Upending the classics seems to be the theme this year for the multidisciplinary artist, who embraces a state of in-betweenness both in terms of personal identity and in the mediums of her projects, which variously include filmmaking, performance and installation. Over the past five years she has been scandalising conservative critics and audiences at the stately Swiss theatre Schauspielhaus Zürich in her role as a guest director by staging avant-garde updates to canonical works including Orpheus (2021), Pinocchio (2022) and The Tempest (2024), while increasing gender and racial diversity in the productions. (The magnificent Moby-Dick; or, The Whale, 2022, a silent film retelling Herman Melville’s novel, premiered there, and has since travelled the world to acclaim.) Together with her longtime collaborators, the open collective Moved by the Motion, Wu closed her stint at the Schauspielhaus with a hybrid operatic-theatrical take on Georges Bizet’s 1875 Carmen. The show received mixed reviews – but judging by the upcoming touring schedule of Wu’s projects, she’ll be keeping busy.