A LivecoderA is a woman* who arrived to code to use it as a weapon, a song, a dress. Looking to society, she decided to create a different possible future for it through its most potent element: culture.
I care about eating, doing art, fucking, sleeping and coding.
A LivecoderA, with some or a very few privileges, made a life route through patriarchal hostility. This LivecoderA is fully aware. Each space gained is an opportunity to subvert logic, to weave ties, to implant love.
A LivecoderA is a code worker (which is never neutral) who has to fight for her rigths on several spaces. Daily she faces different types of gender violence (symbolic, psychological, economical, physical, sexual), but she debates them in order to mend it collectively.

Live coding was born from the meeting of two subcultures: that of hackers and that of electronic music, with frequent references to rave culture. Even though the community sees rave culture as just one of the many components of live coding, the result is the perfect combination of the two: There are the ideals of knowledge sharing, the rejection of hierarchies, leaders and performance principles. Livecodera takes this to another level by creating a safe space for FLINTA* people in this context. A group consisting exclusively of FLINTA* offers group members a safe space in which they can develop their individual voices without running the risk of being overshadowed within the larger, male-dominated group.
We welcome allies of any gender in our audience! Show your support!

In this event we combine different techniques with live coding to create a unique experience.

A project by TATWERK | Performative Research in cooperation with LivecoderA Berlin.
Funded by the Project Fund for Cultural Promotion of the Friedrichshain-Kreuzberg district.

In the game of televised warfare, it is unclear who is allowed to say ‘we’ anymore. One toy land is turned into another toy land. Everything you see is true but none of it is real. 

Director Peter Lorenz and performer Jelena Bašić dismantle the global media-war-machinery in the text of Nobel-prize winner Elfriede Jelinek (translated by Lillian M. Banks) as accounts of the Iraq war collapse into personal memories of a child refugee during the Bosnian war. In piles of human detritus, memories and plastic toys, the distinction between appearances and reality is difficult which makes Jelinek's acute war criticism frighteningly up-to-date. With the help of live video, the performer reclaims her agency in the global cycles of destruction and reconstruction.

The frontline in the war of words between ‘us’ and ‘them’ starts to blur as accounts of Middle Eastern deserts and the siege of Sarajevo bleed into each other. The violent act of representation is played back to us on video and we find ourselves in the middle of this toy battle.

It all comes back round, especially the wars.

Performance rights with Rowohlt Theater Verlag, Hamburg.

Retina Maneuver is a solo lecture-performance that theatre maker Ping-Hsiang Wang is currently developing. The performance originates from his unexplainable obsession with Alicia Keys’s pop song "Girl On Fire," Frustration over not remembering where he was when the song was released in 2012 drives him to delve into his digital archives during the show. On stage, he meticulously searches through his cloud storage, email history, social media accounts, playlists, and even explores Time Machine backups, all in a determined effort to find those forgotten memories.
Ultimately, Wang stumbles upon a photo accidentally uploaded to his Facebook page and, with the help of Tropicamide, a pupil-dilating medication administered three times during the performance, he is transported back to the day of the single's release. There, he finds himself in a military setting, passionately engaged in bayonet drills and shouting the command "kill."
As his eyesight continues to deteriorate and the song “Girl On Fire” transforms into a marching tune for soldiers heading into battle, he reflects on whether these fragile memories portrayed on stage will be annihilated by the fire of war.

A production by Ping-Hsiang Wang coproduced by TATWERK | Performative Forschung
Supported by Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and the Media; the residency program at PACT Zollverein (Essen), funded by the Ministry for Culture and Science of the State North Rhine-Westphalia; Mestizo Arts Platform/WIPCOOP; 2022 Thinkers’ Partner Project (TP Project,) Thinkers’ Studio

Have a Safe Travel tells the story of a train ride. It could have been an ordinary trip, until three police officers stopped Eli Mathieu-Bustos and subjected him to his first racial profiling. Immersed in the memory of this event, which is as banal as it is violent, we discover what the first procedures of an oppressive system are all about.
In this first solo, the choreographer was able to transform the systemic violence he experienced into a strong and unique performative material developed with the help of the De Caelo technique. This technique, conceptualized by the artist himself, consists in leaving an important place to emotional intelligence, situated knowledge and improvisation. But it also calls on the tools of astrology, the sky charts and to perceive how the stars can inform us about our bodies.

With the support of Wipcoop / Mestizoartsplatform, KVS, La Bellone, Be My Guest - International Network for Emerging Practices, Kaaitheater, La Balsamine, Desingel, Atelier 210, and Anaku
Buda for the Feminist Futures Festival, Belluard Bollwerk Festival, Short Theatre Festival
Residency Partner: KVS Brussels