›evaporated landscapes‹, which can be read as an epilogue to ›Giant City‹, creates a landscape utterly devoid of people, an empty artistic world subject to perpetual shifting. Here, choreography no longer implies the organisation and movement of bodies in space, but rather the relationship between ephemeral, deciduous elements. Light, sound, bubbles, foam, shadows, and dry-ice mist rouse a scenario that is – in an almost romantic way – reminiscent of nature, on the one hand, and of the artificiality of a possible, ever-approaching future, on the other. By the objects on stage themselves becoming choreography, feelings of calm are evoked in the viewers, but also of fascination and surprise, thus making visible the movement of spaces.