Cultural Kiosk at UN Geneva & CERN

Vivaldi’s Four Seasons is a classical music “hit”, a piece of music rooted in Mediterranean culture and a celebration of the continuous variations of nature. Anne Teresa De Keersmaeker and Radouan Mriziga, accompanied by the lively and refreshing playing of violinist Amandine Beyer, explore together the infinite, generous layers of Vivaldi’s composition by choreographing a male quartet: rhythmic structures, mythological figures and symbolic arrangements trace our understanding of nature in time and space — and interrogate the alarming relationship we share with it today.

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In front of a giant green screen, a reincarnation of science fiction author Ray Bradbury embarks on a film adaptation of his Martian Chronicles, published in 1950. In this collection of stories, he recounts the colonisation of Mars, bringing with it human idealism, greed and violence. Philippe Quesne imagines the making of a deliriously retro-futuristic live theatre film, mischievously questioning the projections of science fiction, the lyricism of conquest and the mindless exploitation of resources.

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A beat (of a heart, a metronome) and then nothing: expectation, restraint, silence. Do we wait for the next one, or stop, interrupt, die — or leave room for something else? Choreographer Yasmine Hugonnet’s new piece probes time, tempo and speed, attentive to moments of brilliance and diversion. Adapting to the venue, performing in a multifrontal space, three dancers explore the rhythmic signatures of our emotions.

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What, and who, is a family? Is it a group of people who share compulsory ties, relationships of authority and memories? Where does the family begin and end? What happens to it when it is reconstituted – which relationships prevail and which are rebuilt? And what if we redefined it as a chosen family? Muriel Imbach has once again embarked on a long-term exploration, accompanied by children and philosophers, to create a show for audiences aged eight and over that mischievously mixes philosophy with fun.

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In Korea, an ordinary woman conforms to the forced banality of a patriarchal and traditionalist society. But one day, after a dream, she decides to become vegetarian. By this simple act of conviction, she challenges the oppressive frameworks that govern couples, families, desire and social order. Actress Daria Deflorian stages the unsettling novel that introduced Han Kang, winner of the 2024 Nobel Prize for Literature, to Europe. A powerful yet gentle performance in which the unpretentious determination of a woman, who identifies with plants and dares to open herself up to other realities, foils the violence of even the most rigid frameworks.

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Parallel narratives intertwine: in a rather special bowling bar-club, an artist meets a music industry producer. The meeting doesn’t go well… Around them, a regular and a female customer seem to have emerged from another time, while a television set broadcasts a glitchy futuristic superhero film. Blending objectivist poetry and American cartoons, Lausanne-based company I finally found a place to call home continues its homegrown exploration of experimental narratives and improbable situations, in the purest tradition of genre films.

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The choreographer and dancer Nacera Belaza and the actress Valérie Dréville are two artists who have often presented their work at Vidy. They share a high artistic standard, a remarkable and renowned know-how and a taste for the unknown, the unexpected and for what cannot be formulated yet haunts beings, bodies and existences. They have come together for this duet — part theatre, part dance, but possibly neither — to listen to the breath at the origin of gesture and language: that full, tempo-less time during which the body is filled with words that cannot be expressed, the shadowy border between loss and spirituality.

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The Disappearing Act is a danced and musical journey into the overlooked African origins of flamenco, devised and performed by Yinka Esi Graves. A British dancer of Ghanaian and Jamaican origins, she travelled to Seville to study flamenco in greater depth. On stage, she is joined by a singer, a flamenco guitarist and a drummer to bring these forgotten stories to life, including that of Miss LaLa, the Afro-descendant circus artist immortalised by Edgar Degas. How does one erase oneself in order to exist, while refusing to be denied? Somewhere between camouflage and resistance, Yinka Esi Graves transforms the act of disappearance into an artistic gesture.

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(en français) En duo avec le musicien Valentin Mussou, Camille de Toledo lit son dernier livre, Au temps de ma colère : le dialogue avec le jeune qu’il était au début des années 2000, qui allait chercher la rupture familiale – et dans l’histoire des 50 dernières années – un prolongement à Thésée sa vie nouvelle, pour une renaissance.

