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by Jamuna Mirjam Zweifel & Léa Jullien and collaborators.

Co-Production Theater am Gleis, Winterthur Switzerland

28. & 29.6.2024

8pm  | Untere Vogelsangstrasse 3, 8400 Winterthur Switzerland



CHOREOGRAPHY & CONCEPT Jamuna Mirjam Zweifel in close Collaboration with the dancers & Léa Jullien (Tropical Vegas)  SOUND Léa Jullien PERFORMANCE  Ariana Qizmolli, Nina Pfüller, Astro Scheidegger; Maureen Zollinger, Sandra Albrecht, Sophie Meyer

DRAMATURGY Charlotte Matthiessen LIGHT DESIGN Pascal Pompe GRAPHIC DESIGN Jahn Kuotrios PHOTOS Eve Mukkti COSTUMES Jamuna Mirjam Zweifel

SUPPORTED BY Kanton Solothurn Swisslos-Fonds, Stadt Winterthur, Fachstelle Kultur Kanton Zürich, Schweizerische Interpretenstiftung SIS,

Landis & Gyr Stiftung




Holes is a 50-minute danced parade, arising from the recognition of the body as a porous processing system. Starting from the perception of the world formed by the notion of holes and the desire to dig holes in order to find something special, we can perceive a wave of transformation that begins as an internal practical state and eventually begins to interact with other existing beings in space. Based on choreographic material used in a score, the dancers provoke states of transformation and layer them up to shift from one material to another, sometimes in coexistence with the soundscape, sometimes independently.




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Text Ressource:

..Maybe it would be nicer for them and for us if we could just fall down,
give in to gravity
tumble or stumble or jump or slowly sink
into a hole in the ground

This hole can be any size
large or small
to put your head in so you don’t have to see for a while
to sink your ass in so you can stay steady for a while
a hiding place – hiding things or animals or people
a protective shelter – a sanctuary
a fireplace
a cave
a trench, a place to shoot from
a void to rest in

holes can be there spontaneously or planned long in advancedug by one person with a shovel
or by an entire construction team

there can be very specific holes like
a girls-only hole
a hole for people who want to do things
a hole for people who just want to lie down
a hole for listening
a hole for laughing
a hole for dancing
a hole for healing a hole for painting
a hole for fighting –
a groove
for rapping
a crater for objects – or one object
a furrow for stories
a vacuum for nothing
a nook like a tomb
a chamber that lifts unheard voices – I think I once visited such a hole already, at Teatr.doc in Moscow, I sat in a cellar squeezed together with many other people engaging with a sober play sharing the daily reality of living under repression.

a hollow without people
an abyss with only smoke
a fissure for madness
a crack for failure
a pit for everything that is there already and we don’t need anything more
a cavern for how to get the billions from the one percent
a ditch for looking back
many chinks for the unnamed unknown
of course there can be cross-holes

You don’t have to be seduced to go into a hole
you just fall in there, or maybe you’re being gently pushed in there.

It’s clear that there is no place in those holes for the artist or the curator as individual stars, anyway no individual star artist or curator would like to hang out in a hole. There are no prices to win there, no prestige, no decorum. A hole in the ground is not a job opportunity or a career step, it’s a commitment.

There are parties, there is celebration.

A hole for what we lost.
A hole for the forgotten.

In the holes the new does not exist.

Holes are run collectively… When you enter the hole – no matter who you are – you are first an apprentice. You learn from every one present in the hole: builders, cleaners, communicators, thinkers, spectators, dancers, writers, translators, and so on – of course every one has more than one role. You observe and you help till you understand the politics of the space, then you can participate. For some holes you need a long apprenticeship, some holes you will understand in ten seconds.

A hole does not always have to be open it can be a 24/7 but maybe some holes only open once a year. When obsolete a hole can be covered or filled and it can also be re-opened. One can be a hole-hopper or a long-term resident.

The holes go more or less deep into the ground. There is the potential to get in contact with other holes through underground corridors, like moles. There is no gallery map however. Moles don’t see much; our skills of reception and listening will be strongly developed in the holes.

Since we are in the ground, we will be closer to the dead. We will be close to the past and to our collective memory. The holes in the ground are also holes in time.

If those holes now sound like a sort of subversive escapism, an underworld, disconnected from “reality”; we can maybe think back of the insurance employee I mentioned in the beginning, the one who described corporations as fake and art as the real world.

Sarah Vanhee, 2017 (Part of "The Art Institution as a Hole in the Ground")

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