Nexus Festival

Wolwêzen is a project by theater makers Rachel Schuit and Geartsje van der Zee, centered around a key question: How is our well-being intertwined with the well-being of the landscape? Together with a diverse group of young people, who for various reasons are temporarily not attending school, they explored this question through a collective building process. In the 'Tuin van de toekomst’ (Granden of the future) in Jorwert, they constructed a skûlplak (shelter) using locally harvested natural materials—a willow frame with wool felt covering. They believe that working with local materials can restore the connection between people and their natural surroundings. This project explores the value of collaboration and focuses on possibilities rather than the limitations of a sustainable future. For Nexus Festival, they have created a theatrical experience inviting you to take a seat in the self-built skûlplak. In this sensory experience, you will be gently enveloped, sharing a moment of stillness in the calm of this temporary shelter—together with each other and with the materials.

Water. Within Chinese philosophy one of the most important elements to think about who we are and how we relate to the world. In Body of Water, Tamar Blom and Federico Murgia create a relationship between you and the water. Water is flexible, powerful and nourishing; These are some of the qualities which make it one of the most important elements for life. But it can also cause serious threats: sometimes there is water in abundance and sometimes there is shortage. Tamar and Federico let you hear, see and feel the influence water can have on you as a person. What does water mean to you?

A man finds himself alone in a room with a mysterious vessel. Or is it a portal? Or is it a pot? Or a tunnel? Haunted and perplexed by the sound swelling from its depths, he decides to create a character to help him understand it. What begins as a creative exercise quickly spirals into a clouded search for meaning and a struggle to answer a crucial question: what does the other side sound like? This performance is a visual, sonic, and textual exploration of our relationship to the unknown. It’s a reflection on the limits of human understanding, and the efforts we make to defy – or in some cases - accept them. It’s also an ode to swan songs, and the people who sing them. A first iteration / research presentation of the piece will be shown as part of Nexus Festival 2024.

Physical body, enduring body, sensory body, injured body, transforming body, gendered body, aging body, dream body, present body, forgotten body, individual body, collective body… body project is a collection—a living archive—of diverse bodies and their physical memories. It explores the identity of the physical body as a source of personal experience, contrasting with the cultural body, shaped by beliefs and social constructs. It questions the body as both an individual and collective entity. It is a duet of two identities within one body. It is a group piece that embodies the power of moving together. It is a ritual that transforms space and time.

‘To resonate: re-sonare. To sound again.’ Sound, space, matter and human. They move eachother. In scientific sense resonance is the co-motion of one by movement of the other. In poetic sense resonance has to do with recognition, agreement and connection. Intersona is a transdisciplinary performance-in-making in which the physical and inner resonance between body, object and space will be researched. Through a complex feedback system, acoustics and movement the sonic field has the capability to literally and figuratively merge image and sound, movement and space, matter and mind.​

In NYX , Karlijn wants to collectively experience the twilight as an act of resistance against an ever-accelerating and brightening world; a rite of passage that allows us to get used to the dark, an area without overview or guidance. A place where we don't like to be, which beholds the opportunity to merge with your environment, a borderless world without end. Walk with Karlijn across the outdoor grounds of Het Domijn where you can watch the evening fall together while hearing the first experiments of their musical work. A world in which contours slowly fade and the imagination takes over.

Two beings exist in a green void. This void, a hideous expanse of nothingness, stretches infinitely in every direction, leaving them unsure if they occupy all of it or none of it at all. The boundaries of their being seem to blur, as they feel an overwhelming connection to all that was, all that is, and all that ever will be. Anything could happen because nothing ever will. In the void, danger is looming because nothing touches them. They are caught in a cruel dance, where their misery births a bizarre enjoyment. Stunned by possibility, grasped by fear and sparked by joy, they are stretched to an extreme. A deep longing for coziness and comfort creeps in, culminating in a desperate quest for blankets. This physical and visual performance unveils an atmospheric exploration of emptiness. An emptiness reverberating from, around, and through the bodies of the performers. Biography collective FADAT is a performance collective consisting of Dutch-Iranian siblings Manuel Groothuysen and Diane Mahín. After having finished their theoretical studies in social sciences and humanities, the duo started to collaborate during their studies at the Institute of Performative Arts in Maastricht. They artistically connect through their shared existential and absurdist view on reality, and on the ways in which humans are subjected to the manipulation of (non-)human entities. These ideas can be overwhelming and confronting, but if one manages to zoom out, potentially liberating and painfully funny. Diane and Manuel shape these concepts into audiovisual performative realities informed by human behavior inside both fabricated and inevitable patterns. FADAT is a performance collective consisting of Dutch-Iranian siblings Manuel Groothuysen and Diane Mahín. After having finished their theoretical studies in social sciences and humanities, the duo started to collaborate during their studies at the Institute of Performative Arts in Maastricht. They artistically connect through their shared existential and absurdist view on reality, and on the ways in which humans are subjected to the manipulation of (non-)human entities. These ideas can be overwhelming and confronting, but if one manages to zoom out, potentially liberating and painfully funny. Diane and Manuel shape these concepts into audiovisual performative realities informed by human behavior inside both fabricated and inevitable patterns.