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Decolonisation, liberation movements, non-aligned countries: in this solo show, the Yugoslav filmmaker and artist Mila Turajlić explores previously unseen film footage in real time. She is guided through the archives of the Yugoslav television news by the director Stevan Labudović, who was the official cameraman for Tito, the former president of Yugoslavia. She traces the emergence of the Third Way, a political project put forward by a group of nations that did not wish to participate in the East-West logic of confrontation. Through this exploration, she asks: what can this political vision teach us about our own times?

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Three Taiwanese people from different generations—a digital activist, a former diplomat, and a musician who inherited a bubble tea business—debate and recount their island and its history. Under the guise of theatrical fiction, they imagine what an embassy of the Republic of China (Taiwan) might look like, despite their sometimes divergent points of view. Enriched by numerous Taiwanese collaborations, Stefan Kaegi’s show invites audiences to discover a sensitive, cultural, and political history of Asia that is often overlooked, mirroring European democracies. Created in collaboration with the National Theater of Taiwan in Taipei, the show returns to Vidy after performances in Taiwan and as part of a new European tour.

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On today’s menu: a cooking lesson. But the cooks are dreadful twits! Can these two grotesque and comical scoundrels stop playing tricks on each other long enough to share their recipe for bird and worm spaghetti? But their bottomless appetite soon turns against them, and the birds end up rebelling, filling the room with songs and music! This rambunctious yet poetic fable invites us to question the domination of humans over other living creatures by listening to our surroundings in a new, more sensitive and empathetic, way.

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The musician Baby Volcano invites us to come together for a concert that is part artistic performance, part punk celebration. At the centre of an immersive video space, poised like a stressed and distressed prophetess, the singer and author conjures up a collective terrene refuge, stirred by the urgent need to reconnect that haunts her latest album, Supervivenxia (2025). The energy of trance and reggaeton combines with low frequencies and songs in this hybrid, fluid space, disrupted by Augustin Rebetez’s videos, echoed by intense, determined lyrics. It all comes together in an urgent and expansive drive to finally exist, to vibrate together.

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Like Medea in Greek mythology, a mother takes revenge on her husband by murdering her children, then attempts suicide. This violent yet true crime story is told, for once, by children. Young actors and actresses seize upon this story and that of Medea with conviction in order to give their version of events and share their perspective on separation, injustice, the violence of adults, but also the future. Through theatre, they are able to experience the power of tragedy. Swiss director Milo Rau has once again crafted a show that is as cruel as it is poetic.

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Together, the director Eliza Levy and the anthropologist Philippe Descola have devised an immersive stage and film essay in which to work out our relationships with our fellow inhabitants of the Earth. Avec qui faire-monde? Incorporates a real-time film shoot, creating a performance that is different every night. Located in a house that becomes the primary ecosystem — from the Greek oîkos, ‘house,’ and systêma, ‘organised whole’ — the artist and anthropologist ask: what kind of world do we inhabit, and under what conditions can we change it? In other words, how can we coexist differently in our common oîkos: the Earth?

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In the far reaches of the Andes, capitalist predation is rampant. After a long absence, the artist Tiziano Cruz, “the indigenous man who made it”, returns to the land of “his brothers” – Wayqeycuna in the Quechua language. He breaks fresh bread in a ritual of reconciliation, a way of turning his back on the languages and culture of the colonisers. A solo performance woven from words, images and intensely poetic presences: Wayqeycuna remembers injustice and the fate of the indigenous peoples, while journeying towards peace and togetherness.

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Nearly three decades after leaving Rwanda, her native land, Dorothée Munyaneza invokes the umuko: the guardian tree of stories, the healing tree, the ancestral tree. It becomes a place to gather and listen to those who are shaping the Rwanda of tomorrow, a creative and daring generation in search of emancipation, stubborn in the face of the precariousness of daily life and the fragility of existence. The tree is a link between the earth and the sky; umuko brings yesterday and tomorrow closer together, with past memories as its roots and the inventive energy of five young performers as its flowers, foliage and fruit. They are dancers, musicians and poets, delivering their radiant performance with infectious generosity.

