Mette Ingvartsen aims to explore and expose the fact that pornography has rooted itself deep within our society. In the fourth instalment of her Red Pieces cycle, she mixes physical actions with narrative passages, presenting you with a veritable mental choreography. She again holds up her magnifying glass to sexuality – resulting in an extraordinarily intense production.
Two female bodies entwine until they become only one. Or three? Or… none? Where does a body actually begin? A clear question resounds in this duet that both refers to the tropes of the genre but also transcends them. What does it mean nowadays to be two together?
Radouan Mriziga explores polyrhythm, a bass rhythm in African music. By looking for the social equivalent of this unusual harmony, this exercise for two dancers reminds us of the necessity and value of difference in the creative process.
Meyoucycle sounds like ‘musical’ pronounced in a strange accent. Along with composer Chris Peck and four Ictus musicians, Bauer blends together all the ingredients for a musical, producing a completely new, hybrid genre. The piece is about you and me and everything in between. That’s right, a me-you cycle.
In an attempt to create a new culture, Michiel Vandevelde has armed himself with music videos and advertisements. Dancer Bryana Fritz distils them in an intimate, explosive and at times Lynchian dance solo. Like an invisible presence, Vandevelde directs the light and sound.
In his latest performance, Benjamin Vandewalle is again accompanying you into the city. He takes the lead in a series of purposeful actions: some are banal, while others are completely unconventional. You leave as a group of individuals and gradually transform into one collective body.
Continuous interaction between the performers and audience is rooted in an implicit understanding. Along with your fellow audience members, you delineate the stage in an ellipsis: this is a dance of touch. Join the performers in this adventure to discover what it means to experience tactility!
Every age has its own wonders of the world. An idea of the impossible that gets built anyway, bigger and more impressive than anything that preceded it. In 7, Radouan Mriziga juxtaposes two benchmarks: the constructed world, built to impress, and the ultimate wonder of the world, the human body itself.
A sudden and uannounced event can change the colour of whatever went before. unannounced – a performance for six dancers – plays with the way your focus shifts when a sudden apparition suddenly changes your perspective. The creators zoom in on the deep dark shades of the black box to look beyond the surface of the here and now. The anticipation of what is to come echoes the afterglow of the past.
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.
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.
What does being together mean in 2016? Vera Tussing investigates the issue in a cheerful but destabilizing performance that both questions and reinforces the concept of ‘community’. Time for a reassessment of physical contact in this digital age!
Saving and processing the daily tsunami of information is a time-consuming occupation. Based on this fact, Michiel Vandevelde analyses the role of thought. With an exuberant choreography full of re-appropriated dance, fragments of text and bizarre music, he articulates a critique of our time, carefully searching for new modes of thought.
What happens when Shakespeare’s rhythmic and poetic visual language becomes dance? Golden Hours (As you like it) – an encounter between Brian Eno and Shakespeare – draws you into a mildly ironic world, where the characters speak a language that doesn’t need deciphering to be grasped, yet isn’t pantomime.
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!
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.
Mette Ingvartsen explores the way in which we deal with our bodies and sexuality today. She leads you through videos, performances, books, films, movements, text and image and thus brings history back to life.