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hrihro

@hrihro

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A men only class this morning ! Thank you for being such fun students today! #pilateslovers💕 #teacherofthecontrologymethod
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SINDROME 🕯️🌹 An Invitation to a two night performance festival underworld. Performances ranging from clay, sound, bloodletting, dance, suspension, and voice. Ultimately the body is at the center of it all. With performances by: SEKRETZPEKTRUM @sekretzpektrum YUNUEN @yunuen_rhi ZAIKA @babushkabebe BLACK ABSINTHE @_taste_of_absinthe_ SCALPEL PRIESTESS @scalpel_priestess GL4DE @hrihro EMMA WHEELER @tofuttti A very special thanks to @darknessvisible family for performance incubation. 8 - 12 pm 23. & 24. October Circus Potoo Straßburger Str. 53, 10405 Berlin 23.10: https://rausgegangen.de/en/events/sindrome-5/ 24.10: https://rausgegangen.de/events/sindrome-6/ links 🔗 in bio Very limited capacity! flyer by @tofuttti ❤️‍🔥
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See u this Saturday at @newfears_gallery 🇩🇪 getting sweaty&hot for (probably) the last time, so come! Tickets 🎫 click link in bio or eventfrog.de 📸: July Weber
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It’s been very hard to share exactly what the experience of working in Venice was like ~ but I have made a small start prompted by @meanjin_ which you can read via the in my bio 🤓. I think it would be little-to-nothing without the people who are now friends that I shared the experience next to, so this post is in a little dedicated to them 🫶🏼👠. It’s fascinating meeting your Icelandic twin, and your Romanian brother and 1000 visitors interested in art per day on a floating city. Expect more soon 🫶🏼🤠 📸 and 🛶 sponsered by @holly3ddington 🇮🇸 🫧💪 🇷🇴 🇮🇹 my private transportation officer 🐨 byo curator 🇮🇹 Venetian etiquette coach 🇦🇺 Australian mermaid queen DIY balenciaga 🇬🇷 🏛️🇬🇷 The performance that never stops 🇳🇱 ❄️ 🇮🇹🇦🇺📞 🇮🇸💅🏼 🏴󠁧󠁢󠁷󠁬󠁳󠁿🇪🇸🫦 Destined together by @ashokvish Curls more powerful than lagoona glare 🏴󠁧󠁢󠁷󠁬󠁳󠁿⭐️ Loml My fellow ghost writer 🦘🤠🥂
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Sexy audience <3 thank you for coming to another showing of ‘Las Hustlerboy’ at @coko.space last Friday. Performed with @hrihro and my favourite secret guest. Not gonna lie it was my first solo showing with this much audience and the nerves got me singing like a broken smoke alarm, so sorry! but the nerves faded out luckily once we started the hustle. So enjoyed this audience set up and the supportive energy in space. Definitely my favourite showing of Las Hustlerboy so far <3 Very happy that the original SW’er of the research was present and finished the work by saying the last sentences of the work and that we could make out again in real time while our first make out session was playing behind us. Full circle moment 💎 Super happy to show work so soon after graduating, big thanks to the Brazilian mothers @bea_correa_ and @true.roseak for having me and being so kind all week and helpfull to make me understand the space. Thank you @y000ha for helping me make new material which enriches the work a lot, thank you lode for being an octopus behind the cues setup, and @thomaslenden for these magnificent images ⭐️ Looking forward to the next one ❤️
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HARALD STOJAN In the coming months, we’ll be sharing a series of short video portraits highlighting the performers of The Fortress, offering a closer look at their individual practices. Next up: wrecking ball Harald Stojan. Harald performs in July, September and November. Visit the Dutch Pavilion website for performance dates (link in bio). For Harald’s exact performance schedule, send us a message. To learn more about Harald’s work, follow @hrihro or visit haraldstojan.space Video by @peterisviksna #TheFortress #DutchPavilion #VeniceBiennale #BiennaleArte2026 #DriesVerhoeven
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Un esercito di amanti non può fallire / Venezia, prima parte 2 - Nina Wakeford, Alice Arnold (Fotos) @ Swiss pavilion 8 - photo: @leabrkhltr 9 - Valie Export & ‎🦢
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Venetië, Biënnale, Studio Dries Verhoeven. Wat was het grandioos om hier drie weken te mogen zijn. Keihard gewerkt, genoten, gegeten, gedronken, gedemonstreerd, gevaren, gelachen, gedanst…. Het is tijd om naar huis te gaan!
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“The Fortress” BTS - Part II “Maybe the growing interest in performance also reflects a broader disillusionment with the art market. You can’t store a performance in a vault and wait for its value to rise. It only exists in the moment it’s witnessed. In that sense, the art collector doesn’t differ from the student – they get the same experience. That helps us stay credible: it’s hard to critique value accumulation while making work that itself becomes a commodity. With performance, there’s an inherent awareness of the contradiction between our intentions and the economic and political structures we operate within, especially in a setting like Venice.” - DV @studiodriesverhoeven @riekevos @ellen.van.bunnik @jana.jacuka @mamelgares @jenniebergsli @mchowow @maartenheijnens @denglinglevine @diane.mahin @julienneirynckmayamertens @mrln.pflgr @marie.popall @pousette @oliviariviere @hrihro @mistysuperdeluxe @frauflach @onequartergreek @peterisviksna 

