In Voicing Pieces, one’s own voice is staged to become the protagonist. In the intimacy of an isolated sound booth, guided by a simple score, the audience becomes spectator of their own voice.
The act of speaking and simultaneously hearing one's own voice turns into a theatrical and choreographic experience, sculpted anew with each individual interpretation of the score. The voice becomes a place for action, a spectacle or a surprise. Isn't one's own voice always inauthentic and uncanny? Who is speaking, when one's own voice speaks? Rather than recognizing oneself in the stranger, Voicing Pieces is an invitation to recognize the stranger in oneself....
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
An Imaginary Symposium is a live experiment on common thinking. Bringing together ancient Greek modes of sociability and artificial intelligence, it attempts to reactivate how we reflect and imagine in common.
An algorithm projects absurd sentences on stage, randomly combining words out of books about social imaginaries. Inspired by these sentences, the participants of the symposium decide, each time anew, on the topic of their discussion. During the conversations that follow, they deconstruct the discourses on social, political and personal realities this topic entails in a playful manner.
Starting point of An Imaginary Symposium is the ancient Greek symposium as the archetypal form of sharing knowledge and creating discourses in the Western...
Critical Techno is a trance lecture dance meditation — a two-hour collective journey in-between listening, dancing, words, sounds, beats, sweat, constellations, and bodies in space towards an unknown destination.
In this project, we swim through a sea of voices and sounds to understand and unfold their momentary and collective meaning. Listening in relation to our body language becomes the energetic architecture that we align to with the energetic structure of our bodies, eventually channeling the words we perceive through the movements of our physical bodies. Theoretical texts are combined with poetic texts and somatic scores, creating a journey where listening becomes an embodied experience, with a desire to give voice to the underrepresented —...
In Voicing Pieces, one’s own voice is staged to become the protagonist. In the intimacy of an isolated sound booth, guided by a simple score, the audience becomes spectator of their own voice.
The act of speaking and simultaneously hearing one's own voice turns into a theatrical and choreographic experience, sculpted anew with each individual interpretation of the score. The voice becomes a place for action, a spectacle or a surprise. Isn't one's own voice always inauthentic and uncanny? Who is speaking, when one's own voice speaks? Rather than recognizing oneself in the stranger, Voicing Pieces is an invitation to recognize the stranger in oneself....
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Gallop (Biography of a Body) tells the bizarre story of the life cycle of a body. It is a chronically ill body that has reached a turning point after forty years, and often seems to have a life of its own. Its service fails and resistance loses.
Dolores Bouckaert researches the complex and ambiguous relationship between her body and spirit, in which an irrepressible desire to move often conflicts with reality. Dolores Bouckaert's co-star in this solo is a fast and powerful horse. The two are one another's opposites until they become interchangeable, when the horse's gallop coincides with the rhythm of her heartbeat....
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
Austrian farm boy and performance artist Simon Mayer invites the audience to get to know his life, his contradictions and his indignation at having to submit to categories and conventions. Having grown up on a farm facing traditions, nature, youthful rebellion and a bucolic heavy metal band, Simon Mayer moved to Vienna in 1997, attended Vienna's State Opera's dance school, spent a season as an aspiring dancer in the corps de ballet and very unexpectedly landed in a world where the word farmer could be used as an insult. The move was equal...
New Measuring Rites is the story of a weird anthropological excursion into an environment called the Current Situation, a fluid space with indeterminate borders. In this unknown world, forces are felt, colors keep on changing, obstacles appear and disappear.
The natives who inhabit these shifting lands dont know how to use their sensory apparatus in order to find pathways in this strangely familiar, yet different place. The meter does not exist, nor the kilo, nor does any clock to turn time into seconds. They cant tell the parts from the whole. As they venture into the ambivalent Current Situation and deal with what is at hand, they slowly create their own vernacular: they discover new forms, develop coping strategies and invent ways to (re-)evaluate and compare the stuff they...
Lecture-performance (60 min, English spoken)
A voice is as singular as a fingerprint. When we scream, we catapult ourselves inside out, revealing that dimension of ourselves in between body and mind, maybe closest to our soul. “To open our mouth and let out sounds from a hole in the middle of our face”, revealing both our strongest power and deepest vulnerability.
