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  Kanuti Gildi SAAL  
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Vaataja ees on uus tantsuetendus või miski, mida nimetatakse „Natten’iks“. Seda tuntakse kui miskit muud ja see, millena teda tuntakse, pole teps mitte see, mis ta tegelikult on.
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Dance exists without us. Moving towards or away from us indifferent. The non-directional harbors horror and the night, nigredo, is not performative. It moves without subject, its dreadfulness is mirrored in its indifference, its absolute potentiality.
  Kanuti Gildi SAAL  
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Me elame 21. sajandil, kus hirm ümbritseva ees moodustab suure osa inimeste igapäevaelust. Sellest inspireeritult keskendub lavastus
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Supported by: Cultural Endowment of Estonia, Arts Letters & Numbers, New York; Teater Momentum, Odense
  SAAL Biennaal 08/2017 ...  
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Mis on see, mida saad endaga kaasa etenduselt, mille tarbeks võtad tunni ning juhiseid järgides muutud passiivsest pealtvaatajast aktiivseks elluviijaks? Milline on sinu etenduskogemus, mille käigus sinu ratsionaalne mõistus taandub teiste tajude ees?
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In addition to experiencing the works of these artists it is also time to discuss on the topics theatre / wakefulness within the event series of shared thoughts organized in collaboration with Estonian Theatre Agency - if and how are we ready for this reality that is already normalized around us? It is also time to flick through POST-DANCE book, a publication that holds a possibility to imagine the unimaginable or to have in your hands some brand new publications!
  Kanuti Gildi SAAL  
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2016.aasta kevadsuvel etendus Tallinna Kassisaba korteris kunsti ja argireaalsuse vahekorda uuriv tantsulavastus “Olmeulmad”, kus nelja inimese igapäevastest kodustest hetkedest said publiku ees ja sees fantaasiaküllased uus-ilmad.
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The everyday has just about forgotten us. All that surrounds us is what is between us. There is love and swagger, there are hours of arguments and days of agreements, there's piles of laughter and a chesful of tears. We are festively decorated and once again sincerely naked. We dance as the steam of morning coffee, as specs of dust in a ray of light. We cascade from the armchair as the lavish dressing gown laid aotp it. We simmer as soup, crackle as an open fire. These fluid landscapes tower together into a fantastical humdrum journey at the end of which a new everyday lies awaiting.
  Kanuti Gildi SAAL  
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Tuimus ja elutahe, mis sellistel hetkedel üheaegselt vallanduvad ajavad oksele meeletu intensiivsusega. Läksin siis Viini Loodusmuuseumisse ja sain vabastava naerukatarsise kui nägin, et too Willendorfi Venus on suituspaki suurune. Lootus, et kõik on alles ees, tuli vaikselt tagasi. ”
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Birth of Venus by Kris Lemsalu ranks among those works of the artist that serve as eulogies and reflections on loss and breaking free at the same time. In spite of the thoroughly personal initial impetus, the artist’ s thoughts reach the spectator in a generalized pattern carrying an immense charge and rich in visual language.Kris Lemsalu: ‘ It has somehow come to pass – to my own puzzlement – that whenever someone close to me dies, I create a new work thinking about them, about death in general. And so, it is as if I am building up a kind of collection of tombstones, eulogies that transmit greetings to the other side. The anamnesis of Birth of Venus is that a friend of mine checked out, and so did Louise Bourgeois on that very same day. The listlessness and the will to live triggered simultaneously at moments like that make you want to throw up violently. At the time I went to the natural history museum in Vienna and experienced cathartic laughter when I saw that Venus of Willendorf is the size of a pack of cigarettes. The hope that everything was still ahead returned, bit by bit.