In the performance ‘buren’, we combine installation, video and performance. The videos portray women doing certain gestures that stem from daily activities. They reflect on how women are depicted in art history, contemporary art and in our society. The performance is a combination of tutorials, house tours, advertisement, etiquette and games, all with a great deal of care. The result is an installation that refers to domestic architecture, a constantly changing scene in which videos are shown and where the scenography is a performance.
working together with a video designer and a composer, sweat baby sweat becomes a work in which composed music and projected text take an important role next to the moving composition.
departure point is again the most cliché theme ever: a relationship between a man and a woman. by adding love song lyrics and by moments even mellow music one would expect a very theatrical approach, but the contrary is true.
Siet Raeymaekers - Nature Morte à la Madame May (2011)
Siet moves through the various physical stages that occur after death – from palor mortis to putrefaction. The stage is bare with only the projection of a rubbish tip on the back wall. Siet takes her position in front of the screen and becomes part of the scenery as she performs as the flesh and bones of Madame May, once a femme fatale, now just leftover chicken…
In Toestand a woman (Kristien De Proost) takes a good look at herself. She analyses herself with detachment and reveals herself in all sincerity to her audience. She promises to be objective and to confine herself to the facts. External features can be verified. But is this not an illusion? Doesn’t the truth lie precisely in what she does not reveal?
from K, a Society: Ten installations are displayed at one or more locations: with film images, objects and ‘situations’. The only living person involved is a guide who leads the audience from the one place to the other. K, a Society shows aspects of a society that is very similar to ours: it consists of a series of images in which trends that are found in our world are ‘translated’, blown up or brought to the surface. They are ‘de-pict-ions’ of characters we recognise from the real world. Characters who are also linked to the figures that populate Kris Verdonck’s earlier work.
Bissy Bunder is an international interdisciplinary artist collective based in Antwerp, Belgium. Through performances, installations, film and music, Bissy Bunder creates its own universe, at times disturbing and dramatic, at times comically rich in stereotypes and traditions. The group blends historical facts with zeitgeist topics and popular culture, always in their own über visualized imagery.
In En Atendant, Anne Teresa De Keersmaeker is taking a new step in her exploration of the combination of music and dance. After Bach and Webern in Zeitung, The Beatles in The Song and Mahler in 3Abschied, this time her starting point is the Ars Subtilior: a complex and intellectual form of polyphonic music from the 14th century that is based on dissonance and contrast. Ars Subtilior developed on the ruins of the plague and the Church at a time when the social, political and religious pillars of mediaeval society were fragmenting. Nowadays this upheaval seems more relevant than ever. In the light of today’s increasingly confusing events and the complexity of the choices we face, the question of our mortality and physicality is becoming ever more crucial.
Alÿs visited Lima in 2000 just before the collapse of the Fujimori government and found ‘a desperate situation that called for an “epic response”, at once futile and heroic, absurd and urgent.’ He returned in 2002 to organise When Faith Moves Mountains, persuading 500 Peruvian students to walk in a line up a sand dune on the outskirts of the city, digging as they went, thus displacing the dune by a few centimetres. The action – Alÿs’s most visually spectacular to that date – was filmed from various positions and the images were subsequently used on postcards, whilst the artist also encouraged the spread of news of the work through rumour and myth.
The work of Daniël Dewaele is made up of installations, performances, interventions, videos and photos. In spite of the wide variety of media and styles that he has used over the years - he started at the beginning of the seventies - his work is characterised by the homogeneity of the content: his work is the result of an ongoing quest for essential art and its relevance to society.
In september 2009, Peter Missotten directed ’KEPLER’ - a new opera by Philip Glass - for the Landestheater Linz and Linz09. He was also responsible for the rather radical stage design. The perpetual movement of the planets is transformed into a perpetual evolving stage in which the outside world profoundly influences the actions of the singers.