Live performance program

Performance Opera, July 5th, 8:00 -11:00 pm at Maakhaven, 1e Lulofsdwarsstraat 60, the Hague.

Live Performances: July 6th, 7:00-11:00 pm at De Helena, Helena van Doeverenplantsoen 3, the Hague.

Live Performances: July 7th, 6:30 – 11:00 pm at De Barthkapel, Brouwersgracht 2K, the Hague.


Participating Artists Project ID

Andrigo & Aliprandi (IT), Peter Baren (NL), Larysa Bauge (BY, NL), Jessica van Deursen (NL), Daz Disley (UK), Kirsten Heshusius (NL), Fenia Kotsopoulou (UK), Miranda Meijer (NL) ), Sara Simeoni, (DE), Marcel Sparmann (DE), and Yvette Teeuwen (NL).


By Marilyn Arsem and VestAndPage

Stuart Hall outlines in the essay “Cultural Identity and Diaspora” (1990) that modern identities are no longer fixed but emerge as “unstable points of identification or suture, which are made within the discourses of history and culture.” In his words, life stories are not determined exclusively by class, race, gender, and religion, but instead there is a mixed ancestry; an identification with diversity in countries, traditions, values and beliefs. While the raised global interactions are causing a re-evaluation of traditions and lifestyles, an awareness of individual and collective change springs from the urgency to find new modes of shaping our identities and life stories. Performativity as a language calls for continuous transformation and functions as a form of social action, while contemporary performance art as a logical art form shapes, communicates, confirms and honours the value of differing life stories in multiple contexts.

Participating artists

Andrigo&Aliprandi (IT)

Dancer and performer Marianna Andrigo and multimedia artist and sound performer Aldo Aliprandi have been collaborating since 2009. Their oeuvre and artistic research intertwine various performative languages, deepening the relationship between body movement and sound-motion. Andrigo & Aliprandi’s live performances are mainly conceived site-specific, often in places characterised by the full verticality and the consequent shiver of vertigo that it produces. In their reference landscape, they move between philosophy, theatre, sound and movement experimentation by investigating an aesthetic that falls in love with detail and silence, as well with an entropic dynamic energy moved by emotions as enlightenment in the creative process. They are the directors of C32 performing art work space at Forte Marghera, Mestre-Venice, the cultural association Live Arts Cultures, and core-partners of the Venice International Performance Art Week since its inception.

Andrigo&Aliprandi. “vacuum“. Image from the performance. II Venice International Performance Art Week “Ritual Body – Political Body“, ECC Palazzo Mora, Venice (2014). Photograph by Monika Sobczak.
Andrigo&Aliprandi. “Piano piano forte forte” (2017). Image from the performance. Photograph by Aberto Capuzzo.


Peter Baren (NL)

Peter Baren, The Netherlands and lives in Amsterdam. He studied painting at the Rijksakademie van beeldende kunsten in Amsterdam from 1972 to 1977. Since his first public performance in 1980 his work has been shown frequently in the Netherlands and towards an international level during the mid eighties.
In 1989 he was one of the recipients of the PRIX DE ROME Art & Theatre. Baren’s work is often collaborative; other artists he has worked with in an early stage include a.o. dancer and choreographer Truus Bronkhorst, poet Koos Dalstar and artist Marion Gadiot. Baren’s multimedia practice includes site-specific public performances which he refered to as ‘temporary explorations’. He uses video both for documenting these performances and to create works which are more medium-specific examinations revolving around the history of mankind, cultural objects and identity of space.
The series called BLIND DATES WITH THE HISTORY OF MANKIND [2013- present], as a multi-sensory work, searches for a common ground between sensual bewilderment and political commentary, challenging the constructed nature of our ideas on progress and memory, and our sometimes superficial notions of identity, derived from existing social and cultural circumstances.

BLIND DATES WITH THE HISTORY OF MANKIND [The Weight Of Love], TAC#30. Transart Communication. Csemadok, Nové Zámky, Slovakia 2018. Image: Ondrej Berta.
Fractured Bodies. TEMPTING FAILURE#2018. Biennial for International Performance Art and Noise. Braithwaite Hall, Croydon, London GB. BLIND DATES WITH THE HISTORY OF MANKIND [Rage And Time] , Performance: Peter Baren, Anna Bougos, Lise Boucon, Gemma Jones, Rob Hesp. Image: Julia Bauer.


