Bozar
[Europalia],
Brussels, Belgium
Gaëtan Rusquet's the eYe in the light in the eYe resonates with Brancusi's self-portraits and sculptural clichés, and his desire to make visible the absolute, the very essence of a form or an idea.
Le Petit Faucheux
[Festival Ecoute Voir],
Tours, France
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
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.
Bozar
[Europalia],
Brussels, Belgium
Gaëtan Rusquet's the eYe in the light in the eYe resonates with Brancusi's self-portraits and sculptural clichés, and his desire to make visible the absolute, the very essence of a form or an idea.
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.
Bozar
[Europalia],
Brussels, Belgium
Gaëtan Rusquet's the eYe in the light in the eYe resonates with Brancusi's self-portraits and sculptural clichés, and his desire to make visible the absolute, the very essence of a form or an idea.
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.
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
Brakke Grond
[Beyond the Black Box],
Amsterdam, Netherlands
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.
One day a month, Caravan Production, Hiros, workspacebrussels and invited guests join forces to meet Brussels-based artists and cultural workers who have questions about the realisation of their projects within the Flemish arts decree. From administration, production, distribution, communication to accounting, an extended team is at their disposal to share their experiences and exchange knowledge.
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.
Kaaistudio's
[Moussem Cities: Algiers],
Brussels, Belgium
A broadcasting company at times, and at others, a foreign broadcast monitoring centre, two performative works part of the first chapter a common consent to listen. a collective dissent of interpretation explore new ways of 'exhibiting' and activating a unique and little-known archive of a time when Algiers was dubbed the 'Mecca of Revolution'.
Nouveau Théâtre de Montreuil,
Paris, Frankrijk
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.
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.
Rencontres Chorégraphiques Internationales de Seine-Saint-Denis
[Le Pavillon],
Seine-Saint-Denis, France
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.
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
Ménagerie de Verre
[Les Inaccoutumés],
Paris, France
In Soirée d'études, Cassiel Gaube expands the research set out in his solo Farmer Train Swirl - Étude and creates a duet exploring the rich vocabulary of House Dance in a series of études.