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.
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.
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.
Every age has its wonders of the world: the impossible that people still manage to build – bigger and more impressive than anything we’d seen before. But how remarkable is the small body that invents and creates all these colossuses? In 7, Radouan Mriziga juxtaposes two benchmarks: the built environment, made to impress, and the ultimate wonder of the world: the human body itself.
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.
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.
A lot of moving parts
How does dance think through Eleanor Bauer and how does Eleanor Bauer think through dance? In this solo, the American choreographer and performer Eleanor Bauer embraces the particularity of dance-thought as synthetic, complex, change-oriented, fantastical, and multi-faceted. She works with the frictions, collisions, translations, love affairs and gaps between dance and language.
A Possibility of an Abstraction
The Dutch artist Germaine Kruip transforms the theatrical space into a ‘field of cinematic experience’. Shadow, reflection, architecture, and stage become the characters in a filmic experience created in the moment itself.
Kris Verdonck / A Two Dogs Company
This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; a video lecture by philosopher and mathematician Jean Paul Van Bendegem; and a performative scenography as a possible landscape for a Beckett text. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.
In her successful production All Ears, Kate McIntosh transforms the stage into a laboratory and recording studio. In the silence between the sound recordings, she asks you questions: who are we when we are alone, and what are we missing in our urge for self-actualization? With disarming flair and presence, she blends theatre, variety, stand-up comedy, science and philosophy.
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.
Karthik Pandian & Andros Zins-Browne
In 2012 Karthik Pandian and Andros Zins-Browne visited the Atlas Film Studios in Morocco. They rented a group of camels, which they tried to coax into dancing in amongst the old film sets. With Atlas Revisited, the artists take a look back at this quest for an image of freedom – with brand new video material.