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PW-MAGAZINE

Dedicated to Live Arts

02/03/2026

“In this column, I write from the position of the second agent, the immaterial worker, the curious friend. It’s not strictly about performance. It’s a column about proximity, about what it means to build—and sometimes survive—an artistic life by association.” - Michelangelo Miccolis

COLUMN III: AUTUMN KNIGHT — REHEARSING TRUST

By Association #3 is the final of a three part column on collaboration, proximity, and kinship in contemporary art written by Michelangelo Miccolis .

Read the full column online at www.pw-magazine.com 🔗 link in bio.

Photo credit slide 3, 4: Autumn Knight “Sanity TV”, Shedhalle Zurich, 2022. Shedhalle Zurich. Photo: Laila Kaletta

24/02/2026

SORAYA LUTANGU BONAVENTURE — RADICAL IMAGINATION 🔉 Soraya Lutangu Bonaventure moves between music, performance art, and film. Her work engages with the inescapability of the canon and with the Black body as a site of temporal multiplicity—a body that carries history forward while being held within it. As a performer, Soraya grapples with how to stage interiority without rendering it spectacular. How does the Black body navigate the twin demands of service and spectacle within performance frameworks historically built to entertain and dominate?

Read the full interview now online at www.pw-magazine.com 🔗 link in bio

Interview by Jazmina Figueroa
Portraits by Nikola Lamburov

.theatre

10/02/2026

CATOL TEIXEIRA — CRAZE # 15: At the crossroads between decoloniality and q***r thought: The dances and choreographies of Catol Teixiera .teixeira function as a channel for discovering the intricacies and techniques of togetherness.

Read the full interview online at pw-magazine.com 🔗 link in bio

Photos by Ulysse Lozano .y
Video shoot
Interview by Lewon Heublein .heublein

Don’t miss ODE, the new performance by Catol Teixiera at on 11 + 12 Feb 2026.

29/01/2026

SELF-ANNIHILATION, HUMILIATION, AND DANCE: THE MIRROR OF SIMPLE SOULS

Gathered here are scraps from an unpublished interview, the evidence of endless phone calls, and rewritten passages from the performance „BEGIN/The Mirror“. A Contribution by Bryana Fritz, Stefa Govaart, Chloe Chignell.

„Here, we are referring to a thirteenth-century medieval mystical manuscript by Marguerite Porete entitled ‚The Mirror of Simple Souls‘ (MSS), which we have been working on for the past two years in order to create the dance performance ‚BEGIN/The Mirror‘. In the book, Porete describes the seven stages of love that a soul must pass through in order to achieve total annihilation and complete, undifferentiated union with God. Her writing is marked by a particular love of self-abnegation. For us dance people, it has been an interesting document for reevaluating our annoyingly devotional attachment to the body, which has its limits, and, by extension, ´the self.´“

Read the full text online at pw-magazine.com 🔗 link in bio

27/01/2026

SOA RATSIFANDRIHANA — ON GROOVES, ECHOES AND STAYING CLOSE

Soa Ratsifandrihana proposes choreographies as both offering and refusal, a way of staying in relation, even as everything moves. In conversation with curator Maria Dogahe , she reflects on the making of the project „g r oo v e“ (2021), the shift toward into the group performance „Fampitaha, Fampita, Fampitàna“ (2024), and the contradictions of creating within institutional frames.

On the occasion of Soa Ratsifandrihana’s piece „Fampitaha, Fampita, Fampitàna“ shown at Tanzquartier Wien 29./30.1.26, we are revisiting our interview from 2025 with the artist.

Also don’t miss her newest piece „Quelle Aurore“, created in collaboration with Bonnie Banane at Parallèle 16 , Marseille on Feb 7 and It Takes a City Festival , Brussels on Feb 13/14.

