In the European premiere of her technicolour new work, South Korean choreographer Eun-Me Anh—one of the most important artists of her country, often referred to as the “Pina Bausch of Asia”—confronts Western audiences with their generalisations about the East.
“The ground is moving, and we are moving with it”, writes artistic director Ricardo Carmona. Tanz im August 2025 stays true to this vision: dance as a seismograph of present-day tensions.
Biennale Danza 2025, Myth Makers, staged a landscape of tension and contradiction, where aesthetics collided with both implicit and overt politics.
Every two years, Lyon turns into an open-air stage. Here I am, standing on the pavement, squeezed between a giant balloon and a brass band that insists on being heard three blocks away, watching the inevitable Défilé de la Biennale.
As you might expect from one of the world’s busiest dance capitals, there is always lots to see in London. In this Letter from London, I bring you just a flavour of what has been happening here in the spring and early summer of 2025.
Beginning during Berlin Art Week and developing over the following months, the joint curatorship of Sophiensæle, Georg Kolbe Museum, and Haus am Waldsee, presented a retrospective on the body of work of Franco-Austrian choreographer, director, interdisciplinary artist, and puppeteer Gisèle Vienne to Berlin.
