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The choreographer welcomes the audience with cut-into-pieces-and-restructured words. “Well;come;make; space; please, please make space, a still life come please make make space alive”…

Body parts (!) – a chair, a small part of a polyurethane interior cornice, a mold of a foot, hand and a butternut squash –  are scattered all around or sometimes hung on the dancer-choreographer, while he dances a blend of a movement repertoire taken from Vogue dance and martial arts that is followed by a play with dragging or the force of pull and push – reminiscent of a crash simulation – as a result of tying himself to the chairs or wooden platforms.

In highway, the composer-musician Martin Hiendl is not just a man in black; he is a performer himself, in his skin colored underwear, ending the performance with Alvin Lucier’s Silver Street Car for The Orchestra, while the dancer is turning around himself like a theme park ballerina with the aforementioned body parts swirling around.

Julian Weber: highway. 13.11.2016, Collequim Hungaricum, Berlin

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