A QUEER KIND OF EVIDENCE approaches time as contingent and malleable. It endures and cracks open time’s ‘eternalness’ within the prescribed 50-minute frame of a theatre appointment. Sonic Youth’s 1990 seminal album “Goo” and Karen Carpenter’s story of slow disappearance and decreation coexist in a time of relentless pleasure which diffuses any promise of production, hope or progress. We are disappearing the tenses.

MARTIN HANSEN graduated from the HZT Berlin in 2014. His current interest resides in time economies within the theatre apparatus and choreographic process. He has performed in various contexts and capacities in Europe and Australia over the last decade, being named Dancer of the Year by TanzMagazin in 2012 and being awarded a Danceweb scholarship in 2013. Most recently he was the researcher in residence at Dancehouse Melbourne. Martins works have appeared in various venues throughout Germany (Uferstudios, Neuköllner Oper, Ballhaus Ost, PACT Zollverein, Semper Oper, Pathos Munich), Amsterdam and Melbourne.

ANIA NOWAK works choreographing language, situations and bodies. Her current interests are focused around time economy in choreographic practice and love as a procedure of generating knowledge and spending time. She is engaged in creating networks of collaboration with her peers based in and outside of Berlin, rethinking modes of working in today’s choreography and encouraging feminist practices within the field. Ania recently graduated from HZT Berlin and is a recipient of last year ́s DanceWeb scholarship at Impuls Tanz Festival Vienna. Since moving to Germany in 2011, her own and collaborative work has been presented in different venues in Berlin (AdK, Uferstudios, Neuköllner Oper), Amsterdam, Barcelona and Stockholm. technologiesoflove.tumblr.com