Supporting the development of artistic trajectories
Why me? An overview of visual work by Bernard Van Eeghem. This summary is contained in a Hippodamian grid: horizontal you can find the axis with a variety of disciplines, vertical the axis of time, before birth until after death. Since there doesn’t seem to be work available from each period or even simply doesn’t exist, certain items will be completed in a fictitious and conceptually way. Beauty unfolds from the tight grid, along the lines of uncalibrated gradualism. Without looking back
Why do communities feel the need to stage their fear? Are they invoking occult powers just to be able to expel them more easily? Depauw is fascinated by the fragile balance between madness and possession, simulation and acting. In her quest for a primordial Eden, she draws from mythology, carnival and folklore: inexhaustible sources of inspiration for the masks, costumes and iconography running through her latest work. She conceives her Eden Central as a deep jungle, a world of science fiction where people attempt to get away from savagery to attain civilisation. Ultimately, to become human beings…
Faire un Four is an expression from the 17th century theatre world which means “to suffer a defeat”. Literally it is “to make an oven” but it almost sounds like “to make a four” hence “a quartet”.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
For their new stage production Kayak-performers Bernard Van Eeghem, Catherine Graindorge and Katja Dreyer team up as a threesome for the first time. Kayak is their first collaborative research on the notion of falling and failing. The reckless kayak sea-travel by Andrew McAuley, the artistic conception of falling by Dutch artist Bas Jan Ader and Philippe Petit’s rope dancing, guide them through their theatrical quest. The trio balances as equilibrists on the thin line between earnest and lightheartedness, philosophy and proverbial wisdom.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
Welcome To the Jungle is a performance installation inspired by the potential implications of the ecological term ‘global weirding’.
Nested in the light installation Diggin’ Up 2 (Digital light/Absorption), the bodies and their presence become visible in a reversed way: instead of reflecting the light, they absorb it. The graph inside which these bodies register offers different outlines, different representational codes. The hypnotic aspect of this meeting invites the eye to measure
how relative the notion of space is.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
For their new stage production Kayak-performers Bernard Van Eeghem, Catherine Graindorge and Katja Dreyer team up as a threesome for the first time. Kayak is their first collaborative research on the notion of falling and failing. The reckless kayak sea-travel by Andrew McAuley, the artistic conception of falling by Dutch artist Bas Jan Ader and Philippe Petit’s rope dancing, guide them through their theatrical quest. The trio balances as equilibrists on the thin line between earnest and lightheartedness, philosophy and proverbial wisdom.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
Let’s Get physical is an extension of Manteau long…, previous piece of the collectif Delgado Fuchs.
The two artists continue their research around their shared fascination, that of the primping of the body (dressing up, cross-dressing, undressing) and the culture of physical training, which allows one to push the limits of the body and potentially endlessly transform it. “But what is this body? “
Let’s get physical will involve about twenty people on stage with Delgado Fuchs.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
She’s at home. Alone. Outside the world is raging. Inside everything is quiet. She thinks she’s unobserved. At this place, at this hour, during her daily routine, her wildest fantasies, most intense desires, deepest fears grow. Time is ticking.
Portrait; the breathless midpoint of an unknown story. A desolate portrait. A deceptive still life.
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.
Let’s Get physical is an extension of Manteau long…, previous piece of the collectif Delgado Fuchs.
The two artists continue their research around their shared fascination, that of the primping of the body (dressing up, cross-dressing, undressing) and the culture of physical training, which allows one to push the limits of the body and potentially endlessly transform it. “But what is this body? “
Let’s get physical will involve about twenty people on stage with Delgado Fuchs.
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
“Yes, and I personally met the devil at least three times face to face.”
