WORKING TITLE FESTIVAL — Kasper Vandenberghe climbs on a scaffolding clad in a protective suit and then drops down like a rock. It is calculated recklessness. It is a poetic search for how vulnerable we can still allow ourselves to be and how we can understand vulnerability as a force. It is dancing on the loose rope between two deeply human desires: the desire for balance versus a bottomless leap into the unknown.

WORKING TITLE FESTIVAL — Hidden at the basement of workspacebrussels, lies Kosi Hidama’s atelier. Occupying the space over the past few years, his work slowly started invading all the other spaces of the building. With Garden of solid subtleness Kosi will create an interior summer garden with the ceramics he produced at his basement atelier, in combination with subtle sounds. The artist invited his friend Misha Downey to work with him on this pottery landscape.

Dance and choreography leaves traces on your body, and they are often physical and concrete: growing muscles or the trauma of injuries. But the repetition and memory of movements also leave traces. The choreographies of the past continue to dwell in the dancer’s body. In the solo Body of Work, Daniel Linehan explores these traces in his own body.

body as oracle, a trance, a rhythmic interface, an atmosphere, a landscape with the texture of my current mental state. a dance informed by everything and everyone i have ever encountered, seen, heard, felt, been beside that has become part of me, as i try to identify my own voice. and then see if i can stand it. nothing ever really goes away.

The School of Speculative Documentary is an interdisciplinary space for encounter that seeks to question the documentary act. Creators take the floor to discuss uncertainty and guesswork, to confront the unfixable holes in their work and the messiness of reality.

104,5° is the angle formed in a water molecule, between the two hydrogen atoms, and the oxygen atom H-O-H. The Breadth of 104.5° is the umbrella title over an ongoing series of works by the artist, dedicated to exploring the ideas and notions around the essentiality of one of the most, if not the most, important element for the existence of life as we know it.

Sorrow Swag is the first part – in blue – of Ligia Lewis’ triptych that deals with race and representation. She meticulously creates a hybrid body that is in constant flux. Towards the end, the body transforms into nothing more than a mouth and an unrelenting scream. Earlier this year, Lewis made a big impression at WoWmen!18 with minor matter, the second, red instalment of this series.

In her debut Brit(ish): On Race, Identity and Belonging, author, journalist, and human rights activist Afua Hirsch has written a subtle personal history that also sketches the history of a country. Who can and may appropriate British identity?