articles on performance, cinema, and new media. Her new book, French Moves; The Cultural Politics of le hip hop (Oxford, 2013) explores the urban dance of minorities in France. In her work, Felicia has focused on how performances, with their tremendous cultural power in certain historical contexts, created the conditions of possibility for new ways of understanding bodies and the modern medical, visual and industrial technologies that have shaped them. Contemporary urban dancer/choreographers on the French stage have also been inventing a new discourse exploring bodily identity—gender and race—in a Republic that has been slow to recognize the politics of difference. In her work-in-progress, Felicia is considering the capitalization of traditional culture and performance in Morocco.
Peggy Phelan is Professor in Drama and English at Stanford University. She is the author of Unmarked: The Politics of Performance (1993), Mourning Sex: Performing Public Memories (1997), co-editor with the late Lynda Hart, of Acting Out: Feminist Performances (1993), co-editor with Jilla Jane The Ends of Performance (1997) and most recently editor of Live Art in LA. Performance in Southern California 1970-1983 (2012). Peggy Phelan has written more than sixty articles and essays in scholarly, artistic, and commercial magazines ranging from Artforum to Signs. These essays have been cited in the fields of architecture, art history, psychoanalytic criticism, visual culture, performance studies, theatre studies, and film and video studies. She has edited special issues of the journals Narrative and Women and Performance. She has been a fellow of the Humanities Institute, University of California, Irvine; and a fellow of the Humanities Institute, The Australian National University, Canberra, Australia. She served on the Editorial Board of Art Journal, one of three quarterly publications of the College Art Association, and as Chair of the board. She has been President of Performance Studies international. She has been a fellow of the Getty Research Institute and a Guggenheim Fellow. She is also founder and previous president of Performance Studies international – a professional association founded in 1997 to promote communication and exchange among artists, thinkers, activists and academics working in the field of performance.
Irit Rogoff is a writer, curator, and organizer working at the intersection of contemporary art, critical theory, and emergent political manifestations. She is Professor of Visual Cultures at Goldsmiths, London University where she heads the PhD in Curatorial/Knowledge program, the MA in Global Arts program and the new Geo-Cultures Research Center. Rogoff has written extensively on geography, globalization, and contemporary participatory practices in the expanded field of art. A collection of recent essays, Unbounded—Limits’ Possibilities, is published in 2012 with e-flux journal/ Sternberg and her new book, Looking Away—Participating Singularities, Ontological Communities, comes out in 2013. Irit Rogoff lives and works in London.
Avital Ronell has taught at the University of California at Berkeley from 1984-1995 and at New York University from 1995 to the present. She served as Chair of the Department of German from spring 1997 to Spring 2005. She taught an annual seminar in Literature & Philosophy at NYU with Professor Jacques Derrida and has taught with Professor Helene Cixous at Université of Paris VIII. She regularly teaches at the European Graduate School in Saas-Fee, Switzerland and in Mexico. She was invited by the Humanities Council to offer a seminar at Princeton University in spring 2006. Ronell’s books include: The Uber Reader: Selected Works of Avital Ronell (Ed. Diane Davis. Forthcoming 2006); The Test Drive (2005); Stupidity (2001); (Translations in Progress: Paris: Galilée; Berlin: Brinkmann und Bose); Finitude’s Score: Essays for the End of the Millennium (1994); Crack Wars: Literature, Addiction, Mania (1992); The Telephone Book: Technology, Schizophrenia, Electric Speech (2001); Dictations: On Haunted Writing (1986) (paperback with new introduction 1993).
Marcia Sá Cavalcante Schuback is Professor of Philosophy at Södertörn University in Stockholm. She has worked as a translator of several philosophical works into Portuguese, among others Heidegger’s Zein und Zeit, as well as works by Herakleitos, Schelling and Hölderlin. Publications include, in Portuguese: O começo de deus (The Beginning of God: An Inquiry in Schelling’s Late Philosophy), 1998; A doutrina dos sons de Goethe a caminho da música nova de Webern (Goethe’s theory of sound on the way to Webern’s new music), 1999;Para ler os medievais. Ensaio de hermenêutica imaginativa (Reading Medieval Authors: An Essay in Imginative Hermeneutics), 2000; Olho a olho: ensaios de longe (7 Letras, 2011); Being with the Without (co-edited with Jean-Luc Nancy) (Axl Books, 2013). Publications in Swedish include: I människans tystnad/No silêncio do homem, 1995; Dissonansskrift, together with Peter Schuback, 2004; Lovtal till intet – essäer om filosofisk hermeneutik, 2006 and Att tänka i skisser, 2011.
Irina Sandomirskaja is Professor of Cultural Studies at the Center for Baltic and East European studies at Södertörn University. With a background in theoretical linguistics, discourse analysis, and feminist theory, her research in culture theory and Russian and Soviet cultural history (literature, film, and art) emphasizes the problems of language and body, language and biopolitics, history and memory. Her recent publications on the subject include The How-To of Bare Life: a Story of O, published in the Documenta 12 Magazines and Glänta in 2007; Skin to Skin: Language in the Soviet Education of Deaf–Blind Children, the 1920s and 1930s in Studies in East European Thought, 2008; “One Sixth of the World”: Avant-garde Film, the Revolution of the Vision, and the Colonization of the Periphery of the USSR during the 1920 in From From Orientalism to Postcoloniality ed. Kerstin Olofsson; A Glossolalic Glasnost and the Re-Tuning of the Soviet Subject: Sound Performance in Kira Muratova’s Asthenic Syndrome on Studies in Russian and Soviet Cinema, 2008 and The Leviathan, or Language in Besiegement: Lydia Ginzburg’s Prolegomena to Critical Discourse Analysis in Lidia Ginzburg’s Alternative Identities ed. Emily Van Buskirk and Andrei Zorin, 2012.
Co-dramaturge Berlin Copenhagen
Andrej Mircev graduated philosophy, history and theatre sciences at the Philosophical faculty Zagreb in 2005. In his artistic work he explores relations between various media (photography, video, performance, installation) and has created and participated in several solo and group exhibitions. As a dramaturge Mircev has worked works with preminent Croatian directors, choreographers and dancers. He is also active in theory, where he researches the interweavings of visual and performing arts. Since 2006 he works at the Academy of arts in Osijek and from 2014 at the Department of acting and media in Rijeka, Croatia. He has presented papers and given lectures at conferences and symposiums in Kent, London, Berlin, Gothenburg, Lisbon, Belgrade, Standford, etc. Mircev obtained his PhD. title at the Freie university in Berlin in 2011 under the supervision of prof. Erika Fischer-Lichte and Gabriele Brandstetter. Andrej and Cristina met by chance at the PSi conference in Stanford summer 2013. Since then, they have outlined a long-distance collaboration within the CHOREO_DRIFT project.