@labiennale @evdlingen @mondriaanfonds @dutch.pavilion.venice @fondspodiumkunsten @venice.art.biennale #biennale #biennaledivenezia #venice
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Can performance art still shock?
A century after its invention, the form seems to have lost its nerve — but in Venice, two bold artists are preparing to test audiences’ limits By @chloeellenstead @financialtimes Dutch artist Dries Verhoeven, who is representing the Netherlands in Venice, is known for creating taboo-busting performances that confront audiences with moral grey areas, touching on topics such as consumer ethics and sexual subcultures. “I always search for discomfort,” he says. “I use my own feeling of unease as a starting point and then look for ways I can materialise it for an audience so we can examine that unease together.” His contribution, titled “The Fortress”, marks the first time the Netherlands will be represented by a performance at Venice. A vocal and architectural intervention in the Gerrit Rietveld-designed pavilion, the piece will be experienced by a select number of invited visitors, who will enter a pitch-black, bunker-like space within the otherwise closed building. “It’s a work, I would say, on the reflex for self-preservation — the urge to safeguard our boundaries, our peace of mind, our way of life,” says Verhoeven. He believes that performance art can counter our tendency to push uncomfortable truths under the carpet and offer a way to switch off the autopilot many of us rely on just to get through the day. “There is this growing sense that the art world should be a safe space, that it should set a good example, and that’s understandable,” he says. “But I’m not interested in utopias. I would like to use art as a space where we can experience our nightmares.” @studiodriesverhoeven @riekevos @ellen.van.bunnik @jana.jacuka @mamelgares @jenniebergsli @mchowow @maartenheijnens @denglinglevine @diane.mahin @julienneirynckmayamertens @mrln.pflgr @marie.popall @pousette @oliviariviere @hrihro @mistysuperdeluxe @frauflach @onequartergreek @peterisviksna 

@labiennale @mondriaanfonds @dutch.pavilion.venice @fondspodiumkunsten @venice.art.biennale #biennale #biennaledivenezia #venicebiennale #venice https://www.ft.com/content/65470ee6-9832-4802-beec-9b7a17a1f66f
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Moving away from Berlin to Barcelona today, almost exactly 7 years later. People asked me many times why I moved to Berlin, what made me take that step and honestly I think I forgot it. I remember feeling there was no other way. I arrived with two suitcases and a broken heart, angry with a city unwilling to accept me and the queerness I was expressing. Looking forward to a future in Lisbon felt impossible, in every way but specially financially. I didn’t think I’d spent my twenties here. Specially not half of them through a pandemic. I didn’t think I’d live to see me turn 30 later this year. And while I’m leaving Berlin with a very bittersweet (and even sour) feeling, it’s undeniable that moving here was probably the best thing I could have done. The spaces you can find to express yourself, to explore and play around with your identity without it defining or haunting you, the sheer immensity of it that allows for constant reinvention. The body culture that helped me stop feeling ashamed of my n4ked body, helped me share it and accept and desire all bodies. And though it took time, the conversation I developed sonically with its crowds and collectives in the last 3 years has been life affirming and structural to the DJ I am today. I got to find out what I need to be happy. And I only leave because sadly it isn’t here. I’ve realised that Nature is my biggest source of inspiration and that swimming and hiking is how I source that energy that stabilises and feeds me. And I became sober 3 months into living here. And while I have managed to make my peace with the downsides of night life and substance (ab)use, having a front row seat to my loves ones self destruction has been too hard one too many times. I take with me Lea, Rafi, Mariana and many others who left us and Berlin. And I genuinely wish all the strength and love to those still struggling to make sense of it all, to find love, light and peace. I take with me all the love, the friendship, care and faith I have been lucky enough to have found through the years. This is a see you soon. I’ll be back often to keep working with the collectives and people who have shaped me. Thank you<3 Bis dann Berlin xx
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Guess what we’re doing in the Dutch Pavilion…
 For The Fortress, we brought together thirteen performers whose voices and performativity shape the work from within. The material of the work is developed in close co-creation with them and is rooted in their individual practices. Visitors who come more than once will encounter different performances unfolding through the bodies and voices of Dengling Levine, Diane Mahin, Harald Stojan, Jana Jacuka, Jennie Bergsli, Lisen Pousette, Maarten Heijnens, Marlen Pflüger, Marie Popall, Maya Mertens, Melyn Chow, Misty Superdeluxe, and Olivia Riviere.

No two visits will ever be the same. #TheFortress #DutchPavilion #MondriaanFonds #venicebiennale #biennalearte2026
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