Larysa Bauge (BY, NL)
Larysa Bauge is a performance artist raised in Belarus and currently based in the Netherlands. She graduated as a multi-disciplinary performer from T.I.M.E. department of the Royal Institute of Arts, the Hague. “In my performances I try to deal with subjects that scare me the most. I take my pieces as a chance of crossing boarders in a way that I cannot attempt in an everyday situation. For me it means redefine the connections between human beings, question the reality, the taboos, the socially accepted. I talk about what bothers me in the moment: sometimes it is a political situation, but sometimes it is an intimate, personal topic. In any way, I use a visual metaphor for actions, never a direct statement. I’d say, most recurrent themes in what I do are still loneliness, vulnerability, sacrifice and nostalgia. I am fascinated by the collective imagination and how something we consider deeply personal may result to be “of/from everybody”. Based on that, my ultimate goal is to create pieces that are transpersonal in a sense of being emotionally recognized by any human in spite of the cultural background or individual purposes. Human presence in an art piece is just direct enough, really”. (From the interview to Leonie van der Plas, theater De Generator)

SINGING BELT., Dedicated to M., July 2018, STARPTELPA performance festival, Riga (Latvia), Photography by Anna Moskava, Vika Eksta


Jessica van Deursen (NL)

Stijn Huijts (director of the Bonnefonten Museum):
”Jessica van Deursen is an performance artist, who pushes the boundaries of the common fine-arts practice. Not only does she challenge the borders between her art and her personal life, she also challenges her own mental and physical limits. While questioning to what extend she can control the course of her life, and to what extend others are influencing her, and which role art can play in this investigation. 
Van Deursen sees her art as a documentation of her development as a human being. During her performances, she confronts her audience with ritual or interactive happenings, through which she wants to stimulate her audience to become more aware of their own behaviour, thoughts and feelings.”

Her art practice is defined by it’s multi and interdisciplinarity. Starting her fine-arts studies as a painter, but quickly evolved towards making performance art. And in that way, integrating her love for and experience with theatre and music, into her fine-art performances. After graduating from the Willem de Kooning academy in 2012, she continued her studies at Codarts for her master’s degree in performance art (2012-2014). In 2016 she was rewarded the Young Talent Grand by the Mondriaan Foundation.

All For Art (february 2108), made for the Prospect & Concepts exhibition by The Mondriaan Fund at Art Rotterdam.


Daz Disley (UK)

Daz is a UK-based digital artist. Working across a range of modalities, Daz first trained as a musician and sound engineer before becoming a surround-sound / sound-art facilitator and systems consultant. Software tools he has developed have featured in both ComputerMusic and MusicTech magazines (for which he’s also been a contributing author), and he was instrumental in developing the SoundSpiral 52 channel inflatable Surround-Sound and Arts venue for the London2012. Cultural Olympiad.

As a visualist and performer he combines his musical aptitude with live-coding and video manipulation, and as an artist works regularly with photo and video, for which he often creates bespoke code and tooling. Currently resident artist with both Slumgothic (venue) and Gibbon Records (label) daz has taught as a visiting artist (live-art, visuals, technology) and presented to a variety of conferences in the sound-art & experimental music fttp://!/filter:*|ields.

Encounters Chapter Two, Here But Not Here At All At The Same Time © 2014 Daz Disley & Fenia Kotsopoulou, Duration : 9:15, Original Music : JazzySpoon (remixed)


Kirsten Heshusius (NL)

Kirsten Heshusius is primarily trained in the practice of performance training trough her work with important site specific performance groups in the Netherlands. In 2010 she started to make her own solo work based upon a perspective changing experience traveling in Iran. Her work is best described as visual poetry provoking universal thoughts about the world and existence itself. She develops her ideas in her studio where her material research is persistent and ongoing. Within her performances she deals with body transformation and strong but minimal visual imagery often based on autobiographical events. Because the body functions as a mirror trough the transformations she provokes sentiments of recognition. Architecture and history provide a departure point placing the work in its surroundings. Barbara Krulik / curator and writer

