Anja Foerschner
Anja is the founder of ECC Performance Art. Originally trained as a visual artist, she holds an MA in Art Pedagogy, Art History and Philosophy and a PhD in Contemporary Art History from Ludwig-Maximilians-University Munich. Anja has researched and curated performance art for almost a decade and worked with institutes such as Munich’s Haus der Kunst, the Getty Research Institute in Los Angeles and PerformanceHUB in Belgrade. She is passionate about exploring the many facets of performance art and the various ways in which it engages with our cultural, social, and political landscape.  



  Rene Rietmeyer
Rene Rietmeyer is president of the European Cultural Centre and Dutch artist mostly known for his own art form of the "Boxes", stimulated by American minimal art and the so-called new abstraction. He has organized events with artists such as Yoko Ono, Lawrence Weiner, Hermann Nitsch, Marina Abramovic and Mike Parr. He uses his vast network of artists and architects as well as his experience in education to coordinate the curriculum and lead strategic projects at the ECC Performance Art.







Marta Jovanović
“Jovanovic is truly an artist of the twenty-first century. She can no longer call one country home, after living in Europe, the Middle East and North America. Her practice moves effortlessly between performance, sculpture, video and installation. She is interested in the legacy of feminism, but she also has deep admiration for her male forbears. Are these contradictory stances? They should not be. For identity today is a shifting and transforming process, rather than a fixed state. We have learned from the achievements as well as the mistakes of earlier feminist thought—prescribing what is a liberated feminism from what is not is a futile process. What is more enlightening is to understand that the post-feminist condition allows for a personal quantification of identity, one that is not forced or assigned. This is what our feminist predecessors fought for so bitterly—for our generation to have freedom to make our own choices about our bodies, our art, our lives.” Dr. Kathy Battista – Marta Jovanovic: Performing the Self (2013)



Francesca Albrezzi
Albrezzi is an art historian, curator, and digital humanist. She completed her PhD in the Department of World Arts and Cultures/Dance at the University of California - Los Angeles (UCLA), She also holds a Digital Humanities Graduate Certificate through UCLA's Digital Humanities Program. Her research interrogates modes of publishing, display, and information capture in museums and archives that illustrate a break from “traditional” models, and argues that digital modalities provide a distinctly different paradigm for epistemologies of art and culture that produce greater contextualized understandings. Specifically, she is interested in spectrums of immersive experience within GLAM organizations as offered by technologies such as virtual reality, augmented reality, and 360 photo and video capture. For over a decade, she has worked with museums including the Smithsonian’s National Museum of American History (Washington, D.C.), the Institut national d'histoire de l'art (Paris, France), the Los Angeles County Museum of Art, and the Getty Research Institute (Los Angeles, California). Francesca has garnered significant experience in developing and teaching digital tools for art historical practice and humanistic research, such as The Getty Scholars’ Workspace™ for conducting collaborative arts research and preservation. She currently works as a Digital Research Consultant at UCLA’s Institute for Digital Research and Education.


Ayça Ceylan
Performance artist and environmentalist Ayça Ceylan creates site-specific performances about perception processes through employing disciplines such as comparative mythology, dance, spiritualism, herbalism and technology together. In her performances, she focuses on how the body and space construct each other, the concept of healing, body politics, and multispecies. For her performances, she prefers galleries, museums, public spaces, nature, and ancient sites that affect our archetypical memory. Rituals, symbolism, goddess cults and synchronization with nature are among her biggest inspirations. She uses photography, video, installation, artists books, AR and live art to present her concept. Ceylan is the founder and creative director of Body in Perform (2018). She has carried out performance workshops and residencies in numerous venues across Turkey,  Japan, India, and the UK. She also writes about climate issues for Cumhuriyet Daily Newspaper. Her performance documentations are in private art collections. 




