“hyperobject” is a minimal dance piece for three performers. The flow is relentless, repetitive; a mechanism that once started cannot be stopped. Movements are deconstructed to fragments and reconstructed by repetition, while small permutations give space to imperceptible changes and generate the path for interpretation. The work emerges through the ensemble, through the orchestration of its different elements, residing particularly in the spacing and timing of each performer. “hyperobject” resides in the spacing and timing of each different performer. Like a Mandelbrot fractal, the more one witnesses its unfolding, the more it hypnotizes the viewer with permutations of the same object.
In “hyperobject” the performers exist in the contingency of becoming, focused yet lost in a near-meditative state, stripped to the pure essence of bodies in space and time, offering to the viewer the sense of ungraspable relentlessness that is the key to their universe.
Despite its apparent simplicity, “hyperobject” is in fact a complex piece, drawing inspiration from, and building on, the minimalist dance and music legacy of the 1970s, which sidestepped smooth flow in favor of the improvised, the distracting, the recondite.
The term “hyperobject” was coined by Timothy Morton in 2008, in order to describe “a real event or phenomenon so vast that it is beyond human comprehension”.

Research: M. Eugenia Demeglio, Maria Vourou
Development: M. Eugenia Demeglio, Maria Vourou, Pagona Boulbasakou,Themis-Ariadne Andreoulaki
Performance: Maria Vourou, Areti Athanasopoulou, Mary Kate Sheehan
Music: Jeph Vanger

A humorous approach to the daily life that we have been experiencing over the past 404 days... The body absent and the mind trying, at times successfully and at other time failing miserably, to wake up the former, activate it, mobilize it. Given the shutdown of dance schools and studios, the suspension of contracts and cancellation of performances, there is only one thing left to focus on: self-preservation. Arguably a simple task, if we trust in Nike that encourages us to “just do it”. And yet, as we hit the 404th day of lockdown from reality, and the only substitute for real connection and communication is performed via screens, movement without a purpose and a motivation appears increasingly futile. Our daily workout transforms into a daily feat, the burden of which we feel weighing down on us like a bad hangover, like something need help, a push, to carry out.
In this way, the Aristotelian "ὃ οὐ κινούμενον κινεῖ" (moved by that which does not move) comes to life in an ordinary living room, of an ordinary apartment building, in an ordinary city. Taking on the form of three fighters, who appear like ninjas in our eyes, but are perhaps simply the driving forces that motivate and urge us, remind us not to give up, lift us up when we fall, and always stand by our side when we need them. “404: Day not found” creates a quasi-grotesque situation, a tragelaph of sorts, in which tragedy and humor merge to prompt the viewers to reflect on the reality of the past 404 days and motivate them to go on, for one more day, one day at a time.

Choreography - Performance: A(r)CT dance company – Emy Americanou, Eriketi Andreadaki, Eleni Papaioannou, Michalis Saganis
Costumes: Melissanthi Spei
Music: Panos Chountoulidis