Kirsten Heshusius, Untiteld, P.S. Time Event The Hague 2018, photographer: Jacques Martens


Fenia Kotsopoulou (UK)

A Greek cross-disciplinary artist who straddles performance art and site-specific performance, dance and videography, Fenia Kotsopoulou currently lives in Lincoln (UK) where she graduated from University of Lincoln’s MFA Choreographing Live Art. She holds a BA honors in Dance from the National Dance Academy of Rome (IT) and a BA honors in Italian Literature and Language from the Aristotle University of Thessaloniki (GR). She develops interactive and site-specific performances, as well as short dance and documentation videos. She is inspired from the daily life and every detail related to human interaction with technology and nature, gender roles and diversity, social and political issues. In search of an holistic way to express her vision, and based on a rhizomatic approach of making art, she collaborates with artists from different fields and cultural backgrounds. She is interested to discover how tradition can influence a contemporary dance and performance setting, or to become rich source for socially engaged art projects. She created and curated the first edition of the mini festival “Interconnectivity & Live Art” at Lincoln Performing Arts Centre.

Fenia Kotsopoulou, Still from the video This Dance Has No End (2018) © Fenia Kotsopoulou


Miranda Meijer (NL)

In consideration the many expectations that I believe the world has of me, I pursue an unceasing struggle: to break through them, to ignore them, to let them go, to react to them, or indeed just to meet them.

Somer Meijer: As an artist duo we attempt to disclose an essence that emerges from the interplay of subjective and objective contact in minimalistic performances. The apparent contrasts between opposites, such as ratio and emotion are fascinating, because the way each person deals with them differs and yet is similar at the same time. We try – try, because we too are just human beings – to omit every distraction, for external factors already exist in the spectator’s perception.

acte de présence, 2013 [The Hague] / 2014 [Antwerp], ongoing performance
Acte de présence is a performance about rhythm, repetition, time, contradictions (like absence-presence, inside-outside), control, reflection, change, expectation and has therefor the pretension to refer to everyday life in some kind of routine way.


Sara Simeoni (IT)

Sara is an Italian dancer, choreographer and video-performance artist based in Germany. She creates works for dance-theatre, film, and exhibitions. 

A long-time member of the Carolyn Carlson Company, Sara more recently transitioned into the field of performance art, having performed as part of the Venice International Performance Art Week.

She graduated from the National Dance Academy in Rome, attended the Accademia Isola Danza in Venice under the direction of Carolyn Carlson, and has studied with numerous renown choreographers such as Nigel Charnock, Rehinild Hoffman, Susanne Linke, Ted Stoffer, Sebastian Prantl, Wim Vandekeybus, David Zambrano, and others.

In 2016 , Sara was an as artist in residence for a year at the Foundation Laurenz Haus in Basel ; a fruitful time of intense and focused experimentation, where she created “Convergence”,  a  multidisciplinary project in collaboration with the cross-disciplinary artist Fenia Kotsopoulou and the musicians Daniel Calvi and James Reynolds.

Her artistic practice intertwines the energy of movement and the power of image, forming a convergent choreography. Her focus is to put the body in a constant state of urgency, a “nowness”. Presence and energy are fundamental elements of her work, which give the body the freedom to create a new dynamic in relation to space and time.

Sara Simeoni, Venice International Performance Art Week 2017, Co-Creation Live Factory, Photograph © Alexander Harbaugh
Sara Simeoni, Anam Cara – Dwelling Body, Venice International Performance Art Week, Palazzo Mora, Venice, 2018 © Alexander Harbaugh


Marcel Sparmann (DE)

Marcel Sparmann is a German visual artist, working in performance art, theatre, dance, public art and installation. After studying Theatre, Performance Art and Environmental Art in Germany and Scotland, Sparmann now works internationally, both as artist and researcher in Residence. Furthermore, he has presented as a guest lecturer for Performance and experimental theatre including theatre pedagogy all over Europe, North and South America, China and Japan. Currently holding guest teaching positions at several German universities, Sparmann lectured at international institutions. Supported by Goethe Institute, he participated in renowned Performance Art festivals and Biennials, such as the Venice International Performance Art Week, 1st Bienal Internacional de Performance de Caracas, Xi’an Live Art Festival, the Houston Performance Art Biennale as well as many others.