This musical performance focuses on a machine that apparently produces confusing near-death experiences and on a Rumanian singer that believes herself to be somewhere in between life and death. She’s being watched by three dark figures from an intermediate world. They serve as her shadow, her guide, the personification of her demons, and as the engineers of the ecstatic experience machine. What in reality only lasts some hundreds of seconds, she perceives as eternity. Because of the repetitive character of her experience, every possible ending seems to be a return to the beginning. She runs through several phases from devotion, doubt, total obsession and ecstasy.
War of Fictions is a performance composed as a series of landscapes mainly generated by the presence of 2 performers who inhabit fictional and imaginary spaces. The performers invest in a physical score that passes through extreme expressions, sensations and actions that are performed in duration and that suggest other ways of relating to the surrounding space, time, gravity-weight, imagery and social behaviour.
Seven adults, three children, a layer that floats above the floor, a bunch of hands that float above a woman, shadows of a woman on the floor, a broken man against the wall and a spine. Artificial air floats in a tank and there’s a black circle.
This work talks about death (black) and live (circular air). The life as an element in an abstract construction (square as an ultimate cultivation), the stratification (platform), the horizontal and vertical thinking, about the intuitive truth (shadows), mystical heights (triangle) of the inner sight without opening the eyes as an external sense (title).
The installation is 15m on 10m, and 5m high.
Le silence des danses, comprises three performances in three different places in the Kaaistudios.
In this work Spie is taking a new direction. She departs from the purely visual and enters into confrontation with other media: digital images, soundscapes, text, dance, etc. This choice has led to a different way of organising her work: it implies collaboration with artists who work in a variety of areas. What is more, Spie has until now been the main and often only performer in her work.
In the first two parts of Le silence des danses, she takes on the role of director-sculptor of other performers. In the third she herself takes part. However, this new phase in her work above all signifies the next step in her quest for abstraction and purity and a transition from still, frozen, breathing images to moving images.
Le silence des danses means: embracing abstraction, letting movement take its own course, not letting go of one’s intuition.
Let’s Get physical is an extension of Manteau long…, previous piece of the collectif Delgado Fuchs.
The two artists continue their research around their shared fascination, that of the primping of the body (dressing up, cross-dressing, undressing) and the culture of physical training, which allows one to push the limits of the body and potentially endlessly transform it. “But what is this body? “
Let’s get physical will involve about twenty people on stage with Delgado Fuchs.
“When I travel through my room, I rarely follow a straight line, I go from the table towards a picture hanging in a corner, from there I only want to encounter the door, when I begin it is always my intention to get there, but then I meet my armchair en route and I don’t think twice and settle down in it without further ado” Xavier De Maistre, Voyage autour de ma chambre
Faire un Four is an expression from the 17th century theatre world which means “to suffer a defeat”. Literally it is “to make an oven” but it almost sounds like “to make a four” hence “a quartet”.
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Manteau Long en laine marine porté sur un pull à encolure détendue avec un pantalon peau de pêche et des chaussures pointues en nubuck rouge. “Manteau Long…” analyses a creation process and reveals what is normally not explicitly shown: the actions, gestures and attitudes that necessitate a dance act. Fundamentally dependent on the direct relationship with the witnessing public, this performance – serious and playful – sums up what a dancer does, can do, or isn’t able to do.
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
Endless Medication is a small variety theatre coloured with nostalgic accordion music, a world that balances determined between delirium and reality, between blasphemy and exctasy. It is the strange universe of two women looking for their own language, their own hallucinations and their own reality.
Monique finds its inspiration in bondage, turning its practice into choreographic instructions. How does one pervert a “perverse” act?
A similar strategy has been applied to all the elements in Monique: all collaborators were searching for disrespectful ways of working with elements they adored.
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
The procession of maniac monsters come to crown their queen and burn their witch. A bunch of bikers with leather fringed jackets and vikings helmets try to save the innocent and the virgin. Will they succeed ?
With luck, in this whole mess, a spectral child’s choir, will recite sinister chants we’d better forget before we go to sleep ….
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
War of Fictions is a performance composed as a series of landscapes mainly generated by the presence of 2 performers who inhabit fictional and imaginary spaces. The performers invest in a physical score that passes through extreme expressions, sensations and actions that are performed in duration and that suggest other ways of relating to the surrounding space, time, gravity-weight, imagery and social behaviour.
War of Fictions is a performance composed as a series of landscapes mainly generated by the presence of 2 performers who inhabit fictional and imaginary spaces. The performers invest in a physical score that passes through extreme expressions, sensations and actions that are performed in duration and that suggest other ways of relating to the surrounding space, time, gravity-weight, imagery and social behaviour.
War of Fictions is a performance composed as a series of landscapes mainly generated by the presence of 2 performers who inhabit fictional and imaginary spaces. The performers invest in a physical score that passes through extreme expressions, sensations and actions that are performed in duration and that suggest other ways of relating to the surrounding space, time, gravity-weight, imagery and social behaviour.
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Wallifornië is often described as a land diffifcult to access, where forests still grow luxuriantly, where beer floats spontaneously from the home taps. Many are those who believe that ‘Wallifornië ” is a name derived from the earthly paradise that was destroyed during the floods. Claptrap!
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. The interest in fictionalizing and choreographing natural phenomena started in 2009 with Evaporated Landscapes, a performance installation devoid of human presence where the act of performing itself was given over to materials like bubbles, foam, fog, sounds and light. In The Artificial Nature Project, a new encounter between human and non- human performers begins with the following questions:
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. The interest in fictionalizing and choreographing natural phenomena started in 2009 with Evaporated Landscapes, a performance installation devoid of human presence where the act of performing itself was given over to materials like bubbles, foam, fog, sounds and light. In The Artificial Nature Project, a new encounter between human and non- human performers begins with the following questions:
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
Welcome To the Jungle is a performance installation inspired by the potential implications of the ecological term ‘global weirding’.
Wallifornië is often described as a land diffifcult to access, where forests still grow luxuriantly, where beer floats spontaneously from the home taps. Many are those who believe that ‘Wallifornië ” is a name derived from the earthly paradise that was destroyed during the floods. Claptrap!
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. The interest in fictionalizing and choreographing natural phenomena started in 2009 with Evaporated Landscapes, a performance installation devoid of human presence where the act of performing itself was given over to materials like bubbles, foam, fog, sounds and light. In The Artificial Nature Project, a new encounter between human and non- human performers begins with the following questions:
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
Welcome To the Jungle is a performance installation inspired by the potential implications of the ecological term ‘global weirding’.
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. The interest in fictionalizing and choreographing natural phenomena started in 2009 with Evaporated Landscapes, a performance installation devoid of human presence where the act of performing itself was given over to materials like bubbles, foam, fog, sounds and light. In The Artificial Nature Project, a new encounter between human and non- human performers begins with the following questions:
LIGHT, MEDIUM, STRONG
are three productions that each touch upon one of the many facets of death; time, knowledge and the irrevocable respectively.
The complexity of the subject and the complexity of the (different) moments of death, made us choose to create three productions.
LIGHT, MEDIUM, STRONG are independent performances.
Three performances with clear titles that give an indication of what you may expect.
The Artificial Nature Project is the latest in a series of four works by Mette Ingvartsen staging perceptions and sensations of nature. The interest in fictionalizing and choreographing natural phenomena started in 2009 with Evaporated Landscapes, a performance installation devoid of human presence where the act of performing itself was given over to materials like bubbles, foam, fog, sounds and light. In The Artificial Nature Project, a new encounter between human and non- human performers begins with the following questions:
Welcome To the Jungle is a performance installation inspired by the potential implications of the ecological term ‘global weirding’.
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
Wallifornië is often described as a land diffifcult to access, where forests still grow luxuriantly, where beer floats spontaneously from the home taps. Many are those who believe that ‘Wallifornië ” is a name derived from the earthly paradise that was destroyed during the floods. Claptrap!