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On 18 June 1994, a few weeks before the end of the Tutsi genocide in Rwanda, Beata Umubyeyi-Mairesse, then a teenager, had her life saved by a Swiss humanitarian convoy. After 15 years of investigation, she wrote Le Convoi, a sober account of a long-term investigation to reclaim a personal and collective history and question the narrative of events. Reading by the author followed by a meeting with Deanna Cavadini, coordinator of the 18 June 1994 convoy for Terre des Hommes.

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A finalist on the second season of Drag Race France, Matthieu Barbin has already graced the stage at Vidy as a contemporary dancer. Now, he returns as Sara Forever, a flamboyant drag queen. Part drag show, part soap opera and part cabaret, Dynasties draws on his childhood dreams of becoming a star, and features a roster of popular culture icons such as Michael Jackson, Romy Schneider and Miley Cyrus. As the artist undergoes his countless transformations, he reflects on the legacy we inherit, the things that enable and constrain our dreams, the skins we must shed in order to invent a new identity – and behind the glitz, the family ties that become frayed, only to be more tightly rewoven.

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Theseus conducts a poetic and familial investigation that intersects with the evils of 20th-century European history. His quest to understand the origin of his body’s suffering leads him on a long journey through the silences of his ancestors and the layers of history. Valérie Dréville and Guy Cassiers adapt Camille de Toledo’s poignant novel, which combines narrative, self-analysis, photography and poetry. Alone on stage, Valérie Dréville embodies a complex character, haunted by voices and images in a sound and video installation by Guy Cassiers: faced with the author’s scattered archives, she throws open the doors to the labyrinth of memory, from the past to the future.

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This is the story of a horse that paints. A horse in three parts, with a head, a belly and hindquarters, half human, half animal. The three parts get along well, but not always – which is hardly surprising. The horse that paints is an artist, and, thanks to the collaboration of its three parts, it will perhaps organise an artistic event. The Old Masters collective presents an unusual and playful theatrical allegory, full of colour and music, about what we expect from art, as a temporary diversion from the obvious, whether we are artists or spectators.

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The theatre stage, with its lights and costumes, welcomes philosopher Vinciane Despret, medieval historian Pierre-Olivier Dittmar, playwright Claire de Ribaupierre and director Massimo Furlan to explore the subject of Paradise. In the Western tradition, the Paradise at the end of time, unlike the Garden of Eden, brings together humans and angels, but traditionally has no plants, trees or animals… not unlike the current state of capitalism! Is this really what we hope for? Could culture, science, fables, the dreams of fish and dogs (and a dose of humour) perhaps help us to imagine more desirable futures?

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SHOUT TWICE is a cry of anger, a cry of community, together. Mélissa Guex and Katerina Andreou are choreographers and dancers who each develop dances that are intense and energetic, in which bodily states manifest a form of urgency and insatiable desire. For this new creation, they are merging their energies to co-create a performance that almost resembles a concert, with its pieces, its fragments, its crescendos and stops, while welcoming the audience around them and drawing them into their freeing energy: a metamorphosis, as a cry of anger transforms into a moment of shared joy.

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Alouettes is a piece for a field, performed outdoors. The audience is invited to sit in front of a field, while wearing headphones. Recordings relate different ways of seeing and understanding this place, for example from the point of view of a lobbyist dedicated to agricultural and ecological issues, the testimony of a local farmer, attentive listening to the soil, or even to the language of birds, thanks to a bioacoustician. An “investigation”performed by actors and a local farmer, Alouettes reveals the field as a space that is both natural and cultural, woven with knowledge, emotions and contradictions – as this mutual attention allows us to perceive new possible alliances between the humans and non-humans who inhabit or frequent it… The performance continues with a short walk to the farm, where discussions with artists and specialists can continue over local produce.

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Outside, not far from the theatre, in the midst of the wind and the trees, at sunset, stories are projected onto a cinema screen. True stories intertwine — a party, an airplane in difficulty, migrants crossing the sea… They read like a moving book, accompanied by an immersive soundtrack that awakens sensations and images. Reality fades along with the last light of day as the first stars appear, and the stories merge in the darkness that seems to abolish distance, creating an unsettling phantasmagoria. The El Conde de Torrefiel collective experiments once more with our perception and our reading of reality.

