Re:wind - Expanding Documentation

Re:wind - Expanding Documentation invites artists, scholars, dancers, archivists, heritage workers and activists to chart, critically reflect on and expand the idea of dance documentation. Highlighting the essential role of documentation in the transmission of dance, the symposium investigates how dance is translated, mediated, disseminated, and transformed into material and immaterial forms and how these forms actively shape the afterlives, meanings, and historiographies of dance.

Rather than treating documentation as a faithful reconstruction of an original live event, ‘Expanding Documentation’ approaches documentation as an autonomous, generative practice in its own right. Participants are invited to explore alternative modes of documenting and (an)archiving dance that blur established boundaries between event and document, presence and absence, original and copy. These expanded practices open space for experimental, performative, and fictional approaches to documentation, capable of fabulating alternative histories and challenging dominant narratives within dance history and cultural memory. By foregrounding documentation as a site of critical and creative intervention, Expanding Documentation asks how documentation practices can contribute to rethinking authorship, transmission, and institutional frameworks, and how they might serve as tools for systemic change within the field of dance and beyond.

9:30 - 10:00 Arrival (STUK Reception)

10:00 - 10:20 Welcome and introduction by the organising committee (STUK Auditorium)

10:20 - 13:00 Setting the stage: on the questions, paradoxes and stakes of documenting dance (STUK Auditorium)

What can dance documentation be, if we understand it less as an attempt to capture the original event and more as a practice with its own logic, its own life, its own possibilities? Re:wind opens with a plenary session that dives headfirst into the tensions, contradictions and stakes of documenting dance.

Drawing on her vast experience as a critic, researcher, dramaturge and artist, Myriam Van Imschoot’s lecture lays bare the concept of fugitiveness not merely as a problem to be solved, but as a quality that enables alternative forms of memory, thick time, ancestral presence, and transmission. In an online contribution, Tino Sehgal — whose practice radically refuses the logic of the object and the archive — enters the conversation from a place of productive contradiction.

Grounded in both their own film practice and extensive research on dance documentation, Mar* Szydłowska maps the landscape of how dance is currently translated, mediated and disseminated into material and audiovisual forms. Asking not only how documentation works, but for whom and toward what ends, they probe the value systems embedded in these practices, and explore what, or who, gets left out.

Moderated by Jonas Rutgeerts (KU Leuven / Counterpoint)

13:00 - 14:00 Lunch (STUKcafé)

14:00 - 16:00 Session A. Towards a more affective, process-oriented take on documenting dance (STUK Studio)

Rather than treating documentation as a faithful reconstruction of an original live event, this session approaches it as an autonomous, generative practice in its own right. What are the possibilities of an affective, process-oriented approach? Of documenting dance as a practice, shared by a community, rather than a collection of art works brought to the stage? How to start from the diverse meanings documents can be a vehicle for, rather than focussing on its functionality or utility?

Anouk Llaurens will open by sharing her work Replays in which she explores the multiplicity of perspectives on what constitutes heritage for those who have been touched by Lisa Nelson's work. Anneleen Keppens and Mar* Szydłowska will talk about the affect in documentation of the choreographic process and its potential as care work within their collaboration during Blue Moon Spring dance performance rehearsals. Julie De Meester (Damaged Goods) is one of the editors of Let’s Not Get Used to This Place, a publication which delves into over a decade of work of Meg Stuart through reflections, interviews, scores, exercises, and notes on the practice of creating, performing, teaching, and living dance. It includes voices from one-time and long-time collaborators, observers, and intimate strangers, capturing Meg Stuart’s creative cosmos, while also exploring the world around it.

Moderated by Sara Jansen (KU Leuven / Counterpoint, Rosas)

14:00 - 16:00 Session B. Strategies for expanding the space for documentation in the dance field (STUK Verbeeckzaal)

Falling somewhere between artistic creation, archiving, art criticism and research, initiatives of documentation in dance tend to happen in precarious circumstances, while their importance to the artistic ecosystem is undeniable. Documentary films, stories, artist books, mappings of the field, oral history projects etc. give an artistic community the tools to self-reflect in the present and for writing its own (hi)story in multiple voices, languages and perspectives. Over the last years, we have seen meaningful initiatives disappear or suffer severe cuts in funding support in several European countries.

