Everything is interconnected—viruses, wars, glacial meltdown, inflation, and information overload. Dystopia meets brief euphoria, with one crisis following another. This complexity challenges our imagination, empathy, and presence in the moment. Overstimulated and hypersensitive, we navigate a space that’s no longer just three-dimensional. In Landscape of Hyper, Elias Kurth examines the physical realities and the influence of this constantly and radically changing world on our bodies and languages.

constantly changing

Inspired by Timothy Morton’s concept of hyperobject, referring to vast phenomena dispersed across space and time, Landscape of Hyper explores how we navigate this complexity. The performance itself becomes a hyperobject: a fluid choreography of experiences, with brief moments of clarity, shaped by performers, live sound, light, and spectators.

VISUAL

In close collaboration with the artist Elias Kurth, a visual, an identity for performance was developed. Identity consists of different elements that have constantly influenced each other. With its origin from a traditional biscuit from Aargau in Switzerland, where the artist is from, which looked like a fossil and at the same time represents the origin of mankind and its momentum. This visual of the biscuit was made into a carpet in which it took the shape of the biscuit and was reformed into a spiral.

The type is drawn by hand and digitally alienated again and shaped into motion and shaped into fluid shapes and bodies. The Visuals floats, not clear where.