Friday, August 30, 2013

questionnaire with participant Gunilla Heilborn (SE)



Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
Yes, one time we showed a studio version of a This is not a love story at Sín Culture Center for a tiny audience. We also had a residency there in 2010 when we worked on the piece.

What do you know about Hungary and what kind of informations do you have about our dance life?
Unfortunately now when I think about Hungary I think mostly of your tough political situation.
I know very little about the dance community. Hope to learn more at the festival!

Could you share with us if have any idols in theater/dance life?
Nature Theatre of Oklahoma ....and Jerome Bel - especially his piece The show must go on. After that I felt no need to make any more work......

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
We will perform a duet made from material, both text and dance, that we collected and made during 7 residencies in Europe. We just used everything that happened to us and boiled it down to images from here and there. I would say it's a low key, melancholic and also quite funny story with 2 heroes walking aorund talking and dancing. We have performed it in many places for example; Berlin, Rotterdam, Gothenburg, Stockholm, Vienna, Munich, Helsinki....

Do you have your arsittic statement, could you share with us?
Sometimes doing something leads to nothing and that's fine.

Do you have any hobby beside working as a performer or creator?
I wish I had a hobby, but everything I like to do seems to be going into my work. But I like gardening. Sometimes.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
A lot of travelling, Film and radioschool, San Francisco Performance Studies, choreography studies in Stockholm, husband and 3 kids. I don't know, everything just seems to be moving on, one thing happening after the other. I wish I had some more time to make more films.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
A long vacation at our summerhouse. Lazy, eating a lot of good food. It was so long that it felt great to get back to working again.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
I think that the humour in my pieces works a bit different in different countries. It's extremely fantastic to perform for people who knows absolutely nothing about me or my work. Then they just see the piece. In a way that makes it more clear for us what this work is that we are doing. It gets another context than it gets in Sweden.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
I hope I'm open to any kind of sincere feedback. I try to make my pieces as loose and open as possible in their storytelling and leave it to the audience to tie it together in any way they want. Then it's great to hear peoples ideas of what the piece is about. For them.

Do you read critics about your works? What kind of critic do you need?
Yes, I do. I read everything. I think it's fascinating with people who say that they never read critic! It's scary but is part of it all. I think dance critic, at least in Sweden, tend to stay in it's own little world. It would be great to get good or bad critiic on where our work is in the society, in the things that are happening now and not only refer to the dance scene.

Do you criticize other’s works? Do you write about it?
No, this is something I would like to do more and be better at. Not write maybe, but be better to talk to my colleagues about their work.  Also to say when I don't like and why.

Are you open for a round table discussion with the audience after a premier or after your show?
Directly after like the very first premiere I think it would be hard. But the day after, absolutely. And after any other show. I would love to listen in on a talk about my work without people knowing that I'm there. Like being invisible. Then maybe people would be less polite....ha ha

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
A popular hug.
A homage to sense and quality.
Getting closer. Maybe.

Do you have any question?
Nope. Not now!

Gunilla's performance takes place on 22nd September in MU Theatre.

Thursday, August 29, 2013

questionnaire with participant Jasper Džuki Jelen (NL), dancer of Arch8/Erik Kaiel



Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
No, not yet, we are looking forward to our first Hungarain appearance.

What do you know about Hungary and what kind of informations do you have about our dance life?
I know about it's famous and celebrated contact festival. I never managed to go there (yet!). Otherwise the country is an unknown territory for me, I like to read, but mostly to meet the people/country/culture as directly and uniquely as only live experience can bring.

Could you share with us if have any idols in theater/dance life?
Micheal Schumacher is. His playfull, 'simple' and charismatic can I appreciate very much. 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
'No man is an Island' is one of Arch8 most celebrated pieces. It came through excistence from what we do with our company best; 'improvise and interact' in all kind of surroundings. Yet this work, which has been performed over 400 times mainly in Europe, has become extremely articulate and layered. 

Do you have your arsittic statement, could you share with us?
As I am not the artistic director of the group I can only give my perception of the artistic work. I would describe it as: phyiscal, immediate, with a strong emphazise on connection and not too much decoration. A believe that the group makes the work and the enourmous freedom & responsibility that arises from that, for all involved. A process that has been going on with a core group for almost 10 years now. That personal investment is something that Erik (Kaiel) makes possible.

