Inspired by the return of “recession pop” and modern chronically online trends, the new project “Xx-63” by the collective Trevoga, directed by Neda Ruzheva and Nikola Stoyanov, is an endless fantasy machine imbued with the ambitious dependency, performance anxiety and algorithmic alienation of contemporary pop culture that define Generation Z.

Months before its official premiere at the Julidans Festival in Amsterdam and co-produced by One Dance Festival, “Xx-63” confronts the bloody realities of the digital age's fantasies of escape, leading audiences through a trance of endless scrolling and synthetic pleasure. Rather than a moral critique, it aims to balance anti-utopia and hope, presenting some raw but hauntingly beautiful images.

Trevoga presents exclusive excerpts from his work in the gallery foyer of the Boris Hristov House of Culture. In collaboration with electronic music producer Sueuga, as well as sculptural duo Alagya, the show features distorted drums, eerie textures and abrasive industrial sounds colliding with the soft nostalgia of Y2K and sleek, hyperreal bodies.

"Xx-63” is the second production from Bulgarian choreographer Neda Ruzheva’s label, Trevoga. Following the success of its debut, 11 3 8 7, which was prerented at One Dance Festival 2024 as a coproduction and earned recognition from top venues and festivals, including the Best of Fringe Award, selection for Aerowaves Twenty24, and a spot in NRC’s Top 5 dance performances of the 2023/2024 Dutch season, Trevoga continues to push boundaries with a bold and immersive exploration of desire.

From hope-fanatics to doomers and affect aliens of all kinds, Trevoga is a chaotic intersection of performance artists who move against the flow. United by a desire to most literally be stressed—to let the present crawl under their skin and feel the world pressing against them—they channel anxiety not as a metaphor but as an embodied, visceral experience, where the future is still up for grabs—raw, uncertain, alive, and still worth losing sleep over.

For Trevoga, the capitalist body is not a temple - it is an abandoned shopping mall, littered with consumerist relics, synthetic chemicals, and sexually suggestive imagery. Their work scavenges for the most unsettling undertones beneath the glossy surface of urban hyperreality. Twisting popular tropes and cultural symbols into sensuous, dissonant forms, they stitch together reflections of a perplexingly grotesque present—dissecting themselves as symptoms of its countless addictions and using the stage as a means to disentangle its many dissonant processes and conflicting forces.