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!
In their performances, author and artist Romy Rüegger and electronic music performer Deena Abdelwahed reflect on ways of personal entanglement with the world and its politics, including the interpretation of history as part of the present.
Maarten Seghers looks for a confrontation with the artists, musicians and dancers Fritz Welch, Simon Lenski, Nicolas Field and Mohamed Toukabri, for whom he wrote an invocatory song about the noisiness of comforting.
Charlemagne Palestine is unleashing his strumming technique on the Bösendorfer Imperial: a piano that covers eight complete octaves. His instrument looks like a sculpted altar made of cuddly toys. He elevates these to divine creatures or shamanistic totems that are always close by.
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.
Inspired by an old map of the Middle East – which clearly shows how many cross-border train connections there once were, Dictaphone Group went on a research mission along the entirely disused railway network in modern-day Lebanon. Nothing to Declare is about the meaning of borders within Lebanon, borders with the neighbouring countries and borders in the Arab world.
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.
Four big screens show a busy street in Jerusalem’s Old Town and the everyday situations that take place there. You hear a voice-over in which Western expats informally – and occasionally even brashly – talk about a culture that is foreign to them.
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!
In this video installation, Els Dietvorst allows the residents of a small Irish fishing village to speak. The pressure caused by European fishing quotas threatens the village’s survival. Dietvorst sets the deeply human individual stories against the backdrop of the wider European political and economic situation.
Syden means ‘South’ in all the Scandinavian languages. It evokes a Southern holiday destination: warm, cheap and with every amenity. The musician and composer Niko Hafkenscheid, the visual artist Hedvig Biong and the film-maker Pablo Castilla explore the mystery, authenticity and perversity of this parallel universe.
During the last Insight evening, Andros Zins-Browne is opening a one-night exhibition with work by six video artists. They focus on the real versus virtual worlds, and how political leaders use images to manipulate our concepts of freedom.
The ethical standards with which we treat animals have been the subject of considerable research. But are animals also capable of political action? Philosopher and animal theorist Fahim Amir tells surprising stories about the role of animals in the history of humankind.
In Rabih Mroué’s video The Pixelated Revolution, a Syrian man uses his telephone to film a sniper shooting him. Smartphones have an unmistakeable revolutionary and commercial potential, but where are the obstacles?
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.
Next season the pianist and conductor Alain Franco, well-known from his work with Ictus, Rosas and La Monnaie, will be performing Bach’s Wohltemperiertes Klavier. But he is giving a try-out of the concert this season, so that you can already hear a selection of favourite passages from the two books of this work, together with several other works.
In this programme Capilla Flamenca presents twelve typical works from the Ars Nova repertoire (fourteenth century), as well as several secular works by Guillaume de Machaut, the absolute master of the Ars Nova. In compiling the programme Capilla Flamenca was inspired by the beautifully illustrated zodiac which Jean de Berry commissioned the Limburg brothers to paint.
The director Josse De Pauw, screenwriter Marc Didden and musician Roland have set up a project for Het Toneelhuis based on the beat poets: Burroughs, Kerouac, Ginsberg and other distinguished kindred spirits. It is the portrait of an era and a wild generation. The performance is a cross between a reading and a concert. In addition to actors there are guest appearances by writers and musicians every evening.
The musical expression of an obsession is perhaps the best way to sum up Jakob Lenz, an opera by the German composer Wolfgang Rihm. It is based on the short story by Georg Büchner about the schizophrenic poet, Jakob Lenz. Rihm’s passionate music is played by the Beethoven Academy and sung by members of the Teatro Colon chorus from Buenos Aires. The soloists are Hagen Matzeit, Lorenzo Caróla and Marek Gasztecki. Caroline Petrick is the director of this Muziektheater Transparant production.