Kat Válastur’s new production in 2016 is a choreographic essay on crude oil dependence by Western societies. The Berlin choreographer places three dancers into an adventurous game called “OILinity”, letting them wander through a landscape animated by petroleum, and situated in a sculptural obstacle course. Its core is the “spinning melancholy”, a cylindrical object that has nothing more in mind than preserving its own system.

With forceful movements, meticulous choreography, and black humour, “OILinity” confronts the audience with a dance work that reveals the hidden human traits as well as those of petroleum, finding a vocabulary of movement in which forces and speeds culminate in the crude beauty of dripping oil.

Concept and choreography: Kat Válastur

Performed by: Nitsan Margaliot, Enrico Ticconi, Marysia Zimpel/ Dramaturgy: Thomas Schaupp/ Lighting Design and Technical Direction: Martin Beeretz/ Sculptures & Sound: Filippos Kavakas/ Set Design: Laila Rosato/ Costume Design: Lydia Sonderegger/ Still Photography: Dorothea Tuch/ PR & Marketing: Björn Frers/ Production Manager: Katja Timmerberg/ Production: Kat Válastur/ Coproduction: HAU Hebbel am Ufer, Théâtre de Nîmes/ 
Supported by the Senatsverwaltung für Kultur und Europa and Fonds Darstellende Künste E.V.

How Kat Válastur arranges the bodies in the room often has a sculptural refinement. The opening scene of “OILinity” at HAU 2  captivates. The dancers Nitsan Margaliot, Enrico Ticconi and Marysia Zimpel initially remain in a kind of symbiosis, cling to each other, form a triangle. In a sudden impulse they throw their heads back, as if they want to tear themselves away – and then nestle even closer together…

Sandra Lucina Der Tagesspiegel 29-4-2016


…OILinity is a fascinating-enigmatic, bizarre-fantastic radiant world, that only a few among Berlin’s dance artists are able to create.

Frank Schmid Kulturradio 29-4-2106

In “OILinity”, the choreographer becomes more concrete than ever, blending the movements closely with the highly sculptural sound of Filippos Kavakas…

Astrid Kaminsky Taz 30-4-2016



Man kann das einen Widerspruch nennen. Für Kat Válastur ist es Camouflage. Man fördert Öl und zugleich das Gegenteil, den Sport. Man verwundet und verschorft die Umwelt und möchte im Schlamm der aufgewühlten Erde doch wieder die kunstvollen Ornamente erkennen, wie sie auf Válasturs Bühne dargestellt sind. Die Tänzer davor, gekleidet in Camouflage, verschmelzen wieder und wieder mit ihnen. Um selber Kunst zu werden. Stoffkunst. Kunststoff. Wie in Öl gegossen. 

Arnd Wesemann Tanz June 2016



29 March - 2 April 2017HAU Hebbel am UferBerlin
7 June 2016Atelier de ParisParis
28 - 30 April 2016Hebbel am UferBerlin
14-16 January 2019Théâtre de la VilleThéâtre des AbbessesParis