In collected screams, Sarah Vanhee shares different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds,...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
Several Belgium-based artists are invited to present their practice through talks, videos and (fragments of) their work and research. This encounter and exchange is created for programmers and professionals active in the performing arts field.
The Programmers' Days take place over the course of a couple of days, once a year in May. Initiated by Kunstenwerkplaats and Flanders Arts Institute, they bring together different partners every year (Hiros, BOZAR, CAMPO, Caravan Production, wpZimmer, Kosmonaut Production, Entropie Production, WBDT, a.o.)....
In Both, Two Tussing & Vanderbruggen examine the duet, the smallest unit of togetherness. The dance duet is a genre with a history. In their most familiar forms, duets reflect the range of possibilities for relating, which resonate within a certain cultural imaginary. In particular, they reveal common-sense attitudes towards who gets to move, how, and under what conditions.
When two people dance together, a whole constellation of invitations, permissions and prohibitions is put on display. Both, Two invites the spectator to jump into this complex more-than-human ecology with her whole body: the work asks us not just to see but to sense. Can we hear a duet? What does it feel like? Costumes with palpable textures, swirling currents of air and sound, and a tactile program note complement the movements of tangibly enfleshed bodies; a journey for the proximal senses that intersects with the visual and the aural in...
The act of speaking and the uncanniness of the voice are in the center of Begüm Erciyas’ research. With Pillow Talk, Erciyas presents another performance, in which the voice remains an inscrutable medium.
In the digital age, the voices we hear leave us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. An artificial voice functions as a mediator, a partner and a mirror to one's own. While conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passes, Pillow Talk you to engage in...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
Lecture-performance (60 min, English spoken)
A voice is as singular as a fingerprint. When we scream, we catapult ourselves inside out, revealing that dimension of ourselves in between body and mind, maybe closest to our soul. “To open our mouth and let out sounds from a hole in the middle of our face”, revealing both our strongest power and deepest vulnerability.
In collected screams, Sarah Vanhee shares different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds,...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
The act of speaking and the uncanniness of the voice are in the center of Begüm Erciyas’ research. With Pillow Talk, Erciyas presents another performance, in which the voice remains an inscrutable medium.
In the digital age, the voices we hear leave us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. An artificial voice functions as a mediator, a partner and a mirror to one's own. While conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passes, Pillow Talk you to engage in...
We call this dance Samantha just like many people do when they give their dog a human name. Samantha is not a dog, but although she could be human, she’s not a person(a). A solo without a person(a), Samantha is the refutation of a solo.
In a game of cat-and-mouse, she sometimes plays the mouse, sometimes the cat; while escaping from becoming someone, she is threatened by many other ones. She does not move according to the makeup of her own identity, but rather follows the expanding multiplicity of personas that traverse her. She is blind. She is many at once. Calling Samantha on stage is like trying to stage a paradox. The one of a character with no identity. An anonymous multiplicity of forces that never crystallise in a...
Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
In Both, Two Tussing & Vanderbruggen examine the duet, the smallest unit of togetherness. The dance duet is a genre with a history. In their most familiar forms, duets reflect the range of possibilities for relating, which resonate within a certain cultural imaginary. In particular, they reveal common-sense attitudes towards who gets to move, how, and under what conditions.
When two people dance together, a whole constellation of invitations, permissions and prohibitions is put on display. Both, Two invites the spectator to jump into this complex more-than-human ecology with her whole body: the work asks us not just to see but to sense. Can we hear a duet? What does it feel like? Costumes with palpable textures, swirling currents of air and sound, and a tactile program note complement the movements of tangibly enfleshed bodies; a journey for the proximal senses that intersects with the visual and the aural in...
In Tactile Quartet(s), Vera Tussing builds on her longstanding choreographic practice in exploring the sensory potentialities of the audience. The piece puts the string quartet Quatuor MP4 in communication with a quartet of dancers – Yoh Morishita, Zoltán Vakulya, Esse Vanderbruggen, Vera Tussing – inviting the audience into a deeply layered and multi-sensory encounter between movement and sound.
