Residency: Ekeby International Research Center for Contemporary Arts

Cie.OFEN just spent a fruitful week in residency at Ekeby International Research Center for Contemporary Arts in The Netherlands where we plotted out our new creation for 2017/18. 

New People (working title) will be a cross-disciplinary sci-fi comedy featuring homeless aliens who come to Earth hoping for a better life. Premiering end of 2018 as a live performance, New People will also involve a year-long dramatic lead up including live and online media events including TV interventions with the main characters.

The development of New People continues the following month in residence at ROSAS in Brussels, Belgium.

Cie.OFEN would like to thank Marc and Jan at Ekeby for a wonderfully refreshing and inspiring time in their beautiful early twentieth century summer house and studio. You will find interviews into Cie.OFENs creative process on the Ear Productions website in the coming weeks. 

Gala: Residency at LWDance Hub, Adelaide.

Gala is in Adelaide commencing some research, please read below.

The concept for this piece was the result of research I did when I was artist in residency at WAM Festival in Faenza.  My initial proposal to the festival director (Paola Ponti) was that I wanted to interview residents in Faenza about their everyday gestures. For example asking them how they express themselves through body language, what actions they repeat everyday, gestures that are specific to their region or ones that they identify with personally. I wanted to curate a body of gestures that I would construct a work out of. The director agreed to this approach and at the start of the residency, equipped with a translator and camera man, I started to collect material door to door. It soon became apparent to me that people were not in their homes during the day and in the evenings they were too busy with commitments to be interviewed, and as I had limited time I changed my approach. I took to the streets and noticing people were self concious when approached in this environment I decided to film scenes of people on the street in a documentary style without their knowledge. This was a very natural way to gather material, people were acting authentically and going about their business in their usual ways.

One thing that became important was that this would be a study; and therefor the material would be collected in an academic manner. I constructed a grid over a map of the city and my video footage spanned equally the whole city. I was not interested in movement that stood out from the everyday crowd but rather the details of the most normal ways people respond to their surroundings and each other. In this way it has its heart in social anthropology.
Afterward gathering the video footage, I learnt the material trying to stay as exact as possible to the original, and then constructed it as a long line of segmented movement sections. Some sections were several seconds and some were longer, they all began where the other left off but the tempo and quality changed from one to the next.
Because of the short time period of my residency, I wasn’t able to delve deep dramaturgically into this piece, I could only brush the surface, but I had very interesting feedback from the local audience. I had the sense that this performance was equally about what is not done then what is, by the way we don’t act as the way we do.

Gala is in residency at LWDance Hub in Adelaide, Australia and then in Rosas in Brussels, Belgium.

Chance Encounters – moving image screening

Come along to the Marion Cultural Centre this Thursday and check out Cie.OFEN in the moving image screenings, live art making and interactive chance encounters!


Stay for 5 minutes, 1 hour or all day

11am–5pm short film screenings

1pm–5pm visual art, 3D interactive presentation, dance

Marion Cultural Centre

Plaza and Foyer,

287 Diagonal Road,

Oaklands Park, South Australia


Review: THE VASE by Tanzweb Wuppertal



a critic by Klaus Dilger/Tanzweb Wuppertal (translated into English)

Ariel Dorfman’s “Purgatorio” by the “Compagnie OFEN” by the Pina Bausch dancer Michael Carter and the former Michelle Anne de Mey and Wim Vandekeybus / Ultima Vez dancer Gala Moody in the dance work “The Vase” in Wuppertal at die börse.

Four chairs, a table and the floor, covered with a thin layer of ash, before which a table, packed with a laptop, light control, microphone and sound system, along with a sampler pedal playing sound loops.

The barren experimental landscape signals something processual, long-lasting, and yet incomplete, which has already been deprived of every sustaining and life-giving thing these people must have lost, presented in a space whose inhospitableness has little hope for “the woman” and “the man” as Dorfman calls his” Purgatorio “protagonists.

The Chilean author, who received worldwide attention mainly through his drama “Death and the Maiden”, which Polanski filmed with Sigourney Weaver and Ben Kingsley in 1994, reaches back to Euripides’ myth “Medea” in his play “Purgatorio” Had killed their two sons after Jason had left them. She replied with this deed to the worst that could be done to her by the mistress with the worst of what she could do to him.

Dorfman asks, with reference to Dante Alighieri’s “Inferno”, as well as Carter and Moody in “The Vase”, whether and how there can ever be a salvation through forgiveness.

Dorfman is a master of dialogue, observation, surprising twists and tensions, the smallest details, and the sensualities that are their own. His language, even in the most shocking and terrifying moments, and its content, must still be regarded as miraculous.

This also applies to Gala Moody and Michael Carter in their dance, especially at times in the work where they rely solely on the language of the body and the dance. With the finest nuances, they succeed again and again in letting hope grow, that the familiar and trusting gestures, movements, touches lend to the memory of life again. But this hope proves to be a renewed, desired tormenting of the other. It is an endless seemingly infernal game of longing and love, guilt, and denied forgiveness, which Moody still mastered a little more masterly than Carter. After an hour or so, this hell slowly escapes from the spectators’ eyes and lets them disappear in the dark. We can finally guess the woman’s enigmatic smile ….

A lot of applause for the grandiose performance of two wonderful dancers, the proportion of Sasha Budimski’s composition, which gets under the skin.

– Klaus Dilger (Tanzweb)



Notch Company

Gala has commenced an exciting collaboration with Notch Company at Charleroi Danses;  working on a new dance-theatre solo directed by Oriane Varak and with musician Guillaume Le Boisselier. Titled Arcane Majeur – How to make Decisions, it is based on avante-garde film maker Alejandro Jodorowsky’s lifelong study of the Tarot de Marsailles.

ARCANE MAJEUR – How to Make Decisions

Un tirage à 5 cartes, dit « Tarot de la libération » (cf Jodorowsky).
La scène est divisée en 5 espaces, soit un par carte. Chaque soir avant le spectacle, 5 spectateurs volontaires sont invités à poser une question et tirent chacun une carte. Les 5 cartes choisies formeront la nouvelle continuité du spectacle.
Le spectacle est remis en jeu chaque soir par le tirage de 5 spectateurs.
La probabilité de voir 2 fois le même spectacle est presque nulle.

Nous attribuons à chaque carte un état d’esprit ou état de corps qui est une contrainte formelle qui influencera la danse, la musique et les lumières au plateau.
Le corps et l’espace seront habillés des lumières et des couleurs du Tarot. Baroques.
Dans le processus de travail, nous chercherons au plateau un point de tension entre danse, musique et lumières jusqu’à ce que les forces s’équilibrent.