Wednesday 28 February
4bid Gallery // 19:00 // € 7pre/10door
HIGHS & LOWS evening of performances
Genre: performance art and choreography
Open: 19:00 - 22:00 hrs
Tickets: € 7pre/10door

Highs & Lows?

Highs & Lows is an evening of performances at 4bid gallery, in OT301, Amsterdam. The night focuses on research in performance, contemporary dance and live art. The idea behind H&L is to give a platform to show work that is experimental, daring, unfunded, collaborative, result of research or work in progress.

Door/Bar: 19:00h
Start: 19:30h
Entry: 7><10e (Tickets charge goes to the artist)

Halina Mihutskaya
She Is Growing Potatoes:

In the performance, "She Is Growing Potatoes," Halina's intricate identity unfolds against the
backdrop of geopolitical upheavals. Born in Belarus, her artistic journey began in Ukraine,
spanning nine years, before her relocation to the Netherlands three years ago. The narrative is
deeply intertwined with the protests in Belarus and the war in Ukraine, shaping Halina's
personal and artistic change.

Halina has started to develop her solo performance at Zid Theatre. The music was written by
Bexley Mellish.

During the performance Halina's quest to answer the fundamental question, "Who am I?"
Diverse cultural influences, a foreign language adoption, and the turbulence in her homeland
prompt an introspective exploration. Delving into the language of her inner child, Halina
seeks to unravel the essence of her being.

The symbolic use of the potato takes center stage in "She Is Growing Potatoes," representing
the three countries pivotal to Halina's existence. This unassuming yet potent metaphor
becomes a visual and emotional anchor, guiding the audience through the exploration of her
split identity.

Through immersive storytelling, vivid visuals, and symbolic narrative, the performance
invites audiences to witness the resilience of Halina's identity amidst displacement, linguistic
challenges, and the echoes of political turmoil. "She Is Growing Potatoes" encapsulates the
universal journey of self-discovery, unveiling the unwavering spirit that emerges when one
confronts the complexities of identity head-on.
What the eye often misses


Giandomenico Sale
Ineffabilis Deus:

The dogma of the Immaculate Conception in the Catholic Church establishes how the Virgin Mary was born pure, never touched by original sin, even if born to a mortal couple. Mary is, therefore, considered holy from her conception as she was destined to be the mother of Christ. This role of intermediary between men and God, of mother, makes the tradition of the Immaculate one of the most widespread and heartfelt in popular devotion.
Although the people venerated her from the dawn of Christianity, the dogma of the Immaculate Conception was proclaimed with the papal bull "Ineffabilis Deus" on 1854, after centuries of diatribes.

In this work of urban dance, through the physicality of the dancer set to experimental music and popular songs, attention is drawn to the path of dogma which: is born amidst the clashes of the church, is formed through iconographic symbols, rises and becomes an icon venerable. In the background are the various conception techniques from a scientific point of view, alongside the reference to the apocryphal gospels where Mary's conception occurs with the dating of Anna and Joachim. In the Latin Middle Ages, in fact, it was argued that original sin was transmitted with the generative act, so come and explain the sanctity of Christ through her virginal conception, in the same way the original sanctity of Mary dates back to her parents. There have been theological developments from the Middle Ages to today, will there also be ethical ones aimed at conception?


Java Collectief
How does a sound move?
How does a body sound?:

A performance by two musicians and a dancer who explore the connection and interaction of movement and sound.


What the eye often misses

The collective What the Eye Often Misses and composer Susannah Self, who worked with John Cage, explore a dialogue between past and present. Using the ocean as a symbol, the performance draws inspiration and brings back many events, and it seeks to leave a new footprint each time it is performed; a footprint that will be present for all future performances.

The waves of the ocean, sound and movement bring back a dialogue between Susannah and composer John Cage, while a reminiscent music gently submerges the listener in the world of the piece. A structure built with paper creates a landscape on stage, and in each paper a memory of a meeting or a conversation, or perhaps a past instance of the same performance.

We invite the audience to be part of this conversation, by contributing and expressing themselves in the paper that would then be used during the performance and incorporated in future performances as part of the stage. Like a message in a bottle that we will carry through this journey.
‘A sea painted by sound and movement.
A tide that brings back old memories, footprints which tell an old story. A storm that disrupts it all, leaving no trace of those memories. A return to calmness, and an opportunity to write down new memories, to leave new footprints.’