What happens when we take the movements of a string quartet seriously as a choreography, and dance along? The four musicians play passages from canonical works by Franz Schubert and Florence Price, as well as contemporary works by Georg Friedrich Haas, Michael Picknett, and Caroline Shaw. As they play, the musicians engage in one-on-one tactile encounters with the audience, creating physical interaction. Everything arises from touch – a bow on a string, an arm on a shoulder, an acoustic sensation on your skin. The dancers mediate the...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
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” **
Van Eeghem tells anecdotes from his youth in Bruges. One day his father took him to the procession of the Holy Blood. It made an indelible impression. In this performance, Van Eeghem paints what he tells and tells what he paints. Ending up with himself and his earliest beginnings.
...
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
Critical Techno is a trance lecture dance meditation — a two-hour collective journey in-between listening, dancing, words, sounds, beats, sweat, constellations, and bodies in space towards an unknown destination.
In this project, we swim through a sea of voices and sounds to understand and unfold their momentary and collective meaning. Listening in relation to our body language becomes the energetic architecture that we align to with the energetic structure of our bodies, eventually channeling the words we perceive through the movements of our physical bodies. Theoretical texts are combined with poetic texts and somatic scores, creating a journey where listening becomes an embodied experience, with a desire to give voice to the underrepresented —...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
Austrian farm boy and performance artist Simon Mayer invites the audience to get to know his life, his contradictions and his indignation at having to submit to categories and conventions. Having grown up on a farm facing traditions, nature, youthful rebellion and a bucolic heavy metal band, Simon Mayer moved to Vienna in 1997, attended Vienna's State Opera's dance school, spent a season as an aspiring dancer in the corps de ballet and very unexpectedly landed in a world where the word farmer could be used as an insult. The move was equal...
The act of speaking and the uncanniness of the voice are in the center of Begüm Erciyas’ research. With Pillow Talk, Erciyas presents another performance, in which the voice remains an inscrutable medium.
In the digital age, the voices we hear leave us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. An artificial voice functions as a mediator, a partner and a mirror to one's own. While conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passes, Pillow Talk you to engage in...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
An Imaginary Symposium is a live experiment on common thinking. Bringing together ancient Greek modes of sociability and artificial intelligence, it attempts to reactivate how we reflect and imagine in common.
An algorithm projects absurd sentences on stage, randomly combining words out of books about social imaginaries. Inspired by these sentences, the participants of the symposium decide, each time anew, on the topic of their discussion. During the conversations that follow, they deconstruct the discourses on social, political and personal realities this topic entails in a playful manner.
Starting point of An Imaginary Symposium is the ancient Greek symposium as the archetypal form of sharing knowledge and creating discourses in the Western...
Currents unfolds in two parts, as a durational installation and a performance. The installation explores the simplest of forms, a line, turned into a light sculpture. Through repetition, it defines not only rhythm, space and light, but also the movements of a dancer. He will meet and confront the moving sculpture in an effort to reconfigure the relationship between man and machine.
The initial state of alienation is pushed to reach a poetic realm, a layered landscape to dream into. As such, both installation and performance aim to reveal our contemporary position as entities forced to adapt to an ever-changing world on both a technological and socio-political level. How do we deal with these situations? How do we continually find a new balance within our own environment and how do we deal with this on a larger scale?...
Currents unfolds in two parts, as a durational installation and a performance. The installation explores the simplest of forms, a line, turned into a light sculpture. Through repetition, it defines not only rhythm, space and light, but also the movements of a dancer. He will meet and confront the moving sculpture in an effort to reconfigure the relationship between man and machine.
The initial state of alienation is pushed to reach a poetic realm, a layered landscape to dream into. As such, both installation and performance aim to reveal our contemporary position as entities forced to adapt to an ever-changing world on both a technological and socio-political level. How do we deal with these situations? How do we continually find a new balance within our own environment and how do we deal with this on a larger scale?...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
New Measuring Rites is the story of a weird anthropological excursion into an environment called the Current Situation, a fluid space with indeterminate borders. In this unknown world, forces are felt, colors keep on changing, obstacles appear and disappear.
