Xenia Koghilaki works in the field of performing arts as a dancer and choreographer. She holds an MA in “Solo/Dance/Authorship” (MA SODA), from Berlin University of the Arts (HZT-Berlin/Udk) and she has previously studied dance (National School of Dance) and architecture (Technical University of Patras) in Greece. She lives and works between Athens and Berlin.

Xenia puts the body in the center of her research interest, exploring concepts of collectivity, embodiment and belonging in relation to dance and choreography, while her practice focuses on challenging the triptych: power – knowledge – body.

Her work has been presented in Tanztage Festival Berlin at Sophiensaele and Onassis Dance Days (“Bang Bang Bodies”), Berlin Gallery Weekend (Parken ist Bewegung Festival: “Go ‘head baby!”), Studio Alta (collaborative work:“Nudes and Conspiracies”), Arc For Dance Festival and K-Gold Temporary Gallery (“JunkDance”), Breaking Art Performances and Arc For Dance Prime Movers (“From public to hidden”), InProgress Feedback Festival (“Multiple Choice”), ONC#8 Onassis Cultural Centre (collaborative work “Besuch”). As a performer, she has worked together with Kat Válastur for the works Diana Even (HAU, 2022), The FarNear (Bode-Museum, Berlin, 2022) and Strong Born (Tanz im August Festival Berlin 2023); André Uerba (as part of the event series Flutgraben Performances in Berlin); Chto Delat (Fast Forward Festival, Onassis Cultural Centre); and with Porson’s Khashoggi and Hellenic Dance Company, among others.

Her research work has been supported by Dis-Tanz-Solo Des Dachverband Tanz Deutschland, Residenzförderung of Fonds Darstellende Kunste (in collaboration with HAU-Berlin), Goethe Institut Berlin and the Greek Ministry of Culture. She is a Danceweb scholarship holder of Impulstanz Vienna International dance festival (2021) and she has been awarded the Stavros Niarchos Foundation (SNF) Artist Fellowship by ARTWORKS in 2022.


reciprocity, negotiation, relationships

problems, irritations, choices

connections, linkages





and unmaking