Must palaces always signal the end of an era? When Ludwig II built his peacock throne in the so-called Moorish Kiosk, he only had nine years left to live, when the GDR finally finished its palace, it was far past its zenith and on a downward spiral to the end of a system, and shortly after a monument was erected to the Dong Xian Center – at least as a model on the Gorki stage – it closed its gates for months. Ersan Mondtag and his ensemble interrogate the ruins of the past and the present to create a renewal. But how does that work really? When the guests can't come, the songs can't play, the party can't take place. Benny Claessens, Kate Strong, Orit Nahmias and Cigdem Teke wait, think, dance and chat with their colleagues – about the absent, the power of the new, art, the patriarchy. Because why does it always have to be about the individual?