F*cking Future searches the friction between militancy and militarization, exploring and challenging the systems that shape bodies and behaviors. On a quadrifrontal stage, drawing from those very same systems, a collective marches between rigidity and dilution, discipline and desire, invoking new forms of union and insurgency.
Thanks to its radical choreographic form, THE DOG DAYS ARE OVER revealed the audience’s perception of dancers, choreographers, spectators and the cultural policy at the time. Ten years on, these questions are still very much relevant due to current political and social trends: Where does the thin line between art and entertainment lie? Who are we as an audience when we contemplate the suffering of dancers from the theatre like a bullfight in an arena? Is contemporary dance striptease for the elite? THE DOG DAYS ARE OVER makes the viewer shift in his position: from being merely subjected to the experience to actively reflecting on it.
July 10th – 23rd, 2025 Festival d’Avignon, Avignon October 7th, 2025 La Halle aux Grains, Blois November 26th – 30th, 2025 Théâtre National, Brussels December 10th – 20th, 2025 Festival d’Automne, Paris January 8th – 9th, 2026 Scène Nationale de l’Essonne, Essonne January 30th – 31st, 2026 Le Volcan, Le Havre February 3rd – 4th, 2026 TANDEM, Douai February 10th – 14th, 2026 TNB, Rennes 75 minutes
One of them creates documentary-inspired theatre, films, and installations. The other is a virtuoso and iconoclastic flamenco dancer. By placing their first names side by side, Mohamed El Khatib and Israel Galván attempt to bridge the gap between their artistic worlds and practices as well as between their personal journeys, through a dialogue across the Mediterranean where differences prove as fruitful as affinities. Together, under the bewildered gaze of their fathers, they search for a common language rooted in the body, its wounds, and its scars. Taking their meeting and the sharing of their intimate, familial, and professional stories as a starting point, they explore – as a duo – the concepts of a living archive and a documentary dance.
September 26th – 28th, 2024 Teatro Argentina, Rome October 2nd – 4th, 2024 Théâtre 71, Malakoff October 11th – 12th, 2024 Théâtre de Liège, Liège October 30th – 31st, 2024 Halles de Schaerbeek, Brussels November 13th – 15th, 2024 Tandem scène nationale, Douai December 2nd – 15th, 2024 ThéâtredelaCité, Toulouse January 10th – 11th, 2025 Le Parvis scène nationale, Tarbes January 24th – February 1st, 2025 MC93, Bobigny February 18th – 22th, 2025, Comédie de Genève, Geneva 2h
An opus even more choreographic than the previous works, Qui som? , under the influence of the Spanish group Mal Pelo, could be considered the heir to Maguy Marin’s May B or Paso Doble by the duo Josef Nadj and Miquel Barceló.
Philippe Noisette
The first part of a triptych in which ceramic is both the material and the gesture of an investigation into our worlds in the making, a journey through our ways of believing and doing together, Qui som? is a wager: that dreaming is an exploratory and transformative power, an imaginary force that overflows each of us to link us to other presences, a way of orienting ourselves in obscure journeys, in secret lands. It’s a struggle. It’s alive. In colour. In clay. In plastic. In scraps and eternity.
“Our inner worlds, our intimate territories, are the breeding ground for the social landscapes to come. So if what’s to come is already here, inside our bodies, if it’s already being made inside us, we’re trying to highlight what keeps the joy, the desire, what resists, sings and dances inside us forever, to give ourselves the courage to see ourselves and not forget the worst.”
