CANCELLED! Cry Me A River deals with the complexity of climate change communication and its rhetorics. It plays with the monologue format, focusing in on the multiplicity of talking heads, voices and opinions buzzing around this topic.

Economists, philosophers and artists tackle the blind faith in perpetual economic growth, the all-regulating market price and the neutrality of money. They make proposals for introducing other values and principles into economic reasoning.

What do you do if you win the Lottery and suddenly become a millionaire? In Investment, the renowned performers Davis Freeman and Jerry Killick go through several options: help the local orphanage, buy the ‘right’ shares and earn even more money, help young artists, or simply buy the latest Ferrari. Investment playfully questions the ethics of investing.

For two years the Austrian film-maker Nikolaus Geyrhalter focused his camera on the European food industry to show us what happens to our food before it reaches us. Geyrhalter deliberately does not comment, but allows the images to speak for themselves by focusing only on the monotonous drone of engines. What price are we willing to pay for our daily bread? The Antwerp band DAAU composed a soundtrack for Our Daily Bread and plays this live at the screening.

The American group The Yes Men puts the big shots of this world to shame (the World Trade Organisation, McDonald’s, Dow Chemical, etc.). They create fake websites, publish fake newspapers, speak at conferences, make guest appearances on TV shows and so on. We present their editions of the New York Post and the New York Times and the video The Yes Men Fix The World.

Anne Teresa De Keersmaeker cooperated with the artists Ann Veronica Janssens and Michel François. Three artists who return to their sources and at the same time speak of our chaotic, transforming world. An impressive and radical performance.

We examine the ecological impact of international performing arts practices. How can we link international cultural exchange to sustainability? Is the nomadic existence of so many artists still desirable and tenable? What does artistic life look like after the era of cheap flights?