What strategies can we develop, individually and collectively, to strengthen documentation initiatives? How to advocate for them and team up with organizations in adjacent fields? How to develop tools for documentation of the artistic practice and make sure they are accessible to diverse practitioners and communities? These and similar questions are the starting point for a collective work session in which all participants contribute by sharing their insights. We’ll harvest best practices, interesting failures, inspiring and workable examples and ways forward, aiming for a concrete output that can nourish the participating individuals, organisations and policy makers in their own practice.

Moderated by Delphine Hesters (STUK)

16:30 - 17:25 Bodies at Work. Open Class of Marc Vanrunxt & 1st BA drama students of KASK (STUK Labozaal)

Marc Vanrunxt is not only a choreographer and dancer but also a highly appreciated teacher and mentor to several generations of performing artists. He has been working at KASK art school in Ghent for many years as a teacher in dance and movement practices in the first year of the bachelor programme in Drama. This academic year is his last year as a teacher at KASK. With his final group of bachelor students, he is also bringing the traditional closing ‘open class’ to STUK.

An invitation to the participants of Re:wind and the audiences of STUK's festival for living dance heritage to soak up the atmosphere where the transmission of dance, movement and spatial and body awareness takes place on a daily basis: in the studios of the training programmes.

9:30 - 10:00 Arrival (STUK Reception)

10:00 - 10:15 Welcome and introduction by the organising committee (STUK Soetezaal)

10:15 - 13:00 Archiving as an act of resistance, care, and reinvention (STUK Soetezaal)

This session brings together scholars and artists, united by a shared inquiry into the politics of (digital) archives and the communities that resist, repurpose, and reimagine them.

Cait McKinney (Simon Fraser University, Burnaby) uncovers the activist roots of a now-familiar digital gesture: the online blackout. They trace how AIDS activists adapted embodied protest — cloaking, masking, dying-in — to the early web, redacting online space as an act of collective mourning and political refusal. Drawing on web archives, they situate this history within a queer media theory of blackouts as productive ruptures. Harmony Bench (The Ohio State University) examines what happens when dance goes viral and becomes data. Tracing a path from social media participation to AI training sets, she asks how the gestural commons that dancers build across generations gets quietly converted into computational resources. Rather than accepting reductive machine representations of the moving body, she argues for archives that foreground physical expertise, intergenerational transmission, and the ethics of consent.

Claire Lefèvre's performative lecture takes these questions into live practice. Bringing together movement, speech, and archival material, her contribution engages with queer histories in dance through the figure of the lesbian choreographer Loïe Fuller, activating questions on performance lineages and the political implications of access to embodied knowledge.

Moderated by Hetty Blades (Falmouth University)

13:00 - 14:00 Lunch (STUKcafé)

14:00 - 16:00 Session A. Community-driven archiving (STUK Studio)

Community-driven archiving has proven to be a forceful strategy to add the yet-untold histories to the established history. This session with contributions from different cultural fields, focuses on understanding the ground work: how to give and/or take agency? How to organize a grassroots movement? How to bring individual contributions into a multi-layered, collective story? What are the impacts and complexities of producing counter-narratives and resistance? How is a community (re)created through the archival work? How to translate your key values in the concrete ways you organize yourself? How to bridge and collaborate in a meaningful and fruitful way with existing institutions?

We learn from three initiatives. Archival Textures (Tabea Nixdorff and anne krul) is a publishing series in The Netherlands focused on queer and feminist community archives. First Waves is a collaborative open platform that shares the often-silenced stories of the struggles for dignity of the Maghrebi and Black diasporas in Belgium. The Temporary Slovenian Dance Archive is a bottom-up initiative that grew into a platform for documenting and historicizing contemporary dance and scenic arts in Slovenia, after first beginning to take shape in the apartment of Rok Vevar in Šiška, Ljubljana in 2012. He will be joined by Jasmina Založnik.

