Elisabeth is currently in residency at WU Arts Space in Sweden, within which she prepares new projects. A performance of FELT as well as a workshop around the piece will take place at the weekend.

Invited by visual artist Yvette Bathgate, Elisabeth participates in the shoot of a short film to be screened in Scotland in autumn 2019.



Invited by the organization Shetland Arts Elisabeth created a work, together with young dancers from the Shetland Islands, to be performed at Mareel on 21st July 2019.


An excerpt on the work can be seen here:



‘FELT is a bold proposal’ – Paulo Lobo.

The Luxembourgish magazine WUNNEN reports on FELT from the perspective of design & architecture in the summer issue June / July.





Ahead of the FELT performances at The Byre Theatre in St Andrews, Elisabeth gives and interview in ‘The Courier’.

Images: Bohumil Kostohryz & Martine Pinnel


‘Schilling’s fascinating moving sculpture helps us see fabric in a new light.’

On Monday,  1st July a four – star review by journalist Kelly Apter was published in the Scottish ‘The Scotsman’:


After the run of FELT at the Hunterian Art Gallery Glasgow last week, renowned dance critic Mary Brennan published the following article in the Scottish Herald:



Image: Martine Pinnel

After the start of our FELT Scotland Tour last week, we are happy to publish some first audience comments on the piece.


Together with Tim Nunn and Simone Stewart, and with the support of the Hunterian Gallery Glasgow, Workroom Glasgow, Goethe Institut Glasgow, as well as Creative Scotland, a symposium entitled ‘One second it’s there…’ – Movement, Time, Space and the Art of Dance in Museums and Galleries will take place at the Hunterian Gallery in Glasgow on June 26, as part of the FELT Summer Tour.

“One Second It’s There….
Movement, time, space and the art of dance in galleries in museums

A day of discussion, performance and exchange between artists, curators and everyone interested in the art of the choreographer and dancer.

What potential does the gallery have for the choreographer and performer?

To what extent does the gallery vistors  differ from the theatre audience? Can time be perceived differently or is it always perceived differently in these contrasting environments?

What is the function of the performance archive or the remnant?


Presentation by Dr. Nele Lipp: 100 Years of Dance <-> Object

In dialogue: Vincent Crapon (Freelance Curator), Lucy Suggate (Artist), Michael Bachmann (Professor of Theatre Studies)

Short performances: Ashanti Harris, Mark Bleakly

Transcript: Emma McLuskey

In the afternoon there will be a ‘Long Table’ discussion.

In the evening FELT will be performed for symposium participants.


“[Dance] gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive.”

– Merce Cunningham


“One could easily assume that the substance of choreographic thought resided exclusively in the body. But is it possible for choreography to generate autonomous expressions of its principles, a choreographic object, without the body?”

– William Forsythe


“To understand what I am saying, you have to believe that dance is something other than technique. We forget where the movements come from. They are born from life. When you create a new work, the point of departure must be contemporary life — not existing forms of dance.”

– Pina Bausch


[when we watch others dance,] “we shall cease to be mere spectators and become participants in the movement that is presented to us, and though to all outward appearances we shall be sitting quietly in our chairs, we shall nevertheless be dancing synthetically with all our musculature.”

– John Martin, Introduction to Dance


-Wassily Kandinsky, Dance Curves


“I am thinking around performance, the stage, the museum or gallery, visual art, video, film, writing… active contemplation and how I would like to be able to live in and between these particular forms (perceived medium landscapes) as organically as possible, banishing any hierarchy… A principal question to this process is: how can an intensive artistic research and immediate art-making practice translate to the staged realm of the spectator? This ongoing struggle between process and production creates a tension that is a vital element in all of my artistic work.”

– Ralph Lemon


“…Watching dance is no mystery: what you see or feel is what is happening.“

– Jonathan Burrows



Invited by artistic director Steve Karier, Elisabeth, together with the renowned pianist Cathy Krier, will present a research work entitled ‘Mosaikgleiche Augenblicklichkeiten – Skizzen zu Ligeti’ at the Monolabo Festival in Luxembourg.

Where do dance and music meet? One might immediately assume that no two other forms of art have ever entered into a closer and more intricate relationship than these. But let’s be more precise, then: Where do dance and music meet if the objective is not — not at all — to mimic or to mirror, to illustrate, to produce an atmosphere, to provide a backdrop, or even to merely co-exist, neatly separated?

György Ligeti said of his Études that they behaved, in a compositional and pianistic sense, like “growing organisms”. Following this line of thought, the choreographer Elisabeth Schilling and the pianist Cathy Krier will seek to create an unprecedented take on the Études, treating dance and music as contiguous forms growing alongside and into each other, thus producing a dance-concert and concert-dance in which neither form shall dominate the other.

The work shown at Monodrama Festival Luxembourg is a first research performance.

Photographer Credit: Julie Freichel

Friday, 15 June, 19h , Banannefabrik Luxembourg

More information on: http://fundamental.lu/de/festival-2019/monolabo-mosaikgleiche-augenblicklich-keiten-skizzen-zu-ligeti

Image: Julie Freichel