Otto Piene & Light Ballet

Otto Piene & Light Ballet

Otto Piene was an artist whose light-based sculpture work occupied the intersection of light, technology, art, movement, and environment.

First produced using hand-operated lamps directed through perforated stencils, Piene’s “Lichtballett” (light ballet) performances of moving light became mechanized in the 1960s.

The artist’s early light sculptures consisted of revolving lamps, grids, globes, and discs operated by electric switchboards, causing what he described as “the steady flow of unfurling and dimming, reappearing, and vanishing light.”

Who is Otto?

Otto Piene (pronounced PEE-nah, 18 April 1928 – 17 July 2014) was a German-American artist specializing in kinetic and technology-based art, often working collaboratively. He lived and worked in Düsseldorf, Germany; Cambridge, Massachusetts; and Groton, Massachusetts.

Other work

Piene also experimented with multimedia combinations. In 1963, together with Günther Uecker and Heinz Mack, he became a spokesman of Neuen Idealismus (“the new idealism”). In 1967 Otto Piene premiered Proliferation of the Sun at Aldo Tambellini’s Black Gate Theater, and in 1968 he collaborated with Aldo Tambellini on the Black Air at the Black Gate Theater.

The Proliferation of the Sun 1966-1967 (35 minute performance hand painted glass slides, sound, and five carousel projectors)

Angela Stöcklin

Angela Stoecklin grew up in Iran and Nepal, and has been living in Switzerland since 1979. Practices in music and visual arts led her to dance. She was at Arts school Basel, got her dance education at ch- tanztheater Zurich, and holds a Master of Arts BFH in Contemporary Arts Practise. Angela worked and still works as dancer with numerous contemporary companies and productions in Switzerland, Germany and Belgium.

Creating her own projects, that lie more and more also in the interdisciplinary field, she closes the cycle of her artistic background. Fixed choreography which dismantels a specific form as necessity in the due of a process, as well as the momentary re/acting Instant Composition as direct interaction and absolute presence in the now are parts of her interests and means of working. She explores the multilayered facettes of communication and perception and explores process-oriented approaches. She has created choreography, performative and installation pieces, short to evening long productions, solo and interdisciplinary projects, and does intercultural work.

In 2019 she launched the first Festival Instant Composition for dance, artistics and music in Zurich. She is dance and movement pedagogue, acupressure therapist and Taijiquan and Qi Gong instructor.

“ghosts”, (Spazio Ludens2)

In „ghosts“, (Spazio Ludens2) a dacer, a musician, a visual spacial artist and a light designer interact in different spaces. Inspired by each specific situation they playfully transform them in installative performances. You find yourself in the midst of dream and nightmare, dense athmospheric imagry and silent shadows rushing by. Well tuned compositions meet the chaotic, childlike scenes with eerie ones.
  • Angela Stöcklin (concept, movement)
  • Matthias Rüegg (spacial design)
  • Anselm Caminada (Sound)
  • Antje Brückner (lighting design)


on a white open field and a space continuously being structured by screens movement (Angela Stoecklin, music (Marie-Cécile Reber) and light and images (Jan Schacher) play and become entwined. They interact in multiple layers of tension between freedom and dependance, structure and limitation, and try themselves with the imposibility of communication. Reciprocal restrictions lead to breaking out and flight, mutual impulses to an approach, which allows flickering moments of synchronicity. Engagement densifies and transforms, and unnoticably perception shifts. The interdisciplinary performance „trans-form“ deals with in/dependency and control in relationships and encounters.


installative performance: In a circle, surrounded by more or less reflecting panels a game of view-point, eye-catching and relating increases towards a tumultuous chase between performer, light and sound.

SPACEnr1 floating

Light-apparitions dancing restlessly over walls and ceiling, plunging the space into darkness and light. A figure as secret tamer directs this play. Drawn out sounds put densifying atmospheres. Reflections, overlapping shadows, suddenly the face recognised in a mirror. Movement triples, eye is irritated as orientation gets disrupted and shifts. There is no story told, but many insinuated.


Light is key for Berlin-based Japanese scenographer and multimedia artist Yoko Seyama. Her latest installation “Saiyah – Light and Color composition #2” is a kinetic light sculpture, featuring a GiantMirror by ShowTex.

The light of a light source as white as daylight is split into two colours by projection on a spectral window which only lets through a specific colour wavelength while the remaining wavelengths are reflected. With this simple mechanism, the colours are remixed over and over again to create new layers, patterns and colours of the spectrum. In total four motorised spectroscopic windows and a full mirror by ShowTex were used to create a unique interaction of moving colours.

