Johannes Bellinkx

The work of Johannes Bellinkx (1978) operates on the fringes of theatre, visual arts and film. His practice centres on finding fresh and unexpected strategies to express the interaction between form and content.

Since 2017, Bellinkx has cultivated a reputation as a practitioner, both in the Netherlands and internationally. Reverse has frequently featured on the programme of numerous several European performing arts festivals in recent years. In view of the interdisciplinary nature of his work, Bellinkx is also working to establish himself in the visual arts circuit.

In the coming period his aim is to develop and refine his creative language, creating bolder, sharper, more radical work without sacrificing nuance and subtlety, preferably in new collaborations and with practitioners from other disciplines.

Bellinkx is currently working on Running Landscapes (2021) together with performance collective ROTOR.

Continuum try-out. Photo by Pedro Morato Gabao

Continuum try-out. Photo by Pedro Morato Gabao

Publicity image. Photo by Dennis van Tilburg

Rita Hoofwijk

Rita Hoofwijk (1994) is a Dutch artist. Her work begins in actual, Rita Hoofwijk creates installations and does site-specific, spatial interventions. These temporary environments seem to ask us, in all simplicity, to reconsider what is perceived as fixed and unchanging. In varying collaborations she explores the possibilities of the spaces that define her practice.

Dramaturge Hannah Loewen- thal wrote about Rita in June 2018:
“Today Rita investigates not simply what fascinates her, but why she is drawn to one thing rather than another, or why this place, not that one, attracts her. This ‘why’ offers her a way to learn more about how she can share this with others, and to identify the conditions of the in between spaces that define her practice. She deconstructs and redefines things we might think of as ‘normal’ by inspiring a state of wonder in people, and inviting them into the (specific) place she would like to be with them. This ‘wondering together’ is an act of defiance that challenges those things that we believe to be concrete and how we might shape the liminal through this shared fascination.”


We are MOHA. Moha’s name comes from Hungarian, it means moss. We chose this name to reflect the desire to embody a moss like quality which grows and expands even in the most unexpected conditions. We see our work as a resilient living ecosystem. Moha/moss is not one entity, and therefore can’t have only one fixed definition. Therefore our work grew into the merge of many fields: urbanism, anthropology, social choreography, magic realism, performance art, guerrilla art and activism among others. 

We are currently developing Who Cares? a performative research together with social workers, street cleaners, nurses, farmers, cemetery workers and the staff of an elderly house, examining and questioning the place of care in our society.

Paulien Oltheten

My photos, performances, and videos explore human behavior in public spaces. I create my own walking routines. I go to parks, plazas and streets of big cities for direct observation, finding unique activity, repetitive gestures, routines, particular objects or design elements there. I then connect these events, creating a narrative formalized in words and still and moving images.

Nick Steur

Nick Steur (1982) has a specific and highly personal signature: poetic, earthy, visual and intuitive. He uncovers timeless worlds through raw matter and extreme concentration, dictated by natural laws. A way of looking and doing that is at odds with our highly complex and technological world, if not almost forgotten.

Although his work is at the intersection of art and theatre, the performative component is essential: As a performer, Steur’s interaction with the view is intrinsic to his practice, shaping an experience that can only happen here, and only once.

At this moment Nick is working with visual artist Matea Bakula on the performance We Do Matter, reviewed (in Dutch) by Sander Janssens for “The musicality of beating, porphyry that slowly gives place to human intervention, until the stone finally gives in and splits – feels almost as a catharsis – a forced contemplation.”

Read the whole review (in Dutch) here.

'We Do Matter', Beyond the Black Box 2020, photo by Nick Chesnaye

'We Do Matter', Beyond the Black Box 2020, photo by Nick Chesnaye

'We Do Matter', Beyond the Black Box 2020, photo by Nick Chesnaye


TAAT is a collective that works on the boundary of theatre, architecture, visual arts and performance. In 2012, Gert-Jan Stam (1972) and Breg Horemans (1985) worked together on the KHOR I project at the Floriade in Venlo (NL). Looking back, this turned out to be the starting point for a long-term collaboration under the name TAAT, Theatre as Architecture, Architecture as Theatre.

The HALL33 project was born the same day. HALL33 is a key project within TAAT’s young oeuvre, because it questions essential themes at the intersection of theatre and architecture. TAAT is currently building a Live Archive in which it wants to house all projects from 2011 to the present.

Photo by Jim Stephenson

HALL05, photo by Jim Stephenson

HALL09, photo by Breg Horemans

Anneke Tonen

Anneke’s role – in and for the sector – is a dynamic one. In the multitude of activities, partners and ideas, she constantly focuses on changing work practices and (perhaps new) ways of producing, and lightweight collaborations with new practitioners. She has worked with Edit Kaldor (2011 – 2013), Lotte van den Berg (2013 – 2016) and theatercollectief Schwalbe (2015 – present).

In recent years, Tonen has built up a practice in a variety of collaborations, characterized by a continuous questioning attitude. This increasingly led to new forms of partnerships, different perspectives on ways of organizing, flexibility in thinking within projects and processes and an investigation in the ever-changing relationship between art and society.

Anneke Tonen studied Theatre Sciences at the University of Amsterdam and did a master’s degree in Comparative Cultural Analysis, where she graduated with a thesis on the overvaluation of knowledge in society.

She is managing director of SoAP Maastricht.

Benjamin Vandewalle

Benjamin Vandewalle (1983) attended the Royal Ballet School Antwerp and graduated from P.A.R.T.S. in 2006. After operating primarily ‘in the black box’ for nine years, Vandewalle felt the need to break out of the theatre’s comfort zone. He sought refuge in a research project on urban choreography.

In 2019, Vandewalle toured Europe with, Studio Cité, his ‘artistic fair’: a playground for the human gaze in the form of installations, performances and interventions. Installing Studio Cité on a city square, Vandewalle created a space to host social meetings, discussions and exchange of ideas.

From 2017 to 2021, Vandewalle is artist-in-residence at the Kaaitheater in Brussels.

Studio Cité, photo by Edouard Goire

Studio Cité, photo by Darion Prinari

Studio Cité, photo by Thomas Seest