A world game

Solo performance live stream festival in Stuttgart and worldwide

An event by LaFuchsiaKollektiva in cooperation with the freien bühne stuttgart and Sense Trans Techno

12 artists from all over the world show a solo performance via livestream in their neighborhood and in places that offer a point of attraction for people from the neighborhood as small cultural islands. The theme that preoccupies the artists is intimacy and publicity.

The human experience has been digitalized, whether we want it or not we are part of the network, we are data.

William Fernando Aparicio


Juma Jandaira
Corporación Tapioca
Mohsen Abolhassani
Dramaturgia Clandestina
Ismene Schell
William Fernando Aparicio
Haya Ibrahim
Dusty Dust
Johana Gómez
Black Petal Colective
Nadia Granados
Magda Agudelo



BURN (to accelerate the fulfillment of desire)


Artistic review

Fôlego Vivo is Brazilian and non-Brazilian, human and non-human, fertile land and open vein. She is dedicated to learn and act from the struggle of the native peoples of Abya Yala. She believes that it is necessary to deschool in order to desCULOnize, and the other way around, from the arts of the body. She is also a transdisciplinary “alienindia” artist, undisciplinary teacher, anti-colonial cultural producer and apprentice sorceress. She studies Doctorate in Theater (UDESC) and Technician in Agroecology (SERTA), with the intention of connecting both.


Burn (to accelerate wish fulfillment)

In her book Terra Madura, Graciela Chamorro (2008) describes that the symbolic acts of the native Guarani peoples, in resistance actions, serve the fulfillment of the desire to see themselves free again.

It is known that in many Amerindian cultures smoke was used as an important communication technology. However, the message that reached Sao Paulo and the world with the gigantic burning of the Amazon in the Brazilian part was: “we will only stop when the last tree is on the ground and we have so much money that it will be necessary to burn it too”.

For several indigenous peoples, viral spreads, pandemics, have to do with the mass destruction of trees, therefore, it is necessary to fight back. In an (in)dig(e)na way. And the performance will be the magical space to send our message to the world, with the technology of internet-hoguera communication. The powerful will burn and thus we will hasten the fulfillment of our desire to see ourselves in freedom together with our grandmother trees.




Juan Camilo Herrera Passage of the Tucunare River. Journey to Puerto Asis by Abiyu Mitu Colombia 2014

Corporación Tapioca is an artistic and cultural collective with 11 years of experience that promotes the cultural values of the Colombian Orinocoamazonia through artistic mediation processes with communities, linking artistic languages to their particular identities and expressions.
The main activities carried out have to do with the creation of spaces for the construction of knowledge, artistic creation and research in tune with the territorial contexts addressed and their problems.
Some of our processes are Saberes de Pupuña, Saberes del Pira, El cuerpo que cuenta, Yajuino yiriaino jiedovake, Kubay Marebukuva and Ñamiajapu Dajarasa, which promote intercultural and intergenerational dialogue, interdisciplinary creation, recognition of traditional and territorial knowledge, and the critical construction of identity.

A performance by:
César Ernesto Agudelo Moreno: Transdisciplinary Artist
Jenny Andrea Gutiérrez Álvarez: Performing and community artist
Juan Camilo Herrera Casilimas: Performing and Community Artist

Close to me
In our forties, our homes have become ambivalent spaces where, in addition to our intimacy, the screen is also open for our work or study colleagues to enter. Now, like Big Brother in G. Orwell’s 1984, others can enter our living rooms, our kitchen, our bedroom, a limit has been transgressed. What is privacy exposed? What is the boundary between public and private?
On the other hand, while we are confined, terrible things are happening outside. In Colombia this year, many massacres have been perpetrated. This performance becomes a space to speak out against this difficult situation.
Three people, in three different places, look for spaces for their intimacy. The camera follows them, exposing them to spectators in different parts of the world. In this pursuit they enunciate places where murders have taken place, thus building maps in their intimacy, which recall fateful events that happened outside during their confinement. What will happen when they find that intimate place?




© Mahya Saeedi

I am Mohsen Abolhassani. I was born in Tehran in 1984 and raised in it. I studied Dramatic Arts at the Faculty of Fine Arts, University of Tehran and English Literature at the same University. I am an actor and have been acting in plays like Macbeth, the History Boys, the House of Bernarda Alba on major venues in Tehran. I teach stage acting in Inja drama school. I also run my Civil Acting workshops that are theatre courses for non-actors interested in enhancing their personal and professional lives through theatrical learnings.

