Petr Hastik and Montserrat Gardó Castillo have been working together since 2013. Both are graduates of the conservatories in Barcelona and Prague and studied at the Folkwang University of the Arts in Essen. Montserrat Gardó Castillo also has a degree in journalism and is currently studying for a master’s degree in humanities and contemporary art, while Petr Hastik has a degree in dance pedagogy. As performers, they have collaborated with NEUER TANZ/VA Wölfl, Heiner Goebbels, Tino Sehgal, Gintersdorfer/Klaßen, Ben J. Riepe, Alexander Giesche, Costa Compagnie, Ted Gaier, Alexandra Pirici, Cielaroque/Helene Weinzierl, Reut Shemesh and SEE! among others. They have been guests at the Münchner Kammerspiele and have performed at festivals and theatres such as Tanzplattform, Tanztheater International, Favoriten, Tanzmesse, Ruhrtriennale, Manchester International Festival, Venice Biennale,  Skulptur Projekte Münster, Julidans, Tanz im August, Kunstfest Weimar, The Armory (NY) Théâtre de la Ville (Paris), Beursschouwburg (Brussels), Stedelijk Museum (Amsterdam), HAU Berlin, Festival Ciudad de Mexico, Festival Montpellier Danse, Teatro Maria Matos in Portugal, Théâtre National de Bretagne, or Pavilion Noir in Aix-en-Provence.

They are currently working on their new production No Man’s Sky in collaboration with the FFT Düsseldorf, which will premiere in January 2024. They have developed the series: BRUTOLOGY. A sacred space is never empty, BRUTOLOGY. The built, the unbuilt and the unbuildable (2022), and BRUTOLOGY. An online Roadmovie (2021), in co-production with Emscherkunstweg/Urbane Künste Ruhr and FFT Düsseldorf, and the online trilogy Ruin Lust (2021), about brutalism, hauntology and nostalgia. In the same year, they presented The Future Concert in collaboration with the musician Nicolás Kretz (tanz.tausch festival). In 2020, they produced the video Borrowed Nostalgia, presented at the symposium ON/LIVE, at FFT Düsseldorf and on Terrarista TV. In 2020 and 2019, they developed Make us great again, a research on collective memory (with the support of the Goethe Institute, the NRW Kultursekretariat and FFT Düsseldorf) and in collaboration with Nicolás Kretz.

In 2018, they produced The Future was us in co-production with the FFT Düsseldorf. They were granted a Dance Research Residency by the Goethe Institute in Seattle (USA) that same year. In addition, they created The Pumping Piece (Tanzhaus NRW and tanz.tausch Köln) and the video #BODY (2016), awarded by the Kulturrat-NRW and presented at the SIMULTAN Festival 2019, Tanzplattform Essen, Tanzmesse NRW 2018, Festival Move!, or Hungry Eyes Festival (2018), amongst others. In 2015 they presented the site-specific: The Fantastic 2 (Essen) and in 2014 the video Volvo-rine (in Sofia, Bulgaria), in collaboration with Blanca Noguerol (Tanztheater Wuppertal). Before collaborating, they had worked separately on pieces presented at certamen coreográfico de Madrid, at PACT Zollverein in Barcelona, Tillburg, Wuppertal, and various Czech dance festivals.

In the 2021-22 season, Montserrat Gardó Castillo has been curating the series: Politics of Invitation at FFT Düsseldorf together with Monika Gintersdorfer and Annick Choco. In 2017, she was selected for the Choreographic Dialogues of Pact Zollverein. Petr Hastik was guest choreographer at the 2020 edition of “4 + 4 days in Motion” in Prague. With the support of the Instituto Cervantes and the Goethe-Institut, they were both guest artists at the “180°-Festival – Laboratory for Innovative Art” in Sofia (2019 and 2020).

Our  Work

Our work addresses invisible choreographies through impersonation and the presentation of ready-mades.

We use reenactment and documentary methods to question the construction of truths, myths and collective perceptions.

In the early 1980s, Michel Foucault wrote that in the face of institutional and state violence and of massive and ideological pressure, the central question of our time remains: “Who are we?”

Our practice is based on close observation and an intensive examination of the subject.

It has been said that CAMP is a social practice that rediscovers the waste of history and disrupts the common sense of esthetic attributes such as beauty, value and taste. We both grew up in front of the TV in the 90s and consider pop culture as an important signifier to understand our representation and production of reality and identity.

We are interested in biographical and collective memory.