Moderated by Sevie Tsampalla (LOV2030)

14:00 - 16:00 Session B. Embracing and resisting the lens - a film programme (Cinema ZED STUK)

Film holds a privileged position in the documentation of dance. More than any other medium, it seems to capture the ephemerality of movement, preserving gesture, timing, and spatial composition in ways that written notation or photography cannot. Yet film is never a neutral witness.

This session explores the intimate and complicated relationship between dance and film. Bram van Beek (University of Antwerp) will open the screenings with an introduction that maps the contested terrain between dance and film: a history shaped by the camera's appetite for movement, by choreographers who have embraced or resisted the lens, and by filmmakers who have found in dance a challenge to cinema's own conventions of time, space, and the body.

Film programme:

• Maya Deren — A Study in Choreography for Camera (1945)

• Yvonne Rainer — After Many a Summer Dies the Swan: Hybrid (2002)

• Ligia Lewis — A Plot, A Scandal (2023)

• Manon De Boer — Dissonant (2003)

• Eleanor Antin — Caught in the Act (1973)

16:00 - 17:00 Closing drink (STUKcafé)

18:00 - 19:30 Archive Stories: Michel Uytterhoeven in conversation with Denise Luccioni (STUK Studio)

Denise Luccioni's video series Archive Stories - presented at STUK Studio during Body of Work - bears witness to 50 years of life in the performing arts on both sides of the Atlantic. The episodes tell the story of the pioneering Sainte-Baume festival in southern France, Bénédicte Pesle's avant-la-lettre management agency Artservice International in Paris, and the artists with whom Denise worked closely: Steve Paxton, Trisha Brown, Merce Cunningham, Richard Foreman, Grand Magasin and Big Art Group. Michel Uytterhoeven was equally a pioneer in the same field, as the founder of Klapstuk – the international dance festival whose 1983, '85 and '87 editions he programmed at Stuc.

Michel and Denise engage in a conversation, based on Denise’s Archive Stories. A conversation between two front-row witnesses of 50 years of performing arts in Europe and the U.S.

BIOS

Myriam Van Imschoot (BE). In a previous life, the Brussels-based sound artist worked as a dance critic for De Morgen, a research associate at the Institute for Cultural Studies KU Leuven, and as a dramaturge for, among others, Meg Stuart, Philipp Gehmacher, and Benoît Lachambre. In 2001, she co-founded Sarma with Jeroen Peeters, a workspace for criticism, research, dramaturgy, and creation. Within this context, she developed Oral Site, an open-source development platform for oral and experimental publishing formats. Since 2007, she has focused on installations, performances, films, and sound poetry—the latter mainly in collaboration with her life partner Marcus Bergner and ARF ARF. With iconic works such as YOUYOUYOU (2014, with YouYou Group), What Nature Says (2015), newpolyphonies (2020, with Hyoid), and Nocturnes for a Society (2023, with Lucas Van Haesbroeck), she has quickly become an internationally leading voice in sound art, opening up vocality through ecological engagement and a sustained commitment to sonic communities. Since 2022, her artist-run platform newpolyphonies has embodied this integrated mission, among other things by supporting her own creations, those of the diasporic artist community YouYou Group, and several related artists through long-term trajectories. Recently, she founded Kinotita to provide a platform for knowledge exchange and co-creation around the often invisible gendered labor of female artists within collectives. Their first co-creation, Titans, with YouYou Group (Brussels), Glossa, and local participants, will officially open the renovated Kanal – Centre Pompidou on November 25 and 26, 2026.

Mar* Szydłowska is an artist and choreographer. Their artistic research focuses on the politics of perception, working across the opacity and peripheral phenomena in the contexts of architectural spaces and institutional environments. Ranging between performance, installation and film, their practice seeks to intermediate between the invisible affect and its embodied spatial contexts. As cinematographer and editor, Mar* has been developing experiential methodologies of dance documentation, collaborating with individual artists, as well as with cultural institutions. Works of Mar* were presented at Tanzquartier Wien, beursschouwburg and Museum of Modern Art in Warsaw among others. They graduated from MA STUDIOS programme at P.A.R.T.S. and are currently a fellow at THIRD - a post graduate programme for art researchers at DAS, Amsterdam.

