More about Trevoga and XX‑63

Developed with co-director and dramaturg Nikola Stoyanov—a philosopher of technology and theorist of cybergothic infrastructures—XX-63 is not linear, but cyclical: movement stutters, loops, and collapses like a corrupted file. The production is brought to life through key artistic partners in design and sound. The Hague-based art duo Alagya, who designed a futuristic, sculptural stage environment that both challenges the performers and pulls the audience into a charged, liminal space. The sonic world of the piece is shaped by Sueuga, a composer and sound designer known for their immersive installations at institutions such as MASS MoCA and Café Oto. Their score blends abrasive industrial textures with flickers of soft nostalgia—distorted drums, Y2K shimmer, and ambient dread. The designer wear featured in the project was curated from David R. Siepman’s collection Dragen, with pieces selected and styled through the vision of up-and-coming creative, Michalina Górnik.  

Lurking beneath the surface is the logic of rotmaxxing — an internet-born refusal to optimize, to “thrive.” Instead, it opts out. It allows the self to decay softly, deliberately. The work never names it, yet its temperature lingers in every slack shoulder, every shallow breath. Here, rot is not a diagnosis, but a climate — a sticky fog of emotional fatigue, where withdrawal is not just symptom, but tactic.

XX‑63 does not tell a story — it spirals. Through repetition, aborted gestures, and tender unravelings, the piece traces motion as symptom: a twitch, a glitch, a system buckling under its own overload. Choreography becomes decay in motion — a kinetic rot where bodies spin in overstimulated orbit, refusing the false release of catharsis.