A woman walks slowly through a dark, untouched forest. She is following someone in the distance, someone she can’t quite make out. Or is the other actually following her? Too late, the woman regrets a desperate attempt to escape her pursuer. As she starts to understand and approaches the point of no return, she is lured into making a dire decision.

Inspired by hydrofeminist theories and wearing a vessel suit, full of leaking water, artist Elisabeth Raymond tells an otherworldly story about sorrow, the plastic in our oceans and how our borders are fluid.

In her new video work, choreographer Meg Stuart explores the Vorklinik, a modernist building erected in 1971-76 for the University of Graz’s medical faculty, that has meanwhile been demolished, as it was considered too dysfunctional for further use. Together with two dancers, Stuart attempts to mark this brutal transition through a sensorial processing of the building’s vast, empty spaces. Like the modernist project, the attempt to fit their bodies into the architecture of the Vorklinik is slated to fail. With tenderness and sensuality, they connect past and future, dream and decay.