Anouk Llaurens (FR/BE) is a dancer, researcher, choreographer, teacher, and shiatsu practitioner inspired by Eastern philosophies (Zen, Taoism, Hinduism) and Fernand Schirren's Rhythm. Engaged in attentional practices since encountering Lisa Nelson's work (Tuning Scores) in 1998, she shares her wonder through sensitive, transdisciplinary practices in various creative and academic contexts in dance and visual arts in Europe. Anouk cultivates and transmits her taste for contemplation through her research on the “Poetic Documentation of Lived Experience” (2013–ongoing). Her questioning focuses on the relation between poetic experience, memory, and forgetting. She investigates heritage as a process of reinvention in the service of life and has just published Replays on the Oral site platform, which explores the multiplicity of perspectives on what constitutes heritage for those who have been touched by Lisa Nelson's work. Anouk also maintains an inspiring artistic and human collaboration with choreographer, visual artist, and writer Julien Bruneau (phréatiques, 2010–ongoing). She is a founding member of embrace, a Brussels-based group of professionals engaged with soma—the experienced body. anoukllaurens.be

Anneleen Keppens (BE) graduated from P.A.R.T.S./Brussels in 2010 and works as a choreographer, dancer, artistic collaborator, and teacher. In these various roles, she explores ways of being together through the body and movement. Her work lives in the gap between formal and informal, transparent and mystical, soft and hard, physical and metaphysical. She created the performances The moon is the moon is the moon (2017), Movement Essays (2019), and Blue Moon Spring (2023). She also develops the practice Body Dialogues, in which she engages in conversations with and about the body with various artists across different disciplines and media. Currently, she is working on the solo performance Lullabye and the publication Mother/Maker, and she is an artist in residence at De Weister, a care home in Aalbeke, in the frame of Woon.Zorg.Kunst. Anneleen has worked as a dancer for Rosas, Hiatus/Daniel Linehan and others. She has taught workshops in Artesis Hogeschool, PARTS SummerSchool, La Raffinerie/Charleroi Danse and INSAS. www.anneleenkeppens.be

Julie De Meester (BE) has worked as a communication manager, editor and freelance writer in the cultural field in Belgium since 2015, for a.o. film festival Courtisane, theatre company de KOE, choreographers Claire Croizé and Etienne Guilloteau (ECCE), and Damaged Goods. She was part of the team behind the publication KOE DOET BOEK (Hannibal Books, 2019) and co-editor of Meg Stuart’s publication Let’s Not Get Used to This Place (Damaged Goods/les presses du réel, 2024), alongside Astrid Kaminski and Jeroen Versteele. She holds a master’s degree in English Literature and Linguistics from the University of Antwerp, and a bachelor’s degree in Theatre, Film and Literature studies.

Damaged Goods is the company and working structure of choreographer and performer Meg Stuart. Based in Brussels, it produces, coordinates and distributes her work within an open structure that fosters diverse collaborations, resulting in projects ranging from solos and group choreographies to installations, improvisations publications and video work. Since 2017, scenographer and theatre maker Jozef Wouters has been part of the company as an artist in residence (through 2027).

Sara Jansen (BE) is a dance scholar and dramaturg based in Brussels. She holds degrees in Japanese Studies (KU Leuven) and Performance Studies (New York University). As a researcher, she is affiliated with Counterpoint, Interdisciplinary Research Centre for Dance at KU Leuven. She also coordinates artistic research projects around dance heritage for Rosas dance company in the context of DanceMap (Horizon Europe, 2025-2027). As a dramaturg, Sara Jansen collaborated a.o. with choreographers Heine Avdal and Yukiko Shinozaki/Fieldworks and Trajal Harrell. Recent projects include Harrell’s Welcome to Asbestos Hall, Sister or he buried the body, and Deathbed.