Do you have any hobby beside working as a performer or creator?
I love to be in nature, specially South-East Europe. But honestly for me life, work, hobby it is all connected and feeding each other.. so its a bit hard to answer really. 

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I started dancing at the age of 17, till then I did many sports and martial arts. I went to Codarts in Rotterdam. To gain 'technique' mostly, this was a challenging process and one of the first (guest) teachers that caught my attention in another way was Erik. He invited us to fall, get 'out of line', become a bit more 'corky'. Fascinated by this I requested to be part of the project he was setting on some other students. I have been working with him ever since in many different ways. Since I dance, I make and in fact teach, the latter I didn't realize straight away. The work with Kaiel gave me the chance and support to develop myself further, bringing together technique and rougher physicality, improvisation and elements from sports. We have a strong but 'open' working relationship. He doesn't claim his dancers, but is very generous in offering oppurtunity and so we all do also work of our own or for other creators. Through our methods of working I learned much about (physical) contact and developed some strong skills in that. Meeting teachers such as Nancy Stark Smith, Mike Vargas and Julyen Hamilton have also given me a lot of confirmation and challenge. Since 2010 I live and work together with Mojra Vogelnik Škerlj, my partner. Our relationship and diverse fews on life and creation inspire me to continue developing a connective practice and approach to performing. Currently that means that I am bringing the phyical pratice of movement together with theories of human motivation, behaviour and choice. Part of this work are (international) workshops and researches, my study at the institute for reality therapy UK and soon further development of 'The100Hands' which I set up with Mojra and a diverse team of creators. 
Arch8 is continuing doing its location and improvised performances, but Erik Kaiel is also developing new celebrated works for stage the past years, such as 'Tetris' and the new show 'O Snap'.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
Wonderfull. We spend it in Slovenia and Croatia. Nature and people inspire me extremely. The changing times in Europe bring the space and momentum to (re)establish some values I/we have lost a bit out of side while looking for 'more'. I have met many wonderfull people who re-think and re-do life, through physical practice, perma-culture, social projects, business etc etc. It's been very inspiring to see that many are creatively and succesfully looking for alternatives. I feel fortunate to move in those circles. So best moment one: Being part of a Slovenian gathering with 70 people, constructively and positively discussing the strenght of the country, the people, the oppurtunites to create value and quality. A smooth team of 'the-art-of-hosting-network' did a fabulous job in letting the group do the work. Best moment two: nature, offline, simple food, the elements, how it so simply clears the head, heart and body.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Yes and no. I 'feel' the audience during the performance, there are different tendencies in every culture; to get on top of what we are doing, or to wait and see what will happen, the way of connecting is in fact just different from culture to culture (which is actually not country based).
On the other hand this work is so 'to the point' that it seems to speak to something universal in all of us, not matter what the culture is.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
To be now, open and aware. This work asks that as well. Any feedback and information is welcome, if it's packed constructively and positive it will have a much bigger chance to arrive as well :)

Do you read critics about your works? What kind of critic do you need?
Yes. Critic that invites and gives freedom to reflect is hundred times more valuable for me then merely articulating a personal taste and telling what should have been done. It's the difference between something to get closer to (understanding) each other or create a bigger distance. Whenever I succeed to create this kind of 'critique' I also feel much better myself.
I enjoy very much hearing how audience members have experienced the performance and to answer any questions about it, cause curiosity expands our vision and can be great fun.

Do you criticize other’s works? Do you write about it?
Not yet, but resonately someone invited me to start doing it, thanks for reminding me of that.

Are you open for a round table discussion with the audience after a premier or after your show?
Yes, in fact I believe its necesarry for the work I am part of at the moment.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
'Ars' poetic???? Hmmmm, I will just be creative with this.

My first 'ars meop' is called:

The matter between the matter makes the matter matter

we all have a good SENSE 
of what QUALITY is 
if we SHARE this
with each other as a COMMUNITY
we are GETTING CLOSER 
and PERFORM
a HOMAGE for EXCHANGE

we can FACE each other and be
the NATION
with a RELIGION
that is POPULAR 
by its openess to be FILLED IN with unique
ORGANIC FOOD for the soul
let's start practical
,,,,,,,HUGe,,,,,,, 

Do you have any question?
Yes. I would love to share in 3-4hour session some of the practice that I am developing now, but have not the time/connections to organize it. the practice includes (phyiscal) contact and more internal questions and observations. If anybody is serioulsy interested and can collect at least 6 participants I would love to see what we can do together. I am there for the whole festival. Get in touch via L1 they have my contacts.
Cool, let’s make it real on the first open jam day on 21st (11:00-15:00) would be great:-) hm?

