Financial activist Brett Scott calls on people to explore the financial system, jam it and build alternatives so we have an answer ready when the next financial crisis hits. This is a lecture in the Bank2Basics series powered by FairFin.
PERFORMATIK 2015 - Hans Ulrich Obrist, co-director of Serpentine Galleries London and internationally renowned curator, will talk to arts critic Piter T'Jonck about his experience with curating live art.
PERFORMATIK 2015 - Art and literature were frequently partners in crime, especially in the avant-garde movements, but they now seem to have gone their separate ways. Is there still some common ground? Gilles Collard (Pylône) discusses this with curator Hans Ulrich Obrist (Serpentine Galleries Londen and author of The Interview Project) and Donatien Grau (Oxford University and author of The Age of Creation).
This season the UCL is setting up three NightShops at the Kaaitheater: these are debates on the topic of conflict. The second episode is about human behaviour in conflict situations: from resistance and human solidarity to extreme violence and barbarism.
There are quite a few yawning gaps these days: that between those with wealth and those without, between those who are on board and those who are excluded, between the salary of the CEO and that of the worker, etc. A debate on a pressing issue, involving several specialists and taking as its motto ‘Change the world, it needs it’ (Bertolt Brecht).
For Built to Last, choreographer Meg Stuart invited music dramaturge Alain Franco to collaborate with her. In this talk, Franco explains his non-chronological selection and juxtaposition of music for the production. He gives his personal view of monumentality and stability in society and in music.
For the third Night of Brussels Knowledge, the Brussels Studies Institute will once again bring together dozens of researchers and philosophers to share their knowledge of Brussels with you. The central theme this time is: sustainable urban development. There will be witty presentations and lively discussions interspersed with short performances by Brussels artists.
Jan Decorte is creating his second piece of dance theatre. A meeting of four people, an extraordinary love story. No rigid grammar of dance, but the anarchy of movement, the faltering beauty of failure.
Theatre maker Wajdi Mouawad engages in an open dialogue with the mayor of Brussels, Yvan Mayeur and Lukas Pairon (Music Fund). Béatrice Delvaux (Le Soir) will eavesdrop on this unprecedented encounter, a first in a series of three Night Shops organised by UCL.
We're saying goodbye to the old season and hello to the new. And we're doing it with a festive evening. We start with a short introduction to the programme for season 2013-14 by Guy Gypens and Katleen Van Langendonck.
To commemorate the 10th anniversary of the invasion of Iraq, the Kaaitheater and the BRussells Tribunal are organising a discussion between the Iraqi writer Haifa Zangana and the lawyer Sabah Al Mukhtar. The host is Lieven De Cauter, the moderator is Werner Trio. A musical intermezzo by the qanun player Osama Abdulrasol will be followed by the presentation of the BRussells Awards for Resistance and Solidarity.
While you get a bite to eat, Pieter T’Jonck will talk with Superamas about their work and what inspires them. The Superamas French-Austrian performer collective combines theatre and dance with elements from the media and entertainment, art and politics.
Filmmakers Olivia Rochette and Gerard-Jan Claes watched the world-famous Ballet de l'Opera National de Paris during the rehearsals and performances of Rain by Anne Teresa De Keersmaeker. A poetic documentary about searching, looking and doubts, in the sometimes claustrophobic setting of the opera house. The screening will be followed by an aftertalk with the filmmakers and Anne Teresa De Keersmaeker.
In the book Are we here yet? Meg Stuart reflects on her own practice in dialogue with Jeroen Peeters and several past and present members of Damaged Goods. It links together significant moments from Stuart’s artistic career by means of reflections on creation, performing, improvisation and dramaturgy. In addition, the book includes illustrations, documents and performance scripts, as well as an actual guide with exercises.
With Boris Charmatz we shall be discussing the grand master of postmodern dance, Merce Cunningham (1919-2009). In the bar we shall be showing a documentary by his close associate Charles Atlas, and an experimental short film by the American video artist Nam June Paik.
Vincent Dunoyer has danced for Wim Vandekeybus, Anne Teresa De Keersmaeker, Steve Paxton and others. How does all this choreographic material lodge in a dancer’s body? Dance critic Jeroen Peeters will talk to him about the body’s memory.
A talk by Christel Stalpaert on Vaslav Nijinski (1890-1950), the Russian dancer and choreographer who created trail-blazing choreographic works to Stravinsky’s Le Sacre du Printemps and Debussy's Prélude à l'après-midi d'un faune.
In Lutz Förster, the French choreographer Jérôme Bel will be bringing Lutz Förster to the stage, one of the dancers of Pina Bausch’s Tanztheater Wuppertal. Förster will review his career as a dancer with Pina Bausch, Susanne Linke, the José Limon company and Bob Wilson.
The Kaaitheater dramaturge Marianne Van Kerkhoven will be talking to the film-maker Eric de Kuyper about the work of Pina Bausch (1940-2009). We shall be showing the documentary Un jour Pina a demandé (1983) by the Belgian film-maker Chantal Akerman in the bar.
Today millions of people are fleeing from the consequences of global warming. Nevertheless, no start has yet been made on developing any international policy. This debate centres on the social and humanitarian components of climate change and allows prominent speakers to talk about what needs to be done.
In her new choreography Do Animals Cry, Meg Stuart and her dancers explore the cultural militia called family. On stage, we see a number of characters in slippers and pyjamas: a family – is it a family? – that calmly becomes disagreeable. They muddle about in various poses: father, mother or child. No one needs a fixed role: without being asked, each of them glides in and out of family portraits.
'The humour of Do Animals Cry is so refined it would soothe anyone's pain. It is Stuart's most intimate and emotional piece so far. ... A razor-sharp comedy.' (Ballet-Tanz, October 2009)
Bert Bultinck (newspaper De Standaard) will talk to Frank Berberich, the chief-editor of Lettre International, an cultural periodical, with sister editions in Italy, Romania, Spain, Hungary, Denmark and Russia.