Marc Vanrunxt (BE) is a choreographer and dancer who has been active since 1981. His oeuvre develops from the tension between change and continuity, two concepts that do not contradict each other but reinforce one another. In his work, he explores the boundaries of dance as a medium and choreography as a language, with the body as the carrier of meaning. Vanrunxt redefines concepts such as time, space, energy and presence. His work moves between opposites such as visible and invisible, tangible and intangible. The emphasis is on the immateriality of dance and on the transformation of space through light, colour and objects. Minimalism is not a style, but an attitude. His artistic vocabulary has its roots in abstract expressionism and the punk movement. The power of his performances lies between recognition and discovery, between history and the new. Each performance writes its own history and takes its place within a landscape, with attention to process, audience and experience. In 2025, Marc Vanrunxt received the first performing arts career award during the Flemish Theatre Festival 2025. Kunst/Werk

Cait McKinney (CA) is the author of I Know You Are, but What Am I? On Pee-wee Herman (Minnesota 2024) and Information Activism: A Queer History of Lesbian Media Technologies (Duke 2020), recipient of the Gertrude Robinson Best Book Prize from the Canadian Communication Association and Lambda Literary Award Finalist in LGBTQ studies. They are Associate Professor of Communication at Simon Fraser University. Cait McKinney's collaborations with the artist Hazel Meyer have exhibited at venues including the Glasgow International Art Biennial (SCT), VIVO Media Arts Centre (CA), the Art Museum at the University of Toronto (CA), and Tale of Tub (NL).

Harmony Bench (US) is a scholar of dance and performance studies whose research cuts across technology, media, and society. She is Associate Professor in Dance at Ohio State, author of Perpetual Motion: Dance, Digital Cultures, and the Common (Minnesota, 2020), and co-editor of the forthcoming multidisciplinary collection Archival Entanglements with Puja Batra-Wells (Ohio State University Press, 2026). Harmony also works with long-time collaborator Kate Elswit to bring the digital humanities and dance history into greater dialogue through computational analysis and data visualization. Their projects together include Dunham’s Data: Katherine Dunham and Digital Methods for Dance Historical Inquiry (winner of the 2021 ATHE/ASTR Award for Excellence in Digital Scholarship), Visceral Histories/Visual Arguments: Dance-Based Approaches to Data, and Radical Accounting: Alvin Ailey American Dance Theater’s Data as a Framework for Historical Imagination (commissioned for the 2024-25 Edges of Ailey exhibition at the Whitney Museum of American Art). Newer work engages both critically and practically with motion data, embodied archives, and machine learning for performing arts history.

Claire Lefèvre (FR/AT) is a femme choreographer, insomniac writer, and reality TV connoisseur currently based in Vienna, Austria. In her stage works, she likes to think of herself as a hostess with the mostest, welcoming collaborators and audience members into kitsch landscapes where politics and poetics are gently interwoven. Claire’s work with text spans from poetry to grant applications, at times flirting with performance criticism, stand-up comedy or feminist theory. Occasionally she works as a ghost writer, but mostly because of the spectral appeal of the job title. Currently she is also developing her practice as a performance doula, a role imagined to disinvisibilize care work in the gestational process of performance making. www.clairelefevre.com

Hetty Blades (UK) joined Falmouth University in the Centre for Blended Realities in November 2025, having previously worked in the Centre for Dance Research (C-DaRE at Coventry University (2015-2025), where she also completed het PhD (2012- 2015). She hold an MA in Dance Studies from Roehampton University and a BA (Hons) in Dance Theatre from Trinity Laban. Hetty Blades’ work explores the philosophical questions that arise through the choreography, capture and control of the moving body via digital media. Her recent AHRC Research, Development and Engagement Fellowship, Moving Online examined how the ontology of dance shapes both the legal frameworks and social practices that govern its ownership online.

Archival Textures is a publication series that seeks knowledge which is continuously obscured by normative perspectives on our bodies, desires, forms of cohabitation and expression. Archival Textures works with local communities as well as institutional archives, personal collections, and conversations to find writings of the past that can inform our current vocabularies of resistance and solidarity. Founded in 2023 in Arnhem, the Netherlands, Archival Textures brings together a network of researchers, artists, designers, translators, poets, archivists and activists (most of whom have hyphenated roles and practices). At Re:wind, Tabea Nixdorff and anne krul are present.

Tabea Nixdorff (DE/NL) is an artist, typographer and researcher currently based in Arnhem. Her artistic practice involves (self)publishing, sound and language based performances, collaborative learning and social gatherings. Often working with/in archives, or libraries, Tabea Nixdorff’s works delve into micro-histories while touching upon broader themes such as omissions and distortions in historical narratives, embodied knowledge, queer belonging and a feminist poetics of error. In 2023, she founded the publication series Archival Textures.