Erik's performance takes place on 22nd September in Jurányi Inkubátorház.

Monday, August 26, 2013

questionnaire with participant Tami Lebovits (IL)



Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
Not yet..

What do you know about Hungary and what kind of informations do you have about our dance life?
I don’t know much, I am interested in how the current political situation affects the art world in Hungary?

Could you share with us if have any idols in theater/dance life?
the people I work with have much significance to me..

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
We will perform with God is Measuring the World with a Compass, our visual biography, in that sense it is continues to our work both separately and joined. We performed with it in Israel: Jerusalem, Tel Aviv and Berlin as well.  

Do you have any hobby beside working as a performer or creator?
I enjoy making clothes, coking, eating..

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I studied in the School of Visual Theater in Jerusalem, I was always interested at the extensions dance and choreography has into other disciplines and ways of thought. Currently I just feel I don’t have to apologize about that.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
I went to Greece and had a true carefree vacation.. and decided I need to invest more in vacationing during my on going year.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
It is meaningful to me coming to Hungary, since my Father was born in Ostro-Hungarian Empire. I am interested in coming to places where I can establish a significant relation.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
I love working on a piece and still keeping it somewhere UN sealed. I am interested in hearing new perspective and personal experiences from watching the piece.

Do you read critics about your works? What kind of critic do you need?
I prefer personal feedback.

Do you criticize other’s works? Do you write about it?
Verbal criticism. 

Are you open for a round table discussion with the audience after a premier or after your show?
Sure

Tami's performance takes place on 20th September in MU Theatre.

questionnaire with participant Fülöp László (HU)



Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
I was born in Budapest, was growing up and studying here, and I’m still living here too – so all of my artistic works strongly connect to the Hungarian artistic environment. I even can say I’m making pieces to Hungarians – cause I think I don’t know enough about people from other places and cultures – even if i’m travelling a lot abroad.

What do you know about Hungary and what kind of informations do you have about our dance life?
I know almost the whole dance scene of Budapest, who does what, but the most important thing is – at least for me – Hungarians are really good movers. Maybe we’re not enough developed at these kinds of clever conceptual ways of creating which are quite popular now in global, or making interesting and new structures, but there’s something really deep and strange somehow in that how we can use our bodies. Even better this result when we don’t know exactly what the hell we are doing, but we're going with our intuitions and giving space for transformations of inner-self. So shortly, when we know less but feel more.

Could you share with us if have any idols in theater/dance life?
I just wanna talk about the dance part of this question – cause I don’t have enough reference points to the other theatric art fields.  So my favorites from abroad are Sidi Larbi Cherkaoui and Peeping Tom Company... and from Hungary I like the works of Adrienn Hód (HODWORKS) and Csaba Molnár. Of course I like more things, but now I just wanna mention them.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
This will be the premier and what we’re making now is a simple dance piece, nothing special – people will move and connect in different ways on the stage. It’s quite similar to my previous pieces in these reasons - i mean the simplicity, the way how we use the bodies, maybe something in the order or structures too - but meanwhile different, cause even less logical or coherent for the conscious brain but somehow a whole is a ready, well-detailed texture - if we’re doing a good job. I hope we’re doing.
 
Do you have your arsittic statement, could you share with us?
Be honest and do whatever you can do - but never less or more.... And the other one – watch the people around you without any preconceptions, try to understand the "why?"-s and after accept their answers whatever those are.

Do you have any hobby beside working as a performer or creator?
Being social and communicating with different people about their lives and interests. Trying to get more knowledge about how people deal with the task of making or losing meanings for their existences.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I have musician parents. I was studying a lot about music when I was a kid. But I’ve always liked more moving. And I’ve never really liked writing or reading… I mean the words. I don’t know why. Cause words without actions are nothing but so common. We've just got used to grow fantastic worlds with using verbal languages, but these are just perceptible for our brain not for our senses or our bodies… I like to see, hear, touch, feel things trough my body, not just in my imagination or not just as recalls of feelings... I think that’s the point why and where I am now, and how it looks my relationship with texts  is becoming even worse and worse with time… but i don’t know for sure, it’s just a tendency now.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
It was super good. I was on a long holiday with my love in South-America. I thought i hate going on holiday, cause it’s not so productive, it doesn’t make any sense, but it’s not true – so it’s a kind of new experience for me that resting and recharging is allowed.

