LAB Artists

After an international career as a dancer with companies including Béjart Ballet Lausanne, Scapino Ballet Rotterdam and Ballett Basel, he developed an interdisciplinary choreographic practice shaped by anti-ableist thinking and the politics of the body. Combining movement, text, sound, and participation, his work challenges conventional ideas of virtuosity and beauty while exploring fragility and interdependence. 

His performances have been presented internationally across Europe, Africa, Asia, and South America. Since 2024, he has been collaborator of disframe by Migros Kulturprozent, a Swiss network for inclusive performing arts, contributing to the visibility and representation of disabled artists within the cultural sector.

Golschan Ahmad Haschemi is a transdisciplinary performer, dramaturg,  and cultural scholar. She writes, researches, and teaches at the  intersections of artistic, political, and academic discourses on relations of dominance, critical perspectives on power, strategies of resistance, and hegemonic as well as counter-hegemonic practices.

As an independent artist, she moves between stage work, politico-aesthetic research, and social intervention. She does not view art as a finished product, but as a social practice: a space for collective reflection, an aesthetic gesture of resistance, and a means of imagining new narratives.

In her projects, Ahmad Haschemi explores the interrelations between body, language, humour, and social tensions. Her practice is shaped by transdisciplinary and mostly collaborative projects in which humour, performativity, and political inquiry converge to make social dynamics tangible and discussible.

As part of collectives such as donna’s gym, AHH (Ahmad Haschemi/Hourmazdi), and Ahmad Haschemi/Christians, she understands her collaborative practice as a collective movement of thought—one that sharpens the relationships between form, content, and context, and translates them into artistic expression.

She has taught, among other places, at the Zurich University of the Arts and is a recipient of the Marie Zimmermann Fellowship for Dramaturgy at the Academy Schloss Solitude. 

With formats such as the “Toolbox – Perspectives and Discourses on Anti-Discriminatory Theatre” for the Theaterformen Festival, she develops discursive formats that address conditions of production and reception, bringing together aesthetic practice and institutional reflection.

Her recent works include quite quiet (2026), co-produced by and premiered at ROXY Birsfelden, and layer(s), developed through Forecast Platform under the mentorship of Hussein Chalayan and presented at Radialsystem Berlin and Gropius Bau Berlin in 2025. Previous works include OMG – observation / motivation / glamorisation (2024), TRAJECTORY (Sadler’s Wells, 2022), and Have I ever spoken properly? (ROXY Birsfelden, 2020). She has worked with Aterballetto, Thoss Tanzkompanie, and Ballett Basel, and completed an MA in interdisciplinary design at HGK FHNW in January 2021.

Her central focus on forms and formats opens her practice up to various artistic disciplines. This has led to exhibitions, publications, lectures, performances, plays, and essays. She is particularly interested in the poetic and political dimensions of remembering and forgetting, the condensation of narratives, and the periphery of the gaze. In her writing, she currently explores themes of the colonial past, material and immaterial heritage, and the associated silence within families. A recurring motif in her work is that of transformation—as a possibility, as an experimental setup, as a narrative principle, or in the context of the figures of the witch and the tiger.

She has worked in various capacities as a director, dramaturg, and assistant at venues including Roxy Birsfelden, Kaserne Basel, and Theater Basel. She co-founded the research project The Archive is Hosting and the collective hexen flexen.