Since the end of the 1950s, visual and performing arts have been characterised by many interconnections. That is not only the case for concepts like space, audience or authorship, but also for time, process and institutional framing. How would you describe the situation at the beginning of the 21^st century? What kind of similarities and differences are constitutive for both art forms?

The event-oriented neo-avantgardes of the 1950s and ’60s were very much driven by an oppositional stance to the conventions of both visual art and theatre. They were carried by the utopian belief that it is possible to create something that exists outside of these conventions, outside of the market and the museums, but also outside the framework of theatre. The phenomenon we witness today is very different. Visual artists are interested in theatre, choreographers work in museums. Art exhibitions situate artworks in theatrical terms, exhibitions become scripted spaces in which a series of events unfolds and theatre events experiment with modes of individualising their viewers. We are dealing with hybrids between visual and performing arts, hybrids between exhibition and live enactment. When you mix something, it’s good to know your ingredients. That’s one lesson to be learned...