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Yes, definitely. Each countries and cultures are different. I guess I don’t really understand this question.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
Getting feedbacks - as part of the communication - are one of the most important things in our lives, no matter from who and about what. I’m open for everything. My pieces may also be interpreted as feedbacks of those things what I’m experiencing around myself – when I’m doing something, whatever it is, I need to get some feedbacks, more informations from outside, because to change things without any outer reflections is really difficult, we easily can get stuck in ourselves. Without moving forward or backward or just to somewhere else the whole does not make any sense, we cannot really talk about life then.

Do you read critics about your works? What kind of critic do you need?
Yes. If someone writes a review I usually read that and sometimes I even try to start a conversation with him/her about the topics what he/she mentioned in the article. I believe that communication is necessary and good – i like more discussions than statements.

Do you criticize other’s works? Do you write about it?
Yes. I think everybody does – i mean humans are critic, everyones has opinion about everything - we love to form opinions, even the subject doesn't really matter. But to write or to start a dialogue is different. If someone asks me I really can do with enthusiasm and honestly, but I'm not that person who really like proclaim his opinion.

Are you open for a round table discussion with the audience after a premier or after your show?
Yes. Not right after, but after I changed clothes, smoked a few cigarettes and drunk a beer - so approx. 20-25 mins after the show I’m really open. Before less.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
I could, but i wouldn't really like the idea, so sorry but i won’t do.

Do you have any question?
I'm full with questions. Maybe only questions what I have, but it’s OK, normal. I hope.

László's performance takes place on 20th September in MU Theatre.

Friday, August 23, 2013

questionnaire with participant Lengyel Katalin (HU)

photo:WartGaléria


Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
I live here.

What do you know about Hungary and what kind of informations do you have about our dance life?
:)

Could you share with us if have any idols in theater/dance life?
No idols. No favourites. 

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
I am organizing the Frissek Minifestival that started in 2011 in Budapest and attempts to show the newest ideas of emerging artists from every kind of performing arts. Each artist has 10 minutes to present his/her ideas and after each show there is a 10 minutes break when a dj plays. It is an easy-going social event with the intension of sharing and enjoying creativity in a set structure together. This time the Minifestival has the special focus on L1 members and resident artists. They will have the opportunity to show their latest work to the public in 10 minutes.

Do you have your arsittic statement, could you share with us?
Enjoy what I do. Every moment.

Do you have any hobby beside working as a performer or creator?
Reading, making short videos for Frissek Minifestival and hiking.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
I studied literature and linguistics before studying dance. I also have an MA in it. After that I studied dance in Linz and got a BA in it. Both of them were important steps in my life and shaped my idea about the world and myself in it. For some years I have been dealing with trying to combine these knowledges and I think I have succeeded. At the moment I am working on our new production with my collaborator. Our name is Bandart Productions and we aim to create performances that combine dance and new media.

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
With my collaborator we premiered our first show in Liverpool and showed it in several festivals in Europe. Was hard work but great fun. I cannot tell which show was the best, I guess it only matters that we had the chance to perform it and travel with it. I also got to see many good shows in these festivals and made some friends. 

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Yes, it does. The audience is different wherever you go, not to mention that we gain more and more experience by performing in different set ups. 

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
Every kind of feedback. Good and bad. Both of them can help. Normally, we have directed questions but audience is free to say whatever they feel like. 

Do you read critics about your works? What kind of critic do you need?
I read critics and I hope it stays constructive instead of being emotional.

Do you criticize other’s works? Do you write about it?
Once I had to write about my experiences as part of my scholarship program. In this I wrote about some performances.

Are you open for a round table discussion with the audience after a premier or after your show?
Yes!

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
I love community but I am also afraid of it.
Getting closer always feels good.
Exchange is the most important part of the artistic work.
We have to find our faith instead of finding religion.
Nation nowadays is a negative word for me in the current Hungarian political situation. 
A hug can solve most of the problems.
Performing is performing is performing.
Popular is a swear word for some but I think it is only a fake intellectual bullshit.
I would eat either home made food or organic food all the time if I could.
No sense can make sense.
Good quality in everything means good life.
Frissek Minifestival is about sharing creativity and inspiration!
Face your monsters and everything will be possible. This is what I am about now.

