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You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning. 

The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again… now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the

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Sara Manente

MOLD SPILLOVERS

Beyond the Black Box

MOLD SPILLOVERS are a series of gestures molding different situations: a casual picnic, an unexpected catwalk, a handbags collection, a composting exhibition, some blue waffles or a few mycelium sculptures.

These spillovers precede and follow the creation of Sara Manente’s dance performance MOLD. Coming from the process of a dance piece performed in the theater, these gestures reflect on the possibility of contamination in other contexts: spilling over the interstices of a festival palimpsest and architecture, the walls of a museum or an institutional timezone. An exhibition of ruins composting into fertile materials, ferments digesting, mycelium networking and choreographies overflowing.

You can read more about Sara Manente’s dance performance MOLD ...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

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Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

In this promenade performance incorporating dance, immersive choreography, sculpture and sound art, Vera Tussing and collaborators ask: What comes before touch?

Our sense of touch is interwoven with desire, fear, disgust, comfort, pleasure, danger. Tactility is by definition a complex phenomenon, defining our relations with each other and the world – but so often going unexamined. Because it’s so loaded with meaning, touch requires careful negotiation. And because everyone comes with their own history of touch – which can include training, practice, memory, and trauma – the ‘before’ of touch needs to be always lived afresh, carefully considered and reconsidered with each new encounter.

Three dancers (Helen D’Haenens, Raphael

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Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

En reconnaissance merges choreography and sound in a performance that creates a space to experiment with what separates, links and moves us as individuals and as a group. Giving room to what is present, to every thing that is present without establishing a hierarchy between what is considered human and non-human.

In this new creation, Gaëtan Rusquet seeks to question the way we situate ourselves in relation to the other and to the group. En reconnaissance is an attempt to ritualise our desires for connection and detachment. It investigates our dynamics of participation and rejection by proposing a space where the political and the intimate meet.

...

En reconnaissance merges choreography and sound in a performance that creates a space to experiment with what separates, links and moves us as individuals and as a group. Giving room to what is present, to every thing that is present without establishing a hierarchy between what is considered human and non-human.

In this new creation, Gaëtan Rusquet seeks to question the way we situate ourselves in relation to the other and to the group. En reconnaissance is an attempt to ritualise our desires for connection and detachment. It investigates our dynamics of participation and rejection by proposing a space where the political and the intimate meet.

...

Myriam Van Imschoot + HYOID + WALPURGIS

newpolyphonies rewired

In newpolyphonies rewired the presence of sound is contagious, stirring the air and wobbling wave-patterns to the point of sweet vertigo. Among 20 little loudspeakers the listener surrenders to an ever-changing journey, where elastic landscapes arise before they sink back under the skin.

As always in the work of Myriam Van Imschoot all the sounds in newpolyphonies rewired are made by the bare human body and voice without technical added effect, as surprising as it might be. This time the singers attune their polyphony to the traffic of airplanes and the drum of insects beyond points of recognition of what is individual and what is collective, human or machine.

The sound installation of Myriam Van Imschoot and HYOID voices, developed with WALPURGIS, is based on the recordings

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Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.

Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.

Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d’études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light

...

You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning. 

The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again… now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the

...

In All Watched Over by Machines of Loving Grace, Ezra Veldhuis and Bosse Provoost address the theme of freedom and unfreedom in relation to technology, by staging Richard Brautigan’s 1967 poem of the same name.

Brautigan’s poem depicts a cybernetic garden of Eden, an idyll in which machines will free us from work. Anno 2022, we may read this poem very differently than Brautigan intended at the time. When we think of technology in relation to freedom, Big Tech and surveillance technology dominate our imagination. We seem to be at the service of technology, rather than technology providing us with essential freedom. Does that mean Brautigan’s dream is dead? Are we already living in a totally perverted realization

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