A self-reflexive and open-hearted narrative in three languages is part of my performances.

Divan Institute Teheran

In my first performance, I will show you something that I had hardly dared to show myself for years: the complete and slow scanning of my whole face. I have avoided mirrors for years. Or if I had to face one, I did it under as little light as possible from the greatest possible distance. I realize this sounds strange, especially for an actor. I grew up with conflicting ideas about my appearance from childhood. They still haunt me, even though I’ve been working as an actor and model for several years.

In the second performance, I try to break free. I am constantly struggling to take off my clothes, while at the same time trying to celebrate life. This process is similar to my everyday life: I struggle to survive and try to learn to enjoy the struggle, believing that I have no chance for another life.

In the third performance, I may play the violin for you, but certainly in my own way.




David Arancibia Urzúa
San Ramón, Photo © Jorge Jaramillo

Playwright and theater director (Chile). Artistic Director of the Laboratorio de Dramaturgia y Grupo de investigación escénica Dramaturgia Clandestina. He has written and directed: La Sagrada Historia del Reyno de Shile (2010), Monitos Culiaos! (2008-2011), and Awkarayen (re escritura despojada) (2012-2013). He also wrote Oveja Negra (…o la muerte de chile.), Ñuke (written at the International Playwriting Seminar of the Royal Court Theatre in Chile (2012-2013), and Mãa, (play written in Abejas Tapioca 2018: two residencies in itinerancy through the Colombian Amazon orinoco). She has directed plays in unconventional spaces such as Sitio de Memoria: Cuerpos Constituyentes (Research Residency “Poner el Cuerpo: Llamamientos de arte y política en los años ochenta en América Latina”, August 2016, Santiago); Estamos Vivos! (Abejas Tapioca 2018, August 2018, Mitú, Vaupés, Colombia). He has also explored in poetry and the living arts.

Biodrama live documentary

“Ismael Tocornal 8111” is a biographical work, it is a small documentary about a piece of my life, it is the reconstruction of stories, memories, silences and memories of the house where I was born, which is located in one of the poorest districts of Santiago, in one of the neighborhoods where the largest amount of drug trafficking is concentrated in the sad, gray and cement capital; This is one of the places where every night fireworks are heard to warn that drugs have arrived, but today they are heard in broad daylight, in the middle of hearses, to warn that here, a neighbor died of this disease. ..




Ismene Schell, Photo © Yago Brasil

Ismene Schell * 1966 after her acting studies in Stuttgart was engaged at the Zimmertheater Tübingen and the Landestheater Neuss. In 2005 she founded freie bühne stuttgart as an independent professional theater group, in 2008 (until 2012) she was directing the youth department of the Schaubühne Sindelfingen and founded TUSCH Stuttgart e.V., an enterprise that initiates and supports collaborations between theatres and schools, which she headed as project manager until 2017. In cooperation with Mohammad Reza Golemohammad, Jenny Sprenger-Müller and especially with Kulturhaus Schwanen Waiblingen, Ismene Schell established the fbs beyond the borders of Stuttgart as an intercultural inclusive theater ensemble. Since 2019, together with an interdisciplinary, intercultural team of artists and in cooperation with various cultural institutions and theaters in Stuttgart, she has been transforming the fbs into a platform for artistic and social forms of cooperation and production, and particularly supports artists with unconventional professional backgrounds and / or disabilities / Refugee background in Stuttgart to develop and test contemporary artistic forms of expression.

If you have removed all barriers that separates you from life then intimacy will disappear.
Who am I?
What is life?
What makes a flower open her petals.
See me smiling.




William Fernando Aparicio, Photo © Nathalie Ospina

Was born in 1985 in Bucaramanga, Colombia. In 2008 he graduated in Liberal Arts at the Universidad Nacional de Colombia. In 2010 followed there the completion of his master’s degree in Fine Arts. For more than 9 years he worked as a professor of art and photography at various universities in Bogotá, Colombia. Aparicio’s work has been presented in six solo exhibitions and in more than 40 collective exhibitions. His work has been recognized with various prizes and awards. He has been residing in Milan since 2019.