Katalin's project takes place on 22nd September in Jurányi Inkubátorház.

questionnaire with participant Kenneth Flak (NO) and Külli Roosna (EST)


Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
No, this is the first time.

What do you know about Hungary and what kind of informations do you have about our dance life?
To be honest, we don’t know very much about it. We do know a few Hungarian dancers from our time in The Netherlands, Peter and Peter. The latest political news we’ve received, though, have been quite disturbing, to say the least...

Could you share with us if have any idols in theater/dance life?
Kenneth: I am a huge fan of Külli.
Külli: Kenneth is my idol.

What kind of piece will you bring to L1danceFest and does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
We are bringing The Wolf Project, which we have performed in The Netherlands, Lithuania and in Estonia. After Hungary we go to Norway with it. In this piece we continue making work that is grounded in a strong physicality, with a clear political and/or personal content. This piece is probably the most explicitly political we have made to date. 

Do you have your arsittic statement, could you share with us?
We don’t believe in any conflict between concept and movement. Certain parts of the conceptual crowd seems to think dance is a bit of a filthy activity, especially if it is set in a theatrical setting. We disagree.

Do you have any hobby beside working as a performer or creator?
Kenneth: Chopping wood in Külli’s grandmother’s place.
Külli: Sauna and movies.

Can you write some details about your artistic life - which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
Külli: I came from balllet and Estonian philology into contemporary dance at Tallinn University. After that I went to Codarts in Rotterdam, and worked with several choreographers in the Netherlands. I recently finished my master studies of choreography at Tallinn University. At the moment I am interested in the potential for choreography for saying something about important societal issues. How can a choreographic, embodied idea communicate and open up a world to the audience. Together with Kenneth I am also developing a system of choreography and physical training for performers.
Kenneth: My background was martial arts and acrobatics before studying stage directing at the Norwegian National Academy of Drama. I figured out that this wasn’t for me, so I went to Amsterdam to study mime and later modern dance. I worked with different choreographers in the Netherlands and elsewhere, before starting to make my own choreographies. I like to work with different media, and I’ve made the music for many of my works. Right now I’m programming live, interactive music for an installation/performance in Karlsruhe. I am, though, realizing more and more that my main love is movement, so I am going to dedicate more time to moving and less time to programming. 

How did your summer time go? Did you get any new inspirations? Do you have a best experience during this summer?
We had a great summer with lots of different activities, choreographing for a classical music festival in The Hague, and writing an excessive amount of project descriptions and applications for future projects. The best experience was, though, climbing mountains for 5 days in Norway. And, of course, chopping wood in grandmother’s place!

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?
Yes, in some ways it does. It is interesting to see what people respond to in our pieces. It seems to be different in different places. What is important for people in one country may not be so important in others.

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
We use audience feedback a lot in the process of making a piece. We are interested in the opinion of everybody who sees our work, but we do make a careful selection of what kind of feedback we actually use. There are some people we trust implicitly, and we place great value on their thoughts.

Do you read critics about your works? What kind of critic do you need?
We do read it, and we are quite critical of the critics. Mostly what we are looking for is an informed view, even if that critic doesn’t necessarily like the piece. The most important is that the writer engages with our work on its own terms, and tries to understand what is important about it.

Do you criticize other’s works? Do you write about it?
No.

Are you open for a round table discussion with the audience after a premier or after your show?
Yes, we often do this, and find it very rewarding.

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
COMMUNITY, GETTING CLOSER, EXCHANGE, FILLED IN, RELIGION, NATION, HOMAGE, HUG, PERFORM, POPULAR, ORGANIC FOOD, SENSE, QUALITY, SHARE, FACE
Community is an organic network
Getting closer means sometimes to move away
Exchange of experiences is more important than convincing someone that you are right
Antony Gormley: “My work is not religious. It does, however, come from the same need that religion fulfills.”
A nation is a work in progress
Homage to nature
Give us a hug!
Perform without regret
Popular smells a bit weird
Organic food is in grandmother’s garden—next to the wood.
Sense fully
Quality is something very personal
Sharing may not be caring
A face is the only thing you can’t find on Facebook

Do you have any question?
Why? When? How?

Kenneth-Küli's performance takes place on 21st September in Jurányi Inkubátorház.