Katja Hilevaara
Katja Hilevaara is a collaborative artist, researcher, and teacher who works in performance, installation and art writing. Ideas around maintenance, care and enchantment are often foregrounded in her artwork, and she plays close attention to the everyday in the making and thinking of her various projects. Recent works have drawn on (auto)biography and reimagined histories, exploring ways that question existing narratives, and which might deliberately mis-remember or otherwise creatively interpret events to shift their perspective and meaning. Creative constraints such as tasks and instructions often shape her projects. Katja creates works with other artists and thinkers, cherishing the change to be inspired by dialogue and conversation. She is involved in a long-term collaboration with artist Emily Orley with whom she creates performances and writes. Katja is currently a lecturer in Theater and and Performance at Goldsmith's University of London.
Learn more about Katja on her website





Rah Eleh
Rah Eleh is a video, net and performance artist based in Toronto, Canada. Rah's work focuses on and critiques the visual stereotypes and performative aspects that shape female gender identity and national and ethnic identity. She is interested in how race and gender are performed from multiple layered perspectives: exilic, decolonial, queer and diasporic. Rah has lectured and exhibited extensively internationally at institutions including NYU Tisch, The New School, Alfred University, Dalhousie University, Images Festival (Toronto), Museum London, Carleton University Art Gallery (Ottawa), Williams College Museum of Art (Williamstown, MA), Miami Art Basel, Nieuwe Vide (Haarlem, Netherlands), Pao Festival (Oslo, Norway), Kunst am Spreeknie (Berlin, Germany), Kunsthaus Graz Museum (Graz, Austria), and Onassis Cultural Center (Athens, Greece). Rah is represented by VTape, Canada's leading artist-run distributor for video art. 
Learn more about Rah on her website:



Natasha Jozi
Natasha Jozi is a Fulbright scholar, performance artist and curator from Pakistan, interested in the collective human experiences and the intersections of science and the spiritual body. She has widely performed and exhibited her work in Colombo (Sri Lanka), New York, Chicago, Delaware, Winnipeg (Canada), Tetley (UK), Fribourg (Switzerland), and Venice. She is the founder and director of House Ltd., a platform that aims to promote performance art in Pakistan. Through her curatorial projects, she strives to generate critical discourse around the body, gender, and censorship. She is the recipient of the Prince Claus mobility grant. Jozi resides between Pakistan and Germany. 
Learn more about Natasha on her website:





Since 2006, German artist Verena Stenke and Venetian-born artist and writer Andrea Pagnes have been working together as VestAndPage internationally in performance art, performance-based film, writing, publishing and temporary artistic community projects. For over a decade, VestAndPage have been exploring performance art and filmmaking as phenomena through their collaborative creative practice, artistic research and curatorial projects. They have produced performance-based art and films among others under Antarctic glaciers, at the Himalayan foothills, in the vastness of Tierra del Fuego, in military enclaves, or inside prehistoric caves systems. In a psychogeography of symbiotic realms they move between embodiment and research, the unseen and the unforeseen, the oppressed and unspoken, the forgotten and the repressed. Their works have been presented at various sites and in theatres, museums, galleries and cinemas worldwide. They are the founders and directors of the Venice International Performance Art Week, and their research and poetic writings have been extensively published and translated for international readers. They share their methodology and mentoring on collaborative performance and filmmaking in co-creation master classes and have been guest lecturers at art academies worldwide. For more information and current projects visit their website





Nicoletta Cappello
Nicoletta Cappello is a performing artist, educator, and doctoral researcher at UdG and UniCT currently visiting the Artistic Doctorate in Performing Arts at UniArts Helsinki. In her work, she is interested in studying processual forms and exploring the common ground between Performing Arts, Performance Art, and Embodied Learning. Her pieces experiment with participatory, intermedia, and immersive formats and invite the audience to collaborate as another performer by actively moving their bodies. As an author, she has presented her work in prestigious venues such as Teatro de la Abadia de Madrid, Matadero Madrid, and Teatro Libero Palermo. She has also won several awards such as the 'Extraordinary Award to Creation at the Distance' by Theatre Lluire Barcelona, the Residency Award Citofonare PimOFF, and the Residency Award of Fabra I Coats Barcelona-Centre for Contemporary Creation. As a teacher, she has collaborated with the Master in Performing Arts program of UCM Madrid, the School of Dramatic Arts Paolo Grassi in Milan, the Department of Theatre and Interculturality of UniBo, and the Institute of Teaching Innovation of UFV, among others. She leads 'El Público', as a member of Planea - Network of Art and School, a project that implements the performing arts as tools of embodied learning and feminist pedagogy inside general education. For more information visit