As a multidisciplinary artist, his work reflects the different possibilities of photographic techniques. His work starts from the idea that currently, thanks to the Internet, we live in an ecosystem of overproduction of images. The human experience is being digitized. Whether we like it or not, we are part of the net, we are data. Aparicio’s academic background is painting. The production of images, and thus the techniques available for it, is therefore his fundamental interest. In his work as a teacher and in his art projects, he focuses his attention on the investigation of the concept of time and its multiple and complex meanings.

Exercises for drawing and vacuuming on the window

“Beautiful as the chance meeting of a vacuum cleaner and a needle on a projection screen”.

For several years I have been obsessed with screen light. Through the computer window, from my apartment in Milan, I have photographed more than 20 people doing everyday activities in another place in the world. I take the photographs with the help of a scanner that I use to digitize the screen in/on which the body is in motion. The process of scanning through the sensor that takes possession of the action creates the distortion and blurring of the body image.

My performance represents the live transmission of a drawing exercise made in a dark room I built. The recording device points to the computer screen where an inverted loop animation is played. The moving image was made during a video call where Isabella was vacuuming her house in Bogotá. I pierce the paper screen of the camara obscura with a needle, as if it were a pointillist exercise with light.




Haya Ibrahim, Photo © Basher Jabbour

I was born 1997 in Syria. I am a dancer in Damascus. I started dancing ballet in VIP Center in Syria from 2002 until 2006, from 2007 to 2012 I was attending Latin dance classes, from 2013 I am dancing hip-hop. I started ellby dance in 2015 up to now in the VIP center in Damascus. I participated in tents and art workshops in Lebanon (theater and dance)

Haya Ibrahim

The main idea of ​​my performance is to show the harmony between the body as a whole through the dancing movements: the hands are in a place and every part of the body is separated from the other parts by a certain distance, this reflects that one of us is separated from the other by a certain distance. During dancing these parts moves start moving each other, the intimacy becomes more evident and confirms that even if there is a distance separating us, there are always ways for communication, that the intimacy and harmony are always between us.




I am an artist in Bahrain specializing in breakdance and graffiti art. I have been a visual artist for ten years and a dancer and performer for 14 years. I have made it my mission to give back to my communitiy. I make sure that whatever I learn, I teach in workshops and academies. I have had the privilege of winning several regional competitions and have been invited to perform in the USA, Holland, Switzerland, Japan and Jordan.

Dusty Dust, Photo © Manuel Hottmann


As the global pandemic continues to play a huge and influential role in our daily lives, it becomes easier and easier for us to feel disconnected and distant from our communities and ourselves. This piece i called (obscure steps) as i try to discover unknown ways my body could go rhythmically and make a connection that’ll be out of the comfort zone as i dance in my room in a small space where intimacy is most vulnerable.

The aim of this performance, then, is to bridge the gap that the pandemic has put between us both locally and globally, through the use of dance & movement. The aim of this performance is also to reconnect with one’s self and show that no matter the challenge, artistic expression is the tool with which we are able to build connections. Dance and movement are both international languages that break through barriers such as geographical location and bring us closer to one another, allowing us to share the experience at this time where humanity as a whole is in need of it the most.




Johana Gomez, Photo © John Barrera

Born in Bogotá/Colombia in 1985, she studied fine arts there at the Universidad Nacional de Colombia with a focus on new media and art theory. From 2008 she completed performance studies in Brazil at the Escola de Comunicações e Artes at the Universidade de São Paulo. To graduate, she traveled throughout South America with her performance “Proyecto Nomada” over a period of six months. She has been living in Germany since 2011. In 2015 she completed her studies in stage and costume design at the Academy of Fine Arts in Stuttgart. Since then she has been working in Germany as a freelance artist, especially in the field of theater. In 2019, she and other artists founded the art and cultural association LaFuchsiaKollektiva e. V., based in Stuttgart, which has carried out various art and cultural education projects in recent years. She has been commuting between Beijing and Stuttgart since early 2020. She is interested in creating interdisciplinary and intermedia projects for a non-elite audience, using forms of theater and visual arts. Her current but also recurring themes are primarily the social roles of women and femicide.