From the unspoken between feet and head – in conversation with Alfredo Jaar, Museo de la Memoria, Chile 2014


Yvette Teeuwen (NL)

All of my art (installations, photos, paintings AND performance art)are a quest for the Being of things. To touch and intensify the (raw)core of something or somebody or a situation and make that more tangible for the spectator. The work forms an intense and at the same time subtle focus to the inside, breaking open different layers, making them more transparant and sensitive. In my performances i use minimal forms and simple materials, sometimes handmade Performative Jewellery and the past 3 years also spontane abstract voice sounds wich connect body, breath, space, intensity of the moment& public strongly together.

Bones, Performance during Hoogtij #48, Performance Site, Den Haag 2017


VestAndPage (DE)
mentors residency

Verena Stenke (b. 1981) and Andrea Pagnes (b. 1962) have been working together since 2006 as VestAndPage and gained international recognition in the fields of performance art, performance-based film, writing, publishing and with temporary artistic community projects. Since over a decade, VestAndPage have been exploring performance art as a phenomena through their collaborative creative practice, as well as through theoretical artistic research and curatorial projects. Their works – a celebration of life – have been presented in museums, galleries, theatres, cinemas and a variety of sites worldwide. Their writings have been extensively published and translated for international readers.

On December 2012, VestAndPage conceived and initiated the live art exhibition project VENICE INTERNATIONAL PERFORMANCE ART WEEK. Between 2012 and 2016, the project showcased in the Trilogy of the Body historic pioneer works on exhibit in conjunction with live programs of durational performances, presenting over 120 international artists and an ongoing educational program. Since 2017, the project presents in the new format Co-Creation Live Factory an educational platform with residential character for young performance artists. Their last performance based film “Plantain” as been awarded as best movie at the Berlin Independent Film Festival 2018.

VestAndPage. “Plantain”, still from the movie, 2018. Courtesy the artists Vancouver (2013). Photograph by Ash Tuyaksuyk
VestAndPage. Image from the performance “PANTA RHEI VI: Time”, Seoul Art Space,
Seoul (2012). Photograph by HeiJi Park.


Marilyn Arsem (US)
mentor residency

Marilyn Arsem has been creating live events since 1975, ranging from solo performances, to large scale, site-specific works incorporating installation and performance. Arsem has presented work in 29 countries, at festivals, alternative spaces, galleries, museums, universities and conferences in North and South America, Europe, the Middle East, Oceania and Asia.

Marilyn Arsem has been creating live events since 1975, ranging from solo performances to large scale, site-specific works incorporating installation and performance. Arsem has presented work at festivals, conferences, alternative spaces, galleries, museums and universities in 29 countries in North and South America, Europe, the Middle East, and Asia. Many of her works are durational in nature, minimal in actions and materials, and often located in peripheral spaces in the context of larger events, and where viewers discover the work on their way to seeing other performances. Arsem has focused on creating works in response to specific sites, engaging with the immediate landscape and materiality of the location, its history, use or politics. Sites have included a former Cold War missile base in the United States, a 15th century Turkish bath in Macedonia, an aluminum factory in Argentina, the grounds of an abandoned tuberculosis sanatorium in Poland, the site of the Spanish landing in the Philippines, and a deserted Russian mining outpost in the Arctic Circle.
Arsem is a member of Mobius, Inc., an interdisciplinary collaborative of artists, which she founded in 1975. Arsem taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most extensive programs internationally in visually-based performance
art. She continues to teach performance art workshops. Website:

Marilyn Arsem, Edge. Boston, US (2013). Photo: Phil Fryer

Project ID is supported by: Stroom Den Haag, Goethe Institut, Gemeente Den Haag, Prins Bernhard Cultuurfonds, LADA Live Art UK.

In collaboration with: VestAndPage, Marilyn Arse, Venice International Performance Art Week, Studio Contemporaneo.

Partners: Ruimtevaart, Maakhaven, Performance Art NL.