“Watching people eat is a strange form of aesthetic observation, an activity with an almost monstrous aspect. Dance is absolutely fixated on the ideal of a fragile, ethereal body. A theme which at first sight is as ‘simple’ as it is rich in formal, conceptual possibilities. There is a contradiction which I really like: eating is entirely unspectacular, an almost invisible process. At the same time eating can very quickly appear demonstrative and loaded with symbols: greedily gobbling things down, making a mess of yourself, eating so much you kill yourself like in Marco Ferreri's The Grande Bouffe, eating a banana and emphasising the sexual connotations. So far the banal and thoroughly everyday act of eating has hardly ever been used in choreography. It's basically about making things disappear. It's more a process of disappearance than of showing or presentation.” (Boris Charmatz)

In both his most successful pieces Levée des Conflits (2010) and enfant (2011) dancer and choreographer Boris Charmatz undercuts expectations and laws of form, breaks with routines and works on the extension of choreographic space. In his latest work Boris Charmatz concentrates on a theme which is as timeless as it is topical: Eating. This is linked to an extensive playing field of symbolic reference and complex problems of a global scale: overpopulation, over-production, nutrition, junk food, shortages, restraint and excess.