Read the full interview online 🔗 link in bio

Interview by Maria Dogahe
Photos by Albane Durand-Viel

20/01/2026

MHM, MHM - TIME, VOICE, AND THE SPACE IN BETWEEN

Developed by fromheretillnow in collaboration with Milan Friedlos , the three-part video contribution immerses in the live practice of mhm, mhm .mhmmhm —the project of a multidisciplinary artist working between Amsterdam and New York. Their artistic research unfolds across sound, performance and installation, examining how time can be structured, framed or interrupted, and how the relationship between performer, audience and social context shifts in the process.As part of the experimental music festival Full Of Lava, the artist mhm, mhm presented a live work that submerges in perception, temporality and embodied experience.

View the video contribution online at pw-magazine.com 🔗 link in bio

12/01/2026

📰 AN AMBIVALENT DEFENCE / A LOVING CRITIQUE - ON THE RISE OF READING EVENTS IN THE ART WORLD

„You’ve probably noticed it too: there’s a near-constant stream of reading events these days. And while the format itself is nothing new, there is a specific trend happening within the art world. They’re organised by art world people, read at by art world people. They’re attended by the same art world scene you’d usually see at exhibition openings. [...] A friend recently eye-rolled to me that it’s becoming impossible to go to an opening without getting stuck sitting through a reading at some point.“

A Long Read written by Bryony Dawson - now online at www.pw-magazine.com 🔗 link in bio

Cover Image: Slow Reading Club at Cabaret Voltaire, Photo by Romain Mader.

23/12/2025

MHM, MHM - TIME, VOICE, AND THE SPACE IN BETWEEN

Developed by fromheretillnow in collaboration with Milan Friedlos , the three-part video contribution immerses in the live practice of mhm, mhm .mhmmhm —the project of a multidisciplinary artist working between Amsterdam and New York. Their artistic research unfolds across sound, performance and installation, examining how time can be structured, framed or interrupted, and how the relationship between performer, audience and social context shifts in the process.

As part of the experimental music festival Full Of Lava, the artist mhm, mhm presented a live work that submerges in perception, temporality and embodied experience.

View the video contribution online at pw-magazine.com 🔗 link in bio

16/12/2025

When I began this column, I thought I’d be writing mostly about works and the traces they leave on a person—mine or someone else’s. But the more I write, the more I realize I’m also tracking something else: the conditions that make those works possible or impossible.

This second part of By Association turns toward the contexts that hold, or fail to hold, the kind of proximity that allows these works to happen. It follows what happens when those contexts fracture, not to expose an institution, but to understand the precarity that governs our field and how quickly we fall back on each other when official support disappears.

This chapter looks at the networks, the unstable infrastructures that shape how live art unfolds and how it falls apart.

By Association #2 is the second of a three part column on collaboration, proximity, and kinship in contemporary art written by Michelangelo Miccolis .

Read the full column online at www.pw-magazine.com 🔗 link in bio.

Photo credits: Michelangelo Miccolis at Karmaklubb* #27, Kulturhuset, Oslo, 2019. Photos by Julie Hrnčířová.

09/12/2025

Some impressions from this years

05/12/2025

“WORK BODY” BY MICHAEL TURINSKY—
LISTS OF THANKS AND THINGS, AND HAUNTED THINKING

Review by Krassimira Kruschkova

A material and discursive examination of a “work body” questioning the ideas of communism and community, and the performance-tension between working and crip bodies.

Read the full text online at www.pw-magazine.com 🔗 link in bio

Photos by Michael Loizenbauer

teater

26/11/2025

LIGIA LEWIS - ME SEEING YOU SEEING ME
The stage aesthetics by Ligia Lewis can get described as a fever dream: fluid, transgressive and somewhere between horror, comedy and thriller. At the same time, she is testing the limits of empathy while keeping the viewers troubled. Instead of resolving conflicts of historical and contemporary oppressions against people of color and the forceful inscription of identity, she decides to intensify the problems in her performances, which renders cinematic moments, sensual melancholy, imagery form the late middle ages, and choreographic precision into challenging, defiant theatre.

On the occasion of Ligia Lewis’s solo exhibition “I’M NOT HERE FORRRRR…” at Gropius Bau and the premiere of her performance “Wayward Chant” happening 28./29.11.25, we are revisiting our earlier interview with the artist.

Interview by Lewon Heublein .heublein
Photos by Augustín Farias

Read the full interview online 🔗 link in bio

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