Tino Sehgal (UK/DE) is one of the most critically acclaimed contemporary artists, whose practice takes the form of "constructed situations": live encounters between visitors and those enacting the work. Working with the ephemerality and specificity of the live event; oscillating between choreography, situation and discussions, his practice abandons material production and rejects all forms of documentation. Spanning more than a decade, his works range from early pieces such as Twenty Minutes for the 20th Century (1999), a tribute to influential twentieth-century choreographers, through to later works including This. This objective of that object (2004), which activates viewers through direct, conversational encounters, and This Variation (2012), an immersive, sound-driven choreography experienced from within, premiered at dOCUMENTA (13). Sehgal’s work has been the subject of several solo exhibitions, recently at the De Pont Museum, Tilburg, Netherlands (2025); Centro Botín, Santander, (2023); Remai Modern, Saskatoon, Canada (2022); Odawara Art Foundation, Japan (2019), among others. In 2013 Tino Sehgal was awarded the Golden Lion at the 55th Venice Biennale, as well as representing Germany in the 51st Venice Biennale in 2005. He lives in Berlin.

anne krul (NL) is an Afropean visual artist, poet, archivist and activist. She was a member of Strange Fruit, an organisation for young queer people from different cultural backgrounds (1989–2002). They worked together to challenge their marginalization, within both their ethnic communities and the Dutch gay scene. They used creative discourse, activism, art and poetry to implement change: breaking silences, empowering each other, exploring co-creation. As an artist, anne krul has participated in the exhibitions Diasporic Self – Black Togetherness as Lingua Franca (Framer Framed, 2019), and the exhibitions Proud Aliens (2021), Hybrid Garden (2023) and Metamorphosis Comment end Manifesting (2024), as part of the artist community Open Atelier at Framer Framed, Amsterdam.

First Waves is a collaborative open platform that proposes to share the often-silenced stories of the struggles for dignity of the Maghrebi and Black diasporas in Belgium. Rendering visible the early waves that reveal and erode persistent racialized and colonial structures. By collaborating with the witnesses and protagonists of these first waves, the platform gathers memories, recorded testimonies and archival materials washed ashore, spanning from the colonial era to the dawn of the new millennium. This effort aspires to initiate a transformative ebb and flow of memorial restitution, repairing and honoring memories shaped by the waves of antiracist struggles that precede us. These constitutive waves, overflowing the shores of time, from eternity to eternity, continue to move the undercurrent of the present, sedimenting the enduring impact of historical contempt and eroding different pathways towards a shared dignified horizon. During Re:wind, Latifah Abdou will share about her work at First Waves.

Rok Vevar (SI) is a curator, archivist, and historian of contemporary dance, and the founder of the Temporary Slovenian Dance Archive (2012, NDA Slovenia, MG+MSUM). He is co-curator of CoFestival, an international contemporary dance festival, and a member of the Balkan dance network Nomad Dance Academy. As editor, he compiled and wrote the texts for the anthology Day, Night + Man = Rhythm: An Anthology of Slovenian Contemporary Dance Journalism 1918–1960 (2018). In 2020, he published the monograph Ksenija, Xenia: The London Dance Years of Ksenija Hribar 1960–1978. He is the recipient of the Ksenija Hribar Award (2019) and the Vladimir Kralj Award for Achievements in Theatre Criticism and Theatre Studies (2020, for 2018–2019). Vevar has co-curated several exhibitions, including Autography, Enigma, Rebellion: The Photography of Božidar Dolenc and KNOWLEDGE! RESIST! REACTION! Performance and Politics in the 1990s in the Post-Yugoslavian Context at the Museum of Contemporary Art Metelkova (2020), and Dance, Resistance, (Non)Action – Aspects of Dance as a Cultural, Political and Artistic Work in the Period of Yugoslavia and After (NDA, MSU Zagreb, 2024). He is also co-author of the NADA ((Non)Aligned Dance Archive) digital database. He has served on expert commissions for the Ministry of Culture of the Republic of Slovenia and the Municipality of Maribor, as well as on juries for the Maribor Theatre Festival and Gibanica. He currently works independently in the field of culture.

