Just some pieces of metