The artist and theatre-maker Kris Verdonck quite often combines his fascination with machines with images and concepts that owe a lot to science fiction. This certainly applies to the three-part Actor #1.

The first part, called Mass, shows an odd, poetic landscape in which chemical and physical processes are taking place. A landscape of constantly moving sculpted mists.

In Huminid, we are addressed by a creature that can be called part human and part doll. The actor Johan Leysen is not physically present, but has lent his voice and face to the doll.

In Dancer #3 we see a robot trying to stand up straight; he always falls down again, but never gives up. He endures this process of trial and error cheerfully and indefatigably. His energy and clumsiness display the optimism of a clown who’s always tripping over.

Actor #1 is about evolving: about what has come into being, what is, and what may come into being. Three variations on the metamorphosis from chaos to order.

The three parts of the performance are shown in separate rooms at the Kaaistudios.

Homo sapiens is an intriguing stage experience created by Wolff.
It balances on the borders between dance, theatre and installation.

TRAILER

‘Zanahoria’ is a lecture about the proverbial carrot one holds in front of a donkey in order to make it move. For the follow-up of their cult-hit ‘Chuck Norris doesn’t sleep, he waits…’ (2007), Bryssinck & Peeters (at that time still with Danai Anesiadou) went searching for the ‘ultimate image’. This image would on one hand have to represent the trio and on the other be the perfect translation of their wildest imagination. They asked other artists to guide them on this quest, hoping that in this way unexpected and unpredictable elements would steal into their work, in order to surprise themselves. ‘Zanahoria’ light-headedly tells the story of this quest; a crazy oscillation between hopeful expectation and disappointment, between hilarity and despair, between truth and fiction, and between the dullness of reality and untainted imagination.

‘Zanahoria’ is a lecture about the proverbial carrot one holds in front of a donkey in order to make it move. For the follow-up of their cult-hit ‘Chuck Norris doesn’t sleep, he waits…’ (2007), Bryssinck & Peeters (at that time still with Danai Anesiadou) went searching for the ‘ultimate image’. This image would on one hand have to represent the trio and on the other be the perfect translation of their wildest imagination. They asked other artists to guide them on this quest, hoping that in this way unexpected and unpredictable elements would steal into their work, in order to surprise themselves. ‘Zanahoria’ light-headedly tells the story of this quest; a crazy oscillation between hopeful expectation and disappointment, between hilarity and despair, between truth and fiction, and between the dullness of reality and untainted imagination.

Homo sapiens is an intriguing stage experience created by Wolff.
It balances on the borders between dance, theatre and installation.

TRAILER

The human body is a machine full of animal reflexes and signals. Our spirit drives that beautiful instrument, but what drives our mind?
BIRTH of PREY observes the routines, rituals and the body language between predator and prey.
Who is what, when and why? How do our instincts affect our bodies? How dependent are we of our drives and (how long) can we control them?
BIRTH of PREY, a circular ritual that gives form to the interaction between the rational instruction and the metaphysical emotion. The constant metamorphosis of the being.

Homo sapiens is an intriguing stage experience created by Wolff.
It balances on the borders between dance, theatre and installation.

TRAILER

I/II/III/IIII is a new theatrical installation by the performance artist Kris Verdonck. Four ‘identical’ female dancers hang like marionettes in a huge ‘machine’. Together with them performance artist Kris Verdonck generated a passage of choreography: a solo, a duet, a trio and a pas de quatre. They sought the greatest possible freedom from the machine, but sooner or later it sent them in the direction it decided upon. The images evoked by I/II/III/IIII are confusing, many-layered and ambiguous: they remind us of the white birds in Swan Lake and also of animal carcases being dragged along, hovering angels, falling human bodies and everything in between.

The artist and theatre-maker Kris Verdonck quite often combines his fascination with machines with images and concepts that owe a lot to science fiction. This certainly applies to the three-part Actor #1.

The first part, called Mass, shows an odd, poetic landscape in which chemical and physical processes are taking place. A landscape of constantly moving sculpted mists.

In Huminid, we are addressed by a creature that can be called part human and part doll. The actor Johan Leysen is not physically present, but has lent his voice and face to the doll.

In Dancer #3 we see a robot trying to stand up straight; he always falls down again, but never gives up. He endures this process of trial and error cheerfully and indefatigably. His energy and clumsiness display the optimism of a clown who’s always tripping over.

Actor #1 is about evolving: about what has come into being, what is, and what may come into being. Three variations on the metamorphosis from chaos to order.

The three parts of the performance are shown in separate rooms at the Kaaistudios.

Live-In Room is a pre-recorded sound scape, mixed and composed in real time by sound artist Els Viaene and Lilia Mestre. All the performances are original and unique since they are composed live, reacting to the presence of the audience in a re-created salon

Diederik Peeters’ phantasmagoria ‘Thriller…’ plays with the solidity of the way we look at things. Peeters marvels at the delicacy of our attempts to knit together our impressions, and at how absurd it is that we manage to perform one act after the other without losing a basic sense of coherence.

‘Thriller…’ is a wordless and slightly sinister type of sitcom that just doesn’t seem to get going. Maybe nothing ever happens in this piece. We witness a character in a given interior – a room. He seems involved in the beginnings of a story, but quickly gets entangled in the splinters and echoes of his own actions. Clues and bits of possible plot are thrown about, left to loop and spiral on each other, searching for some connection within the bigger picture. Meanwhile the interior begins to dissipate, losing any safety or familiarity it once held. Mysteriously dimming wall lamps, money on a mantelpiece and the obligatory murder weapon pop up in a mash of mystery and abstraction. In this scattered reality time is merely a device that prevents everything from happening at once. But amidst all this, the inhabitant maintains his relentless endeavors to grasp a thread of logic…

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

‘Zanahoria’ is a lecture about the proverbial carrot one holds in front of a donkey in order to make it move. For the follow-up of their cult-hit ‘Chuck Norris doesn’t sleep, he waits…’ (2007), Bryssinck & Peeters (at that time still with Danai Anesiadou) went searching for the ‘ultimate image’. This image would on one hand have to represent the trio and on the other be the perfect translation of their wildest imagination. They asked other artists to guide them on this quest, hoping that in this way unexpected and unpredictable elements would steal into their work, in order to surprise themselves. ‘Zanahoria’ light-headedly tells the story of this quest; a crazy oscillation between hopeful expectation and disappointment, between hilarity and despair, between truth and fiction, and between the dullness of reality and untainted imagination.

To cut a long story short: It is the story of a woman, a hunter, a razor blade, a disease, a painkiller … At a certain moment there is domestic violence … But the blood is only splashing to all sides in the end… like the fountains in Geneva.

“Thank goodness hunter Johnson was on the watch! Not only that was good news. As it happened the hunter carried around a true painkiller in his pocket. Not one of those small powders but a proper pill. So he decides to rescue her.

Like a crazy maniac Johnson leaps out of his hiding place; and even before she gets a chance to turn her head and look at him, he has already inserted his painkiller deeply from behind. And that makes her feel better…”

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

The artist and theatre-maker Kris Verdonck quite often combines his fascination with machines with images and concepts that owe a lot to science fiction. This certainly applies to the three-part Actor #1.

The first part, called Mass, shows an odd, poetic landscape in which chemical and physical processes are taking place. A landscape of constantly moving sculpted mists.

In Huminid, we are addressed by a creature that can be called part human and part doll. The actor Johan Leysen is not physically present, but has lent his voice and face to the doll.

In Dancer #3 we see a robot trying to stand up straight; he always falls down again, but never gives up. He endures this process of trial and error cheerfully and indefatigably. His energy and clumsiness display the optimism of a clown who’s always tripping over.

Actor #1 is about evolving: about what has come into being, what is, and what may come into being. Three variations on the metamorphosis from chaos to order.

The three parts of the performance are shown in separate rooms at the Kaaistudios.

A Las Vegas showgirl emerges from a month lost in the forest – muddy, disheveled and more animal than human. Somebody explains the expenses involved in being authentic. One woman reads pheromones. Another explains her ‘instinct for failure’.

‘Zanahoria’ is a lecture about the proverbial carrot one holds in front of a donkey in order to make it move. For the follow-up of their cult-hit ‘Chuck Norris doesn’t sleep, he waits…’ (2007), Bryssinck & Peeters (at that time still with Danai Anesiadou) went searching for the ‘ultimate image’. This image would on one hand have to represent the trio and on the other be the perfect translation of their wildest imagination. They asked other artists to guide them on this quest, hoping that in this way unexpected and unpredictable elements would steal into their work, in order to surprise themselves. ‘Zanahoria’ light-headedly tells the story of this quest; a crazy oscillation between hopeful expectation and disappointment, between hilarity and despair, between truth and fiction, and between the dullness of reality and untainted imagination.

Video Installation
Over one summer meeting Kate McIntosh and Eva Meyer-Keller came up with a game. Shifting through the city, from inside to out, they constructed small installations in the locations they found. They played a ping-pong of images between them – each action challenging the other to a reply. The result is a collection of short actions and unlikely installations – a constantly expanding inventory of the world, through mischievous re-placements of the things in it. The project is endless. There is a persistence and inquisitiveness about this catalogue of small crushings, traps, decorations, and repairs – there is an internal logic that can only be read as ‘putting things in the wrong place’ and yet which satisfies some curiosity, some desire, before passing quickly to the next. The rearrangements are subversive, cryptic, and at times mysterious relocations of banal materials in every-day environments. Each image is a fragment in a rolling, compiling world-view; a hands-on investigation of what-might-go-where, and what might happen when one ‘thing’ meets another.

This collaboration was the first stage of the FlashPoint project – a series of meetings in which Kate invites each time a different artist for a short collaboration.

One Man Snow is a late night act in which the entertainer is haunted by his bygone past. He re-lives moments from some other showbiz career, dreams about a show that he himself would have liked to see. There are fantasies and there is paranoia. He enters the show of his absurdist nightmares, haunted by the ghosts of entertainment. Secretly he’s expecting a special guest, he’s longing for the sound of a big band, but all he can get is just the smell of it! One Man Snow is a project by Hans Bryssinck and Christoph Hefti.

Moving You is not your everyday show. There are no characters. There is no story.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

With How do you like my landscape Manah Depauw and Bernard Van Eeghem use sharp imagination to redefine the place of the human body within our society, which is still prey to a puritanical eye and political correctness. By means of slight manipulation – disconcerning by its simplicity – Depauw and Van Eeghem remove the human body from its normal context and place it in unexpected situations. The four-episode spectacle takes place around a landscape where the apparent tranquillity only serves to camouflage terrible beasts that, given a chance would awaken in us all those desires that we prefer to remain hidden. The audience follows a world that transforms itself and develops through the four episodes.

Moving You is not your everyday show. There are no characters. There is no story.

Some stories are treason, some are dreamy, some are brutal, some are too funny to believe, some are too painful to tell straight, some are magical and others are poorly made, some might be the honest truth, and some are beautiful but hard to remember. A narrative is a slippery thing.
Kate McIntosh has collaborated with five writers to make the performance text for LOOSE PROMISE. She gave each of them the same set of narrative ingredients to start from, but asked each to write their own version of the story. The result is a collection of beautiful, difficult and compelling narratives. The stories are bound by their shared origin, but they head out in very different and surprising directions. The narratives of LOOSE PROMISE create worlds that echo each other, and yet can hardly co-exist. The performance itself, sparked by a fascination with the interdependence of stories, explores our compulsion to keep forming and digesting them….

home & away is a documentary film about residing, home, privacy and precious objects. Which object are you always taking with you when you’re constantly on the road or homeless and makes you feel at home? The film examines the relationship between human beings and objects, and more specific form the point of view of homeless people, expats, refugees, adventurers, …. and their most precious possession.

The human body is a machine full of animal reflexes and signals. Our spirit drives that beautiful instrument, but what drives our mind?
BIRTH of PREY observes the routines, rituals and the body language between predator and prey.
Who is what, when and why? How do our instincts affect our bodies? How dependent are we of our drives and (how long) can we control them?
BIRTH of PREY, a circular ritual that gives form to the interaction between the rational instruction and the metaphysical emotion. The constant metamorphosis of the being.

The human body is a machine full of animal reflexes and signals. Our spirit drives that beautiful instrument, but what drives our mind?
BIRTH of PREY observes the routines, rituals and the body language between predator and prey.
Who is what, when and why? How do our instincts affect our bodies? How dependent are we of our drives and (how long) can we control them?
BIRTH of PREY, a circular ritual that gives form to the interaction between the rational instruction and the metaphysical emotion. The constant metamorphosis of the being.

NEVERLAND is a video of professional Michael Jackson impersonator, Christophe Lesquesne performing as Michael Jackson.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

Some stories are treason, some are dreamy, some are brutal, some are too funny to believe, some are too painful to tell straight, some are magical and others are poorly made, some might be the honest truth, and some are beautiful but hard to remember. A narrative is a slippery thing.
Kate McIntosh has collaborated with five writers to make the performance text for LOOSE PROMISE. She gave each of them the same set of narrative ingredients to start from, but asked each to write their own version of the story. The result is a collection of beautiful, difficult and compelling narratives. The stories are bound by their shared origin, but they head out in very different and surprising directions. The narratives of LOOSE PROMISE create worlds that echo each other, and yet can hardly co-exist. The performance itself, sparked by a fascination with the interdependence of stories, explores our compulsion to keep forming and digesting them….

With a group of fifteen participants, Irma Firma combs the neighbourhood in search of anything edible. How can we survive in a metropolis on tasty and nutritious ingredients provided by the city itself? Pick, forage and taste!

Video Installation
Over one summer meeting Kate McIntosh and Eva Meyer-Keller came up with a game. Shifting through the city, from inside to out, they constructed small installations in the locations they found. They played a ping-pong of images between them – each action challenging the other to a reply. The result is a collection of short actions and unlikely installations – a constantly expanding inventory of the world, through mischievous re-placements of the things in it. The project is endless. There is a persistence and inquisitiveness about this catalogue of small crushings, traps, decorations, and repairs – there is an internal logic that can only be read as ‘putting things in the wrong place’ and yet which satisfies some curiosity, some desire, before passing quickly to the next. The rearrangements are subversive, cryptic, and at times mysterious relocations of banal materials in every-day environments. Each image is a fragment in a rolling, compiling world-view; a hands-on investigation of what-might-go-where, and what might happen when one ‘thing’ meets another.

This collaboration was the first stage of the FlashPoint project – a series of meetings in which Kate invites each time a different artist for a short collaboration.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

With How do you like my landscape Manah Depauw and Bernard Van Eeghem use sharp imagination to redefine the place of the human body within our society, which is still prey to a puritanical eye and political correctness. By means of slight manipulation – disconcerning by its simplicity – Depauw and Van Eeghem remove the human body from its normal context and place it in unexpected situations. The four-episode spectacle takes place around a landscape where the apparent tranquillity only serves to camouflage terrible beasts that, given a chance would awaken in us all those desires that we prefer to remain hidden. The audience follows a world that transforms itself and develops through the four episodes.

To cut a long story short: It is the story of a woman, a hunter, a razor blade, a disease, a painkiller … At a certain moment there is domestic violence … But the blood is only splashing to all sides in the end… like the fountains in Geneva.

“Thank goodness hunter Johnson was on the watch! Not only that was good news. As it happened the hunter carried around a true painkiller in his pocket. Not one of those small powders but a proper pill. So he decides to rescue her.

Like a crazy maniac Johnson leaps out of his hiding place; and even before she gets a chance to turn her head and look at him, he has already inserted his painkiller deeply from behind. And that makes her feel better…”

Everything ok?
Yes, all is good.

So simple and extensive is this performance of Leentje Vandenbussche.
O is like an open buffet of All, in his greatest elusive form, and our all in our everyday environment. Do you go straight for the full load or do you carefully compose each plate? Everything is in your own hands. Without prying eyes. Without accountability. Everything is possible. Everything is good.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

DAVID, a travel through immobility

DAVID, a travel through immobility

The Stills consist of gigantic projections: naked, voluminous human figures, imprisoned in a space which is much too small for them. They sometimes move slightly, seeking the most comfortable position in which to bear their uncertain situation. Still I & II was commissioned in September 2006 by La Notte Bianca in Rome. The pictures were projected onto one of the megalomaniac façades of the EUR, a suburb of Rome built by Mussolini. Despite their magnitude, the precarious position in which these naked, utterly fragile figures find themselves was in stark contrast to the self-assured, social-realist architecture. A similarly imposing and demagogically tainted location was sought – and found – in Brussels: the upper part of the Kunstberg.

The human body is a machine full of animal reflexes and signals. Our spirit drives that beautiful instrument, but what drives our mind?
BIRTH of PREY observes the routines, rituals and the body language between predator and prey.
Who is what, when and why? How do our instincts affect our bodies? How dependent are we of our drives and (how long) can we control them?
BIRTH of PREY, a circular ritual that gives form to the interaction between the rational instruction and the metaphysical emotion. The constant metamorphosis of the being.

Every space coexists with another space inside it, one you become aware of only when paying attention to the acoustic phenomena. They sometimes superimpose themselves in a quiet and harmonic way, but when these spaces are in conflict, sound becomes noise, a source of tension, inducing fear, stress and fatigue. It is fascinating and hypnotizing. Noise has an influence on the objects in that space and on the behaviour of its inhabitants.

Every space coexists with another space inside it, one you become aware of only when paying attention to the acoustic phenomena. They sometimes superimpose themselves in a quiet and harmonic way, but when these spaces are in conflict, sound becomes noise, a source of tension, inducing fear, stress and fatigue. It is fascinating and hypnotizing. Noise has an influence on the objects in that space and on the behaviour of its inhabitants.

DAVID, a travel through immobility

With a group of fifteen participants, Irma Firma combs the neighbourhood in search of anything edible. How can we survive in a metropolis on tasty and nutritious ingredients provided by the city itself? Pick, forage and taste!

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

‘Zanahoria’ is a lecture about the proverbial carrot one holds in front of a donkey in order to make it move. For the follow-up of their cult-hit ‘Chuck Norris doesn’t sleep, he waits…’ (2007), Bryssinck & Peeters (at that time still with Danai Anesiadou) went searching for the ‘ultimate image’. This image would on one hand have to represent the trio and on the other be the perfect translation of their wildest imagination. They asked other artists to guide them on this quest, hoping that in this way unexpected and unpredictable elements would steal into their work, in order to surprise themselves. ‘Zanahoria’ light-headedly tells the story of this quest; a crazy oscillation between hopeful expectation and disappointment, between hilarity and despair, between truth and fiction, and between the dullness of reality and untainted imagination.

A Las Vegas showgirl emerges from a month lost in the forest – muddy, disheveled and more animal than human. Somebody explains the expenses involved in being authentic. One woman reads pheromones. Another explains her ‘instinct for failure’.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

Some stories are treason, some are dreamy, some are brutal, some are too funny to believe, some are too painful to tell straight, some are magical and others are poorly made, some might be the honest truth, and some are beautiful but hard to remember. A narrative is a slippery thing.
Kate McIntosh has collaborated with five writers to make the performance text for LOOSE PROMISE. She gave each of them the same set of narrative ingredients to start from, but asked each to write their own version of the story. The result is a collection of beautiful, difficult and compelling narratives. The stories are bound by their shared origin, but they head out in very different and surprising directions. The narratives of LOOSE PROMISE create worlds that echo each other, and yet can hardly co-exist. The performance itself, sparked by a fascination with the interdependence of stories, explores our compulsion to keep forming and digesting them….

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

Live-In Room is a pre-recorded sound scape, mixed and composed in real time by sound artist Els Viaene and Lilia Mestre. All the performances are original and unique since they are composed live, reacting to the presence of the audience in a re-created salon

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.

home & away is a documentary film about residing, home, privacy and precious objects. Which object are you always taking with you when you’re constantly on the road or homeless and makes you feel at home? The film examines the relationship between human beings and objects, and more specific form the point of view of homeless people, expats, refugees, adventurers, …. and their most precious possession.

In December 2010 Ernst Maréchal created “Blue Key Identity” for the Spoken World Festival of Kaaitheater. Blue Key Identity was an artistic continuation of Maréchals previous social-artistic projects: “De Tafel Keuken” and “Made in Belgium”. Both productions were created in collaboration with Globe Aroma and residents of ‘t Klein Kasteeltje, an asylum-seekers centre.

In December 2010 Ernst Maréchal created “Blue Key Identity” for the Spoken World Festival of Kaaitheater. Blue Key Identity was an artistic continuation of Maréchals previous social-artistic projects: “De Tafel Keuken” and “Made in Belgium”. Both productions were created in collaboration with Globe Aroma and residents of ‘t Klein Kasteeltje, an asylum-seekers centre.

DARK MATTER is a performance from Kate McIntosh hosted by a woman in a spotlight, dressed in a sparkling dress and a long grey beard. With the help of two assistants, some small strange dances and a few materials you might or might not have at home, DARK MATTER approaches the big scientific-philosophical questions in a full-on show-biz late-night theatre style, illustrating these knotty conundrums – time and gravity, being and not being, thought and the body – through what look suspiciously like a series of improvised home-science experiments.