In the Highway 101 project, Meg Stuart leaves the theater space with her collaborators Stefan Pucher and Jorge León. The piece travels through different buildings and spaces: a gallery in Rotterdam, the Kaaistudios refinery in Brussels, the Emballagenhallen in Vienna, the Centre Pompidou in Paris and Zurich’s Schiffbau. Highway 101 reacts to the respective architecture of the locations in a series of scenes that the audience can pass through like a parcour. It sees choreographies and video screens and looks through surveillance cameras and window panes, into hallways, on sofas and parking lots. These changing frameworks and physical experiences lead the audience to constantly renegotiate its relationship to the performers while they struggle with their own presence and absence. In Vienna, Stefan Pucher’s lounge creates an uncomfortable intimacy that forces the public to flirt with the performers. In the Centre Pompidou in Paris, the performers hide among the audience, who then are caught staring at an audience that was searching for absent performers. It’s a cat and mouse game of intimacy and anonymity, eased by Jorge León’s video works: real life and playback merge in strange perspectives. In the process, Stuart, Pucher and León work with local visual artists, composers and musicians. The five editions of Highway 101 play with fiction and reality; they create a fictional memory and are devoted to memory’s future. They encircle the subjects of control, manipulation, technology, influences of the body, intimacy and desire. In addition to the choreographic projects, a series of journals were published. The installation sand table and the solos I’m all yours, Soft Wear and Private Room - all of them created in the framework of Highway 101 - now belong to Meg Stuart/Damaged Goods’ repertoire.
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