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Stephan Eicher casually steps onto the stage to deliver something between a concert and a play. The musician interweaves stories and songs, anecdotes about what it has been like to perform on stage for the past forty years. Directed by François Gremaud, he explores the singular and precious connection that takes shape between an artist and his audience. A theatrical and musical solo tinged with memories, that celebrates shared encounters and moments of listening.

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This show could have been called Les Regretz, or Les Trous. It is called Les Voüéces. Les Voüéces are Voices that trouble the daily life of Rodogonde and Frénéjus, two ladies who live as hermits at the top of a very tall tower. Together, they embroider, play and chat in an enchanted, pseudo-medieval language. In their gilded cage (well, well), they attempt to fill the holes of silence, of passing time, of black bile, or of the vertiginous void which is doing nothing while the world burns. And some holes are difficult to fill… But who are these voices who are trying to speak to them? Ghosts, a prank, drama, fear, their guilt, or simply a stranger looking for shelter?

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Christian is on stage. He plays the role of Christian, a deaf man. Sometimes, he plays the role of François, his brother, the director of the play; and other roles still. Together, they reenact a brotherly and political story: that of a world in which sign language illuminates silence and invites us to see and hear differently. Here, a handicap does not signify a limit, but rather a creative invitation. Through a dialogue between the visible and the audible, Christian and François share a performance where difference becomes power, and resistance a possibility for joy.

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Pétrole is the crowning work of the Italian poet and filmmaker Pier Paolo Pasolini, a novel left unfinished due to the author’s assassination, made up of notes that draw freely from a myriad of literary forms. Against the backdrop of an investigation into the mysterious circumstances surrounding the death of Enrico Mattei, a boss of the Italian hydro energy industry, Pétrole follows the double character Carlo: Carlo 1, a brilliant engineer, and Carlo 2, who is searching for a liberated sexuality, freed from taboos. Pasolini thus exposes his own contradictions and antagonisms, as well as those of his time, without resolving them. Sylvain Creuzevault, a great reader of political history, together with a larger-than-life theatre troupe, elevate the novel to a fragmented, lyrical and impetuous theatre fresco.

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A circus. Its starry ring seems unsettling, cruel even, the counterfeit image of a troubled reality. Madame Royale’s unmoving cymbals and the flea trainer’s hands seem to reveal something other than children’s smiles… A playful excitement, certainly! A marvellous and magical world! But what violence must one accept in order not to see the cages and the whips? Through her zany and chaotic circus, artist Julia Botelho, a recent graduate of the HEAD and La Manufacture schools, reminds us of the existence of violence and its perverse hold over childhood innocence.

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Trilogie terrestre is a series in three parts, devised by Bruno Latour and Frédérique Aït-Touati. On stage, a researcher-professor-thinker, the philosopher’s theatrical double, attempts to rekindle the dialogue between the living and its representations. The first part, Inside, is an occasion to test possible visual alternatives to the dominating and deceiving image of the “Globe”. The second part, Moving Earths, interrogates our experience of earth as moving, reactive, evident. Finally, Viral highlights contagion as a process that is essential to the constitution of our world, and questions the social and political consequences of an expanded redefinition of the living. And thus science becomes “dramatic”, and knowledge a sensory and fascinating experience!

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Please, enter the great ballroom… It is already quite full. But full of who, or what? The celebration has already begun, the ball did not wait for us to arrive: there are beings present. Everything here is moving. Sounds, breaths. Through these diffracted points of view, the act of dancing together takes on a particular meaning: it is a way of conjuring and evoking forces of nature, other living beings, geological cycles, weather phenomena, natural events, the catastrophes and disruptions of the world. Le Bal de la Terre is an immersive invitation to shake up our earthly imaginaries through dance, theatre and celebration.

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In the shadow of a fantastical rock imagined by director Nina Laisné, dancer François Chaignaud welcomes the singer Nadia Larcher, a major figure in Argentine folk and traditional music, accompanied by six musicians and their sackbut, bandoneon and sachaguitarra. Together, they awaken ancestral mythological creatures – animals and plants, sibyls who orchestrate the future and harness the power of belief. Music and dance from a vast South American repertoire intertwine and combine until they merge into a baroque, telluric and virtuoso allegory of origins.

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