Tina Mariane Krogh Madsen
Tina Mariane Krogh Madsen is an artist and researcher, who works at the intersection between performance art, media, and matter. Madsen is currently a doctoral candidate at Aalto University School of Arts, Design, and Architecture in Finland, where their artistic research evolves around environmental performance art and affective relations in a critical ethico-aesthetic practice. Madsen has an art educational background from the College of Arts, Crafts, and Design (Denmark) where they started studying performance art in 1999, and holds a Master of Arts in Art History from Aarhus University in Denmark. Madsen has performed internationally in many formats and contexts. They are the founder and organizer of Performance Protocols, a nomadic platform for instruction-based art and collaborative processes. Madsen has lecturing and teaching experience from Node Center for Curatorial Studies Berlin (online courses), Kunstpionererne at Kunsthal Nord (Denmark), Aarhus University, and Aalto University Department of Art and Media, among others. Madsen is further a certified facilitator of Deep Listening Workshops from the Center for Deep Listening, Rensselaer Polytech Institute in the US.
For more info on Tina visit and




Emily Orley
Emily Orley is an artist, writer, and educator based in London. Her work includes performance, video, installation, and hybrid modes of writing. She has published many chapters and articles that explore and enact practices of creative-critical writing. She also co-edited The Creative Critic: Writing As/About Practice with Routledge in 2018. Her research interests often revolve around ideas to do with memory, maintenance, and enchantment, and un-fixing notions of time, heritage, and place. Always open to new forms of experimentation, nothing inspires her more than lively discussions, new encounters, and unlikely assemblages. As a practitioner-researcher, she is a firm believer in breaking down the false binaries that separate practice and theory, making and thinking and writing about making.
More information about Emily and her work can be found at


Rodrigo Arenas-Carter

Rodrigo Arenas-Carter uses performance art to problematize conceptualizations that condition our freedom: nationality, gender, success, seriousness, among others. He has participated in exhibitions and festivals including Paris Biennale, Hemispheric 2016 and 2019, Proxy the Wrong, Terremoto Magazine, and UNAM. He has received grants from the Ministry of Culture of Chile, BAX/Brooklyn Arts Exchange, YAXS foundation and Goethe Institut (Bogota - Colombia). Also, he is an LGBTQ+ activist in Cuirpoétikas, and a member of the International Network for Contemporary Performance Arts (IETM), Central-American Arts Network (RACA) and Research Network of and from the Bodies. Rodrigo has participated in residencies at the Centro Cultural de España en Ciudad de Guatemala, Centro Cultural de España en Costa Rica, and Experimenta Sur (Colombia). His work has been reviewed in Central-America in Action, The Detail,  and  Revista Cultura de Guatemala. Rodrigo co-organized the biyearly performance-art festival Forma y Sustancia. He has participated in several academic journals, has a column about performance in Gazeta Guatemala, and published the book “The Vital Scarcity. Poetry and Performance Art in Latin-America and Chile” (2017). He holds an MA in Literature from UPLA, Valparaiso, Chile.
For more info visit Rodrigo’s website:




Marilyn Arsem

Performance artist Marilyn Arsem has been creating and performing live events for more than forty years, presenting her work in thirty countries around the globe. Based in Boston, Massachusetts, USA, she also teaches performance art workshops internationally. Many of her works are durational in nature, minimal in actions and materials, and have been created in response to specific sites, engaging with their history, use or politics. Arsem taught for 27 years at the School of the Museum of Fine Arts, Boston, establishing an extensive program in visuallky-based performance art. In 1975 Arsem founded an artist collaborative for experimentation, now known as Mobius Artists Group. Mobius has presented work involving thousands of artists over its 40+year history. A book on Arsem/s work, Responding to Site: The performance work of Marilyn Arsem, edited by Jennie Klein and Natalie Loveless, was published in 2020 by Intellect Books of the UK. Additional information about her work can be found on her website: