Can light be a compositional building block? The Liquid Room Series radically questions the classical concert model. The audience is free to move around among the various stages set up in the dismantled hall of the Kaaitheater. Immerse yourself in a pure experience of sound and light!
Trajal Harrell explores a moment in dance history when female artists presented performances on the boundary between entertainment, erotic dancing, and early experiments in modern dance. CAEN AMOUR is structured as a hoochie coochie show. With a seductive performance, scantily dressed ‘hoochies’ lure you around to the backstage area, to reveal the festivities on the ‘coochie’ side.
Choreographers Felix Mathias Ott and Bahar Temiz are fascinated by a movement language that shifts between intimacy and sheer violence. How does a performance creates its own stage, its own beginning, its own onlookers on the verge between violence and tenderness
Caspar Western Friedrich combines the narrative force of the Western with the dreamy longings of Romanticism. Drawing his inspiration from the lonesome cowboy and from the paintings and personality of Caspar David Friedrich, Philippe Quesne builds a studio of landscapes on stage.
What would hell look like today? The 500th anniversary of the death of Hieronymus Bosch, made Vasco Mendonça, Kris Verdonck and Dimitri Verhulst think. They quickly arrived at the beaches of Lampedusa: a place where while tourists were sunbathing refugees were washed up on the beach. The false paradise of the resorts and the Boschian hell on earth seamlessly flow into each other.
Marc Vanrunxt creates a dance performance based on the work of the solitary Lucien Goethals, pioneer of Flemish electronic music. The result acts as a journey through time, towards what in the 1970s was still the music of the future, and which quite possibly still sounds like that now.
This brand new production directed by Ivo Van Hove is based on Leoš Janácek’s song cycle that goes by the same name. The result of Janácek’s inspired efforts is a mysterious, deeply emotional and psychological piece on identity, alienation, and an impossible love. Annelies Van Parys – one of the most acclaimed Belgian composers of our time – adds a fi tting contemporary reply.
Based on the Golem myth – in which Jewish scholars bring dead matter to life, which subsequently turns against them – Thomas Ryckewaert creates an explicitly visual performance about ambition, creativity, power, creation, insanity, and destruction.
With an annually recurring city cycle, Moussem’s Nomadic Arts Centre offers an insight into contemporary Arab societies and the dynamic of their cities. Every year, an Arab city is a guest in the capital of Europe. Over the course of this ten-day festival, guest artists, relevant thinkers and cultural players tell the story of their city through their work.
Dancer and choreographer Fumiyo Ikeda takes you on a journey to the heart of Morton Feldman’s Piano and String Quartet. This 80-minute composition for piano and strings exudes an aura of tranquillity, in which ‘each is just as much an echo of the other’. Ikeda shares the stage with the soloists of Ictus, as though she herself were the sixth musician.
Inspired by the hymn Say No!, more than 30 choirs and ensembles from across the world have created their own song about conscientious objection and desertion. All the contributed images and sounds form the material for a video creation, intertwined with a live performance by a huge international choir.
Stef Kamil Carlens was inspired by folk art, rituals, beautiful creatures from European folklore traditions, and early twentiethcentury modern art. Enter into this wonderful world of dance, music, word, costumes, and masks!
Mount Tackle is a movement in three parts for young and old: a 60 minute trajectory, some dance, and an open end. You can leave after one hour or stay. Relax, take the time and distance you need. Maybe walk around, scan and discover or just hang out.
Three singers/performers create a succession of intriguing tableaux vivants. Ivo Dimchev’s stream of consciousness simultaneously appears on the rear wall. He harnesses the power of the voice, extreme theatricality and a whole arsenal of temperament, and goes in search of what opera is and can be.
For his Concertos, the born performer Ivo Dimchev always invites a different musician for a voice improvisation in the form of a concert. At the Kaaitheater, he performs alongside the composer and pianist Lea Petra, who has been highly praised for her tango transcriptions for piano.
A group of twelve performers explores the mystery of pleasure. In a long, sensual movement bodies touch, test, and lose their borders. They vibrate, entering into contact and composition with their environment, forming unexpected constellations. Mette Ingvartsen looks seven concepts of pleasure straight in the eye.
The Middle Ages does not pose the question of who or what we are, but when we are. When is now? Through an exuberant use of costumes and a rigorous study of movement the performance attempts to assume a place and time in which historical references overlap. Five dancers travel through time and the history of movement.
PERFORMATIK 2015 - In his performances, the performer and singer Ivo Dimchev moves smoothly from one mood to the next, from rock star to prima donna. In Operville he develops his own version of the concept of opera. Expect vocal improvisation based on classical music, with several vocalists and performers on stage.
PERFORMATIK 2015 - In his new production Xavier Le Roy creates three situations that make the relationship between the audience and actors less straightforward. The three parts – a lecture, a performance and a concert – are controlled by the loss of a protagonist. The actors and spectators mourn together and this leads to inventions and strange situations…
PERFORMATIK 2015 - In ||| (1) three artists have their own way of dealing with structures. They focus on movement, sound and image and look for the moment at which their actions coincide, run in synchronicity or are phased.
PERFORMATIK 2015 - Visual artist Joëlle Tuerlinckx ventures into new territory and creates an ‘all-round show’ in which she draws from her vast archive. A part of that archive – images she uses to ‘theatricalise’ the world – was the basis of her impressive solo exhibition in WIELS.
Stef Kamil Carlens has a thing about Dada. This concert performance is based on a film reconstructing a Dadaist performance at the Cabaret Voltaire in Zurich, held in 1916. It contains all the elements that are used in Nothing That Is Everything: costumes, dance, music, rhythm, poetry, a confusion (of tongues) and humour. For this new performance Zita Swoon Group is collaborating with Jan Lauwers' Needcompany.
Poet and professor Geert Buelens, is the author of Europa Europa!, a magnum opus on the First World War and European cultural history. On this occasion, he speaks to the highly renowned German historian Philipp Blom (The Vertigo Years and A Wicked Company). Actress Femke Stallaert recites war poems, pianist Thomas Dieltjens and cellist Martijn Vink perform compositions by Frank Bridge.
Ictus sets to work with some exceptional instruments, such as the notorious intonarumori of the futurist Luigi Russolo, and six simantra, percussion instruments used in the Eastern Orthodox Church. Sometimes the audience encircles the musicians, or vice versa. You will hear works by Mauro Lanza, Pierluigi Billone and a 60-minute tour de force by Michael Gordon (Bang on a Can).