Pieter Van den Bosch is literally empowering the opening of the Yves Klein exhibition with a performance tailor-made to Bozar. Just before you enter the exhibition, you witness an event: with paint and explosives, Klein’s heritage becomes a modus operandi for today.
Miet Warlop presents a succession of theatrical vignettes, consisting of physical actions, sculptural props and scenic interventions that artfully cancel each other out on stage. Each scene reveals the immaterial processes that go into the work – using a plastic language. It turns them into a sculptural live event creating a temporary fantasy that begins to crumble in the moment of its completion.
In her new solo – and anagram – oslo, Mette Edvardsen once again plays with language, time and space. She extends the concept of the solo into the entire theatre space, where thoughts, words, things and actions multiply.
Ivo Dimchev is one name that cannot be missed from the Performatik programme: the exuberant performer has never missed a single edition. This time he sets up his first long durational performance at ZSenne artlab. For six days, he explores seven of his favorite creative activities. Pay Ivo a visit and witness his fourteen-hours performance laboratory.
Maarten Vanden Eynde and Alioum Moussa are building a two-part mobile structure, of which one side is the other’s opposite. During Performatik17 they set up shop at Place de la Monnaie, where you are invited to visit them – in pairs – for a discussion about dependence and independence.
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.
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
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.
You and a partner sit side by side in the reading room of Muntpunt. Via headphones and a notebook, a voice gives whispered instructions that guide you through a pile of books. A unique narrative thus unfolds for each duo. It is an intense and intimate hour-long experience – situated among studying students and reading library-users – that brings out the strange magic at the heart of reading.
Ant Hampton decided to step outside the building and beyond the comfort zone of an autonomous art practice, opting instead for an aim of real consquence via a clear demand: break your bubble. This performance-as-assignment for two, gently reveals itself as an urgent and vibrant challenge to audience, artist and art-centre.
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.
In this piece for three dancers, Ola Maciejewska draws her inspiration from Loïe Fuller, one of the pioneers of modern dance and performance art. She explores the relationship in the arts between human beings and physical matter by creating movement in large pieces of fabric. She plays with the confluence of bodies and objects and the battle that these wage.
With In Many Hands, McIntosh dives into a tactile and multi-sensory world. She invites you to test, touch, listen and smell. She turns her back on the stage and opts for a series of sensory ‘situations’ which give you free rein to experiment. Take your time to explore and follow your nose!
In this performance/cookery workshop, Feiko Beckers teaches you some cooking techniques using faulty instructions and impractical utensils. You can be sure that the result will be inedible, but in Feiko Beckers’ world, failure is always a joy!