Jasmina Založnik (SI) is a freelance curator, performing arts scholar, dramaturg and producer. She obtained her PhD at the Department of Visual Culture at the University of Aberdeen in the U.K. She works as a curator, researcher, editor, writer, archivist, dramaturge, lecturer, producer, and artistic collaborator. She works primarily in the field of contemporary dance and strives to connect socio-political issues with artistic practices. She is the co-founder and long time co-curator of CoFestival, an international contemporary dance festival, co-initiator of digital data-base NADA ((Non)Aligned Dance Archive), an active member of the Nomad Dance Academy Slovenia collective and the regional network Nomad Dance Academy. In 2026, together with Pia Brezavšček as her co-programme director, she took over the City of Women Association. She is the recipient of the Ksenija Hribar Award in the category of criticism/dramaturgy/theory (2015) and the Meta Vidmar Award for her achievements and contribution in the dance field (2023).

Sevie Tsampalla (GR/BE) is a curator working at the intersection of contemporary art, activism, ecology and public space. Grounded in collaborative and situated approaches, her curatorial practice explores the sociopolitical imaginaries that emerge when art and collective forms of organisation come together. With a background in art history and cultural studies, she holds a PhD in exhibition studies from Liverpool John Moores University, where her research focused on the tensions between urban commons and large-scale exhibitions, particularly biennials. She has worked closely with artists to realise performances and installations within artist-led spaces and institutions across Greece, Belgium and the UK. She previously co-curated Bruges Triennial 2024: Spaces of Possibility and currently works as curator for LOV2030, contributing to the programme of Leuven and the region of East Brabant as European Capital of Culture 2030.

Bram Van Beek (BE) is a writer, researcher, editor, and lecturer in film, photography and media studies. He earned his PhD from the University of Antwerp, where he currently teaches, and has also taught courses at LUCA School of Arts and Vrije Universiteit Brussel. His doctoral dissertation focused on the articulation of national and transnational identities in contemporary Belgian cinema. Other research interests include: The everyday in Belgian cinema from the 1970s, the question of rhythm and duration in postmodern dance and the articulation of space and place in photographic practices. He holds a BA in philosophy from Paris-Sorbonne University, an MA in philosophy from the Catholic University of Leuven, and an MA in film and photographic studies from Leiden University. In addition to his academic work, he is an editor for Sabzian and an editor-at-large for Trigger. Van Beek has published in various journals and magazines, both online and offline, including H Art, EXTRA, Sabzian, and French Screen Studies.

Denise Luccioni (FR) has worked as an administrator, tour manager, curator, translator, and writer specializing in contemporary dance and performance. She began her career with Bénédicte Pesle at Artservice International in Paris, collaborating with leading figures of postmodern performance, including Merce Cunningham, Trisha Brown, Steve Paxton and Robert Wilson. She later worked in New York as tour manager for the Trisha Brown Company and as assistant to director Richard Foreman. In Paris, she co-founded the Cinémathèque de la danse and held curatorial positions at the Théâtre de la Bastille and the American Center, where she was part of the artistic team under Adam Weinberg. She also initiated the Soirées Nomades program at the Fondation Cartier. Alongside her curatorial work, Luccioni has translated major texts in dance and performance and has lectured and written extensively on postmodern dance, with a particular focus on the artistic developments of the 1960s and 1970s. She is currently developing Archive Stories, a video series in which she recounts, in the first person, her encounters with key figures in performance, weaving together archival material, personal memory, and new interview materials.

Michel Uytterhoeven (BE) studied social pedagogy, theatre and architecture studies at KU Leuven. He worked for STUK (then Stuc) for eight years, where he founded Klapstuk, an international dance festival, and programmed the 1983, 1985 and 1987 editions. He then worked, among others, for the Flemish Opera, Antwerp 93 - European Capital of Culture, the Flemish Theatre Institute (VTi), Meg Stuart/Damaged Goods, the City of Antwerp's Department of Culture, Antwerp Open and Art Basics for Children.