The skin is the embodiment of a thin line that separates the inner from the outer world. A sensory organ with which we perceive the surrounding world, a rare material. The surface of the body can also reflect what's inside. Our skin is hypersensitive, as is society as a whole – exposed and scared. What does it say about us and what is its value? It can no longer protect us in the world we have created, so we prefer to go through it "with gloves on".

Since time immemorial we have been killing animals to wear their skins on our own. To warm us, protect us, beautify us. We take upon ourselves the responsibility for prioritizing the utility of the surface over the preservation of life within. Over time, the leathermaking craft is dying out. Not because we don't want to continue wearing flexible and tough leather, but because people have been replaced by machines. We don't want to have anything to do with death anymore.

In Glove Concern, human and animal are in an embrace. Which of them is an endangered species and what is actually dying out here? Put yourself in the skin of someone or something else for a moment.

Tereza Lenerová graduated from the Theaterschool Amsterdam. She gained experience as a dancer with various choreographers in the Czech Republic and abroad. With her duet Variable with Einat Ganz, she qualified for Aerowaves Spring Forward. For other experiments, she co-founded the space Truhlárna, where she created her most successful solo to date – Swish, which was awarded the main prize at the Czech Dance Platform and received a number of invitations to prestigious festivals abroad. Her next work Don't Stop is part of the Aerowaves Twenty21 prestigious selection. In 2021, she introduced the choreographies dis pla y, which she created together with Jitka Čechová and which received Czech dance platform award 2022, and There Is a Sense of Being.

Andrea Miltnerová is a British dancer and choreographer of Czech origin, based in Prague. Her contemporary dance solos Dance of the Magnetic Ballerina (Aerowaves) and Tranzmutation (European Move-Award quality label) have been presented to critical acclaim at numerous festivals and theatres throughout Europe. Her deep interest in the baroque led her to collaborate as a director and choreographer with a number of early music ensembles. As a dancer she regularly worked with French choreographer Françoise Denieau, performing throughout France, including Opéra Comique and Opéra Royale and in Luxembourg, Lausanne, Seoul, London (Barbican), Moscow (Bolshoi) and New York (BAM).

Jitka Čechová is a graduate of the Duncan Centre Conservatory (2017). As part of her studies, she participated in a dance internship in New York City (José Limón Dance Foundation Professional Certificate Studies Program), several research study programs in contemporary dance (in Belgium and the Netherlands) and a research stay in China (CEEC Summer Dance Camp 2017) focused on classical Chinese technique, kung fu, performance and choreography. In 2022, she graduated with a Master's degree in Performing Public Space at Fontys School in the Netherlands. She is the co-creator of performance dis pla y, which was awarded the main prize of the Czech Dance Platform (2022). She has participated as a dancer in projects such as White Piece (ch.: Sofia Krantz), Pulsar (ch.: Michal Záhora) Provoke-self! (author: Michal Nikodem), Rotas Afora (ch.: Flavia Tapias) and There Is a Sense Of Being (author: Tereza Lenerová), Glove Concern (author: Tereza Lenerová), Fairy Tales (POCKETART).

www.lenerova.com

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