The natives who inhabit these shifting lands dont know how to use their sensory apparatus in order to find pathways in this strangely familiar, yet different place. The meter does not exist, nor the kilo, nor does any clock to turn time into seconds. They cant tell the parts from the whole. As they venture into the ambivalent Current Situation and deal with what is at hand, they slowly create their own vernacular: they discover new forms, develop coping strategies and invent ways to (re-)evaluate and compare the stuff they...
In Voicing Pieces, one’s own voice is staged to become the protagonist. In the intimacy of an isolated sound booth, guided by a simple score, the audience becomes spectator of their own voice.
The act of speaking and simultaneously hearing one's own voice turns into a theatrical and choreographic experience, sculpted anew with each individual interpretation of the score. The voice becomes a place for action, a spectacle or a surprise. Isn't one's own voice always inauthentic and uncanny? Who is speaking, when one's own voice speaks? Rather than recognizing oneself in the stranger, Voicing Pieces is an invitation to recognize the stranger in oneself....
In Tactile Quartet(s), Vera Tussing builds on her longstanding choreographic practice in exploring the sensory potentialities of the audience. The piece puts the string quartet Quatuor MP4 in communication with a quartet of dancers – Yoh Morishita, Zoltán Vakulya, Esse Vanderbruggen, Vera Tussing – inviting the audience into a deeply layered and multi-sensory encounter between movement and sound.
What happens when we take the movements of a string quartet seriously as a choreography, and dance along? The four musicians play passages from canonical works by Franz Schubert and Florence Price, as well as contemporary works by Georg Friedrich Haas, Michael Picknett, and Caroline Shaw. As they play, the musicians engage in one-on-one tactile encounters with the audience, creating physical interaction. Everything arises from touch – a bow on a string, an arm on a shoulder, an acoustic sensation on your skin. The dancers mediate the...
The act of speaking and the uncanniness of the voice are in the center of Begüm Erciyas’ research. With Pillow Talk, Erciyas presents another performance, in which the voice remains an inscrutable medium.
In the digital age, the voices we hear leave us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. An artificial voice functions as a mediator, a partner and a mirror to one's own. While conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passes, Pillow Talk you to engage in...
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
In Voicing Pieces, one’s own voice is staged to become the protagonist. In the intimacy of an isolated sound booth, guided by a simple score, the audience becomes spectator of their own voice.
The act of speaking and simultaneously hearing one's own voice turns into a theatrical and choreographic experience, sculpted anew with each individual interpretation of the score. The voice becomes a place for action, a spectacle or a surprise. Isn't one's own voice always inauthentic and uncanny? Who is speaking, when one's own voice speaks? Rather than recognizing oneself in the stranger, Voicing Pieces is an invitation to recognize the stranger in oneself....
Can the money we all use on a daily basis, be held responsible for the disastrous state the world is in today? In other words, if it is true that “money rules the world”, are we then not entitled to make it accountable for what has happened to the world under its governance? Trials of Money approaches this somewhat candid statement with the seriousness of a court of justice.
Based on interviews made with different bankers, lawyers, persons in extreme precarity, psychotherapists, economists, philanthropists, debt relief workers, representatives of indigenous nations, or monetary activists, Christophe Meierhans delivers their testimonies by responding to any questions the audience might want to ask them. This piece is an invitation to collectively investigate what money actually is and what it does. It is an invitation to challenge the idea that money is only a means at the service of human intentions and to attempt...
The act of speaking and the uncanniness of the voice are in the center of Begüm Erciyas’ research. With Pillow Talk, Erciyas presents another performance, in which the voice remains an inscrutable medium.
In the digital age, the voices we hear leave us constantly in doubt, if a person or a non-person is speaking. In this immersive performance, doubt and conviction change roles in the blink of an eye. Spread out on a hilly landscape, audience engages in a conversation with something that is there and not there at the same time. An artificial voice functions as a mediator, a partner and a mirror to one's own. While conversations are constructed word-by-word, impressions are shared, naps are taken, and time is passes, Pillow Talk you to engage in...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
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