UK Lighting Designers

Lucy Carter

Wide images showing a scene from Part 2 of Woolf Works the World Premiere by Wayne McGregor and The Royal Ballet @ Royal Opera House. (Opening 11-05-15) ©Tristram Kenton 05/15 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email:

D.M. Wood

Charlie Morgan Jones

Fabiana Piccioli

Fabiana Piccioli trained as a dancer while studying Philosophy in Rome.

Between 2000 and 2002 she started her dancing career in Belgium before moving back to Rome to join the Romaeuropa Festival as production manager.

In 2005 she moved to London joining the Akram Khan Company as Technical Director and Lighting Designer, touring with the company worldwide.

Since 2010 she has collaborated with other international artists and choreographers as a freelance Lighting Designer.

(in the mind of igor)

Artistic Director/Choreographer: Akram Khan

Lighting Designer: Fabiana Piccioli

Michael Hulls

Michael trained in dance and theatre at Dartington College. Over the last 20 years Michael has worked exclusively in dance, particularly with choreographer Russell Maliphant, and established a reputation as a “choreographer of light”.Michael trained in dance and theatre at Dartington College.

“Hulls’s dazzlingly beautiful but intangible edifices”


Direction, Choreography and Performance – Akram Khan

Visual Design – Tim Yip

Lighting Design – Michael Hulls

The Rodin Project

CHOREOGRAPHY: Russell Maliphant



Choreography & costumes: Liam Scarlett

Lighting design: Michael Hulls

Aideen Malone

“The stage becomes a dynamic energy field, lit from smouldering to fire by Aideen Malone”

Aideen has the pleasure of collaborating on a rich variety of projects in theatre, dance, opera, site specific and installation. She studied Drama and Theatre at Trinity College Dublin and Goldsmiths College, University of London.

She enjoys working closely with a team to create work that “plays with your senses” on all levels. Aideen carefully develops her lighting designs on every project ensuring it is integral to each piece of work.

She looks forward to new and exciting collaborations in the future.


VerTeDance & Jiří Havelka & Clarinet Factory

  • Czech Theater DNA Award 2016 HERALD ANGEL AWARD 2015
  • NOMINATION Dance Piece of the Year Prize 2014
  • Theater News Prize 2014
  • Best Light Design 2014

Directed by: Jiří Havelka;

Choreography and dance: Veronika Knytlová / Marta Trpišovská, Tereza Ondrová / Soňa Ferienčíková, Martina Hajdyla Lacová / Helena Arenbergerová, Karolína Hejnová / Sára Arnsteinová, Petr Opavský / Michael Vodenka, Robo Nižník, Jaro Ondruš / Rado Piovarči;

Costume and Scene Design: Dáda Němeček

Light Design: Katarína Ďuricová;

Music: Clarinet Factory live;

Produced by: VerTeDance

Chris Fraser 2


Light Art, Chance, Visual Perception, Site-Specific Art, Installation

Time, Line, Form, Color, Light as Subject, Linear Forms

Open Form, Mixed-Media, Contemporary Conceptualism

Performance Art, Focus on Materials, Geometric, Film/Video

“My light installations use the camera obscura as a point of departure. They are immersive optical environments, idealized spaces with discreet openings. In translating the outside world into moving fields of light and color, the projections make an argument for an unfixed notion of sight.”

Olafur Eliasson

Olafur Eliasson is a Danish-Icelandic artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience.

Olafur Eliasson developed the visual concept for the contemporary ballet Tree of Codes, choreographed by Wayne McGregor and with music composed by Jamie xx.


The stage design uses intricate sets of reflective, transparent, and refractive surfaces and coloured light to create a dynamic, ever-evolving, and complexly layered space in which the dancers are multiplied and overlap.

Lights panning over the audience cause its spectral image to appear on the stage’s reflective, coloured scrims, integrating the viewers with the activity on the stage.

Triggered by Jonathan Safran Foer’s Tree of Codes (an artwork in the form of a book, which was in turn inspired by Street of Crocodiles, by Bruno Schulz), this new, evening-length work features a company of soloists from the Paris Opera Ballet and dancers from Wayne McGregor Random Dance.


The opera Phaedra by German composer Hans Werner Henze was commissioned by the Staatsoper in Berlin and premiered in September 2007.

Eliasson created the spatial concept.

The focus of the individual scenes alternated between the music and the visual elements. These comprised monofrequency lights; a kaleidoscope; the works Your space embracer 2004 and Square sphere 2007; and a vertical mirror that spanned the entire stage and reflected the audience as well as the orchestra, which had been moved to the back of the auditorium.