They make a connection with the audience which is different from habitual scenic practices although there's nothing spectacular going on in the performer/audience relation. However their deeply personal vocabularies of movement, which draw inspiration from the choreographies of German expressionism, Pina Bausch, butoh and which often makes extreme demands on the performers' physical capacities and the mental attention of the audience, can create a hypnotic effect. Simply, it's an expression of a sliding veracity, sliding in the mutual trust that makes any narrative flow superfluous.

One of the intentions of their work lies exactly in diminishing the rhetoric field of the performance to the profit of strengthening the internal vibrations that the spectator recognizes in their therapeutic movements. In that sense, the work of Goat Island is an exemplary iconoclasm but also deeply socially calm.
The themes of their performances vary from historic to contemporary, accentuating the private, and symbolically dispersed, sometimes with surreal initiations. They situate their performances into non-theatrical space whenever possible. Their work is at the same time a priori dictated, but also as if opposing any finalisation. They are known for their unique process of composing elements of movement, dance, para-theatrical scenes and spoken text as an integrated whole.

Over eighteen years they have toured to many parts of Europe and North America, and this year for the first time they will be at the Venice Biennale.

They first appeared at Eurokaz in 1996 with the performance How Dear to Me the Hour When Daylight Dies, and then 1999 with Sea and Poison, while in 2001 they presented It's an Earthquake in My Heart. For their fourth visit to Eurokaz they will present the performance When will the September roses bloom? Last night was only a comedy - a double performance.

This performances starts with the question, what does it mean to repair? How and why do we repair? The work on the performance started with analyses of the 1928 silent western film by Victor Sjöström The Wind, and then the field of interest widened towards the time-space patterns of the Fibonnaci spiral sequence, the poetry of Paul Celan, the philosophy of Simon Weil, and finished by researching the history of studying alphabet in America and a wide range of household repair manuals.

The performance questions our place in a damaged world and our capacity to repair it.

The performance is conceived as a happening that receives its full shape by being followed over two nights, although it works on the basis that a spectator may only see one performance, so each evening offers a unique and full experience. Each of the two versions is composed by an identical scenic material, but dispersed in different sequences, and only one smaller part is stable both evenings. The dynamic structure of the performance in that way supports the theme of the performance - repairing; in this sense seen as a row of modulations.