For the seventieth time, artists from all disciplines were invited to PACT Zollverein for ›ATELIER No. 70‹. During the entire evening, the audience was able to experience a mix of performance, installation, film and media art in the rooms of the former pithead baths. 

Rebecca de Toro, Melli Geldner and Maria Kobylenko kicked off the evening with ›ROUTINE MY ASS‹ - a performative intervention that took a humorous but no less critical look at the "That Girl" lifestyle trend that is widespread on social media. 

In the relaxed performance ›THREADS‹, Elisabetta Solin and Alina Anufrienko explored the physical presence of body and sound. The strings of the prepared instrument were bowed with long threads instead of the conventional bow. The audience was able to use the strings to influence the sound themselves and to participate in the complex interplay. 

Together with Elvan Tekin and Kani Lent, Kiana Rezvani reflected on the interplay between ownership, belonging, desire and otherness. In their performance ›untitled‹, a space was created in which memories and thoughts of loss, care and return could be negotiated. 

Based on the Italian children's story ›Cippolino‹, the multidisciplinary artist Maru Mushtrieva explored the contemporary political discourse and questioned how power structures manipulate narratives in order to maintain control. In ›Throwing Tomatoes at the Green Screen‹ she combined puppet theatre and greenscreen technology to show, with carnivalesque absurdity, how the same narratives are endlessly reused in media and politics. 

In ›Towards an Expanse‹, Gugulethu Duma, Denise Onen and Camille Lacadee explored the polycrisis between man, nature and technology. Inspired by the character ›Mother Time‹ from Credo Mutwa's ›Indaba, My Children‹, they created an audiovisual landscape in which digital, physical and psychological boundaries were blurred. In doing so, they showed the ocean as a listening body, containing stories of destruction, transformation and the confluence of crises. 

In addition to the performative formats, a broad program of films and installations was also shown at ›ATELIER No. 70‹. In ›Dasha's kitchen: My Magical Grilled Cheese Sandwich‹, technology-critical artist Dasha Ilina provided insights into the questionable processes behind algorithmic surveillance. In ›Made in Europe‹, Zauri Matikashvili accompanied his own father as he struggled to make a living in the midst of the international flow of goods by trading in scrap and used cars. In ›BLICKWECHSEL - Publika und Politiken der Darstellenden Künste‹, Janina Möbius shows how the performing arts - despite the rise of regressive, anti-cultural attacks - invite us to reflect and think together on a daily basis. The film was commissioned by the Fonds Darstellende Künste.