Is intimacy a physical phenomenon or does it belong to the utopian states of being? Intimacy means freedom, detachment from all that is solid, palpable and all that contains us. Intimacy is a spherical, magnetic and rotating feeling that keeps our body alive. It makes us stand upright and suddenly makes us vibrate in the ecstasy of the immaterial. It is fear and passion at the same time. It is a struggle between reason and emotion. I want to break everything that contains me, my guts, my lungs, my whole body. I want the window of my room, my house, my neighborhood, the city I live in and the whole continent to explode. I want to float on an amorphous and organic mass without borders or limits, a new pangaea. I want to mingle with the gases of the atmosphere and disappear in my origin, in the origin of all things, in what is deepest in everything… Is intimacy a breath, a breath of hot air between the genitals and the mouth?

我想破坏所有包含我的一切,我的肠,肺,和我全部的身体。我希望我卧室的窗户,我的房子,我的街区,我居住的城市以及整个大陆爆炸。 因此,我想漂浮在无边界和无边界的无定形有机物体上,这是一个新的泛大陆。 我想与大气中的气体混合,并消失在我的起源,万物的起源,一切的内在。




Bongile Lecoge Zulu
Photo © Siphumeze Khundayi
Zama Jolobe

The Black Petal Collective is a subsect of Black Petal Productions in South Africa. Creative partners Bongile Lecoge-Zulu and Zama Jolobe are based in Johannesburg where they collaborate on video performance art which capture moments of lived experience. Zama Jolobe is a film-maker, director and video editor; and Bongile Lecoge-Zulu works across the disciplines of music and theatre education, facilitation, performance, writing and curating.

Performed by Bongile Lecoge-Zulu; Video Art by Zama Jolobe.

Anticipated Antics is a sensual and playful take on how one experiences intimacy in solitude. Where sensory and elemental stimulation collide, it is possible to come alive in a corner of one’s private world. In a time where our worlds and our reach has become somewhat myopic, we have all had to find comfort, joy, and play. Anticipated Antics is an expression of moments of the intimacy of creating immersive encounters in one’s private space.




Nadia Granados

I am a video and performance art artist, Queer. I started making video art in 1997, at that time, in Colombia it was unimaginable the reach that digital technologies would have. From 2003 to 2010 I was linked to Somos Sudacas, an interdisciplinary collective of alternative and popular communication, an independent political communication collective. Since 2010 I started a project of individual multimedia creation, called La Fulminante www.lafulminante.com. For this process I thought about how the crossing of codes could generate attractive audiovisual products for an audience not interested in content related to social struggles and political-activist criticism, using viral diffusion strategies and post-porn resources Since 2013 I have been experimentally approaching a concept of cabaret as an interdisciplinary scenic format. To date I have made two one-person cabarets and twelve collective creation laboratories as a director. I am interested in putting into public discussion reflections around power relations, media manipulation and gender violence.

Valenzuela Klenner Galería Bogotá Barrio la Macarena, Photo © Nadia Granados


This proposal is a fusion of Martha Rosler’s performance Semiotics of The Kitchen and a performance of my own.

My body inside a transparent plastic bag containing 27 translucent balloons, one for each letter of the alphabet. Each one contains a small amount of animal blood and a small plastic plate with a word printed in Spanish and English. These words allude to feelings associated with the confinement caused by the universal quarantine we are in due to the COVID-19 problem. To this is added an Audio in which descriptions of people’s physicists are heard in English and Spanish.

I present myself isolated in a transparent space smeared with blood, the viewer sees how the balloon bursts with blood, but is not splashed. A tele-transmitted blood that does not touch the viewer. In this action, through the exaggeration of this putrefied blood on my body, I am calling attention to the indifference that reigns before the pain of others. We inhabit intimate spaces in which we lock ourselves up for fear of the other.




Magda Agudelo

Magda Agudelo is a performing artist and literary scholar. She studied acting at the Academia Superior de Artes de Bogotá (ASAB) and German language and literature at the University of Augsburg. As an artist, she has worked in various cities in Colombia and Germany. She works mainly with interdisciplinary artist collectives and focuses on the development of pieces. Many projects she was/is involved in deal with political and socio-critical issues. Her work on stage transcends the boundaries of acting. She sees herself as a performing artist and also participates in dance theatre pieces and performances in which she can make great use of the broad spectrum of her body expression and vocal art.

Paulinenbrücke, Photo © Tamara Wirth


The view of my skin
My skin like a book
That tells me stories
Old and young stories
That I remember well
Or barely remember
A moment of carelessness
Or the unexpected was suddenly there
And bang!
Life could have disappeared
But I’m still here
And crying and laughing
I read my skin