* nudeness in the performance

The bodies influence from all perspectives and angles, expanding the coordinate system of the dance scene. Choreographer Aleksandar Georgiev chooses to place the dance not in a frontal, but in a 360-degree space, open to collaborative experience and imagination. It is a performance between personal and collective readings of nostalgia beyond time, in which movement and pleasure become one. This is FANTASTIC FUTURES, a co-production of One Dance Festival.

The focus on the back of the performers does not mean absence, but quite the opposite – an entrance into multiple past and future realities. For a brief moment, their eyes and lips may sink into shadow, and their gaze may shift from the audience to the backstage, but the flesh constantly remains an open communication channel. Choreography unfolds through multi-dimensional trajectories rather than fixed positions and linear narrative, embracing transitionability as its core mechanism In this way, Aleksandar Georgiev opens a field for the emancipation of the body, which does not go on stage to be seen but to exist in various future projections - individual, group, and why not public.

Rather than seeking representation and depiction of identities, the performance offers a poetic reading of nostalgia through the queer prism. Nostalgia, even if subjective, distorted or out of its conventional frames, is a shared field in which multiple possible perspectives are co-created and co-experienced. FANTASTIC FUTURES is a dance of coexistence in which movement becomes fabric - soft, transparent and dynamic enough to allow bodies to be heroes of their tomorrows rather than builders of someone else's.

Georgiev uses kinetics and the idea of kinetic empathy as a choreographic method. Thus, he continued his dance practices and aesthetics, which brought him an ICARUS National Award for the work The Power of S and a nomination for the current edition of the awards with the solo ATRÁS. Kinetic and visual stimulation at the same time, a ridiculous, funny and necessary work, FANTASTIC FUTURES is an invitation to peer into what we can build together, as long as we imagine it first. So, through nostalgia and desire, with dance, music and light, performers and spectators can sketch more than one possible future - a future that breathes freely instead of being privatised or predetermined. A future that dances.

“Nostalgia serves as a bridge to transcend time and space, resisting fixed norms and preserving our identities with their potential fantastic futures. It's a complex yet powerful force that allows us to navigate the spaces between acceptance and struggle with both vulnerability and strength.” - Aleksandar Georgiev

Aleksandar Georgiev, known as Ace, is a choreographer and dancer who delves into the radical tenderness of the human body. His recent works explore themes such as the politicization of the anus, the act of "reading from behind", and nostalgia as a method of poetic archiving.

In 2022, Aleksandar was awarded the prestigious ICARUS National Award 2022 for “The Power of S", and this year he is nominated again for the award with his solo choreographic work ATRÁS and the lecture performance Anal Body / Anal Politics.

Since 2008, he has fostered choreography and dance collaborations, with his work crossing different cultural and geographical contexts. These include Garage Collective, InterimKultur, Lokomotiva, LAV and PiedeBase, and his artistic development has been enriched by programmes such as NOMAD, DanceWeb, SPAZIO and Critical Practice made in YU. Georgiev challenges nationalist tendencies in art, considering several countries as his field of action.

In 2008, he co-founded STEAM ROOM and the Imaginative Choreographic Center (ICC) with Darío Barreto Damas and Zhana Pencheva. He is affiliated with various cultural structures, working towards denationalizing artistic and cultural practices while fostering co-thinking, co-dreaming, and co-imagining alternative futures through choreography.

Often framed as "radical tenderness," his performances lean into the romantic rather than the activist or educational, making them more accessible. Through a queer performative lens, Aleksandar revisits history not as a corrective but as a means to co-imagine inclusive futures. His work interrupts linear time, embracing future nostalgia and speculative poetics. Here, queerness is not opposition but normativity—a foundation for kinetic empathy, sensuality, and solidarity, where softness and pleasure become radical acts of defiance.