Dancing in order to arrive.

Dancing in order to do nothing other than dancing.

Dancing as an ongoing effort to tend to complexity, to joy, to complicity with your body and other breathing and non-breathing bodies in the room.

Moving through scores that toss you right into dancing, we will explore varying qualities and tensions of instrumentality and agency in dancing.

Zoë Poluch

With an artistic practice that takes shape in different rooms and puts into motion different mediums, Zoë Poluch’s deeply critical eye for the contemporary dance scene is based on a long term and practice-based interest in the politics of moving and sensing. As she dances, talks, teaches and writes, she does it with a precise gymnastics of the senses. She looks forward to the far future, perhaps 2070, when she will inaugurate a dance company for dancing people older than 70 years and tour with a solar airplane. Since 2000, she has studied and toured all over North America and Europe, with steady ties to dance artists and human constellations in Montreal and Brussels. Since 2010 she is based in Stockholm, Sweden and collaborated extensively with Hanako Hoshimi-Caines, Elisa Harkins, The Knife and Samlingen (Nadja Hjorton, Stina Nyberg, Amanda Apetrea and Halla Olofsdottir). Zoë is currently Assistant Professor in Dance and head of the BA program in Dance Performance at Stockholm University of the Arts.