Jan Martens - sweat baby sweat (2011)

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.

(site)

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…

(Waxy Pith)

Tristero - Toestand (2013)

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?

(Kaaitheater)

Filip Francis - Scores for Tumbling Woodblocks (1975)

Domino-like, calculated instability rendered as a moment of geometric perfection.

(Extra City)

Bissy Bunder - Hendrik’s Heimat Frikaphon (2008)

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.

(site)

Anne Teresa De Keersmaeker - En Atendant (2010)

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.

(site)

(video)

Simon Allermeersch - Jabberwocky (2010)

(extract)

Francis Alÿs - When Faith Moves Mountains (2002)

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.

(Tate)

Daniël Dewaele - Untitled (1979-83)

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.

(BAM)

Peter Missotten - Kepler (2009)

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.

(site)

Peter Verhelst - Aankomst van de walvissen (2010)

Photography by Kurt Van der Elst.

(site)

Lawrence Malstaf - Shrink (2010)

DD: What do you enjoy about exhibiting the human animal as a living artwork?
Malstaff: The reasons I do the things I do are quite abstract. Obviously, this work has a certain energy to it but it’s only when the visitor comes in to see it that it gets a narrative. Chiefly, it’s about adaptation, and how that works in what you called the human animal. I am fascinated by the fact that our human nature is always about adapting to new environments, but also that somewhere along the line we started to adapt the environment itself rather than ourselves, with the industrial age and so on. Maybe in a couple of thousand years we will completely lose this ability for adaptation, and we will actually physically make something if we feel the need to ‘adapt’ rather than let nature simply change us.

(Dazed Digital)