Tchelet Pearl Weisstub's practice brings together theater and sculpture in interdisciplinary installations and performances. Her works attempt to embody the abstract notion of time passing, primarily concerning the tension between permanence and vulnerability. In an era where mass computing has overcome our innate limitations (such as the ability to store our memories, never to forget), Weisstub perceives a predominant social climate that denies natural processes of decay, by appropriating technologies, old and new, and placing them in dialogue with what it is to be human. Weisstub's work creates a space to share our human vulnerability and understand it as a collective ontological condition. Utilizing her background in theater, she directs objects in mise-en-scènes, creating sculptures that encompass the presence of life. While in her live performances, she objectifies the human body, exploring its material limitations.


Weisstub finds in BAU AIR the opportunity to further develop a series of works on Mothering & Technology called 'Future Present'. During her residency, from 26 November to 23 December 2022, she creates the first draft of a performance called: Mat(t)er, an excavation site of memories related to caregiving. In search for a cyclical and maternal experience of time. A mother and child are cave archeologists, excavating each other's memories and fantasies of care. Weisstub will focus mainly on exploring the physicality of grasping and releasing re-enacted memories of care with the performers. Grasping a memory and grasping another body. Releasing as awakening from a fantasy; releasing as letting go of grip or letting go of dependency.


Click here to go to the portfoliopage of Tchelet Pearl Weisstub

Egle Budvytyte works at the intersection between visual and performing arts. She approaches movement and gesture as technologies for a possible subversion of normativity, gender and social roles and for dominant narratives governing public spaces. Her practice, spanning across songs, poetry, videos and performances, explores the persuasive power of collectivity, vulnerability and permeable relationships between bodies, audiences and the environments.


Song Sing Soil 2022

From 4 November to 2 December Egle Budvytyte will occupy the Bau Studio working with songs as vehicles for spells and storytelling; looking into how voice, pitch, breath, rhythm, rhyme and repetition could be integral to the content. She will be exploring words as sonic pulsations resonating with and affecting the oscillations of the human nervous system. Through the process of writing and singing she will be looking into the relationship between the body and the landscape, vulnerable presence, processes of decay and melodies as medicine.


Click here to go to the portfoliopage of Egle Budvytyte


Artun Alaska Arasli is an Amsterdam based artist, writer and curator. His current practice concerns the relationship between the artwork, its documentation and the moment the artwork is seen by the viewer. He often presents his sculptural and text-based works solely as photographic documentations in order to set the conditions for their reception and redistribution.  

During his residency Artun aimed to perform an exhibition through a series of immaterial statements and propositions. He created an ekphrastic revival of ideas that were fading away and tied them together to constitute a coherent whole - in a monologue performed by the artist for the first time. 


Click here to go to the portfoliopage of Artun Alaska Arasli


Reza Mirabi finds himself somewhere between a choreographer, visual artist, dancer, and seed collector, with a background in horticulture, environmental education, and reforestation projects in Iran, Kurdistan, India, and Portugal. 
Through sound, movement, and poetics, Mirabi looks for ways to embody stories. Urgent yet fragmented stories of both personal and political memories, materials, and forms of loss. Stories that are formed by listening and imagining, and listening again. Ways of listening with and through the whole body to respond critically to the layered (hi)stories of displacement that he carries within himself.
Listening here ultimately becomes a choreographic process and political act to tap into archives that have been rendered invisible. More recently, Mirabi has moved out of the black box and into site-specific contexts, where listening becomes the ground for rehearsing and co-composing with the material textures, languages, and (hi)stories of a place.

Click here to go to the portfoliopage of Reza Mirabi.




Vera Tussing (1982, Germany) graduated from the London Contemporary Dance School and has worked as a dancer, director and researcher in Belgium, the UK and across Europe. Her performances and installations explore how an active connection between performer and spectator can be established by mobilising different senses.

During her residency here, Tussing searched for a 'vocabulary of touch'. Can you hear touch? Is it necessary to see touch too? When is touch sexual or transgressive?


Click here to go to Vera Tussing's portfolio page. 



Astrit Ismaili explores the possibilities of 'being as becoming' within the realm of performance. In alter egos, body extensions and wearable musical instruments. Thinking of, about and through the body: as it transforms and is transformed. As it moves, makes sounds and makes contact. As it extends and exceeds itself, reaching out to and touching the other.

In BAU's studio, Ismaili went in search of more opportunities to reinvent themselves: new movements, new voice, new portable instruments that form body extensions and are equipped with sensors.


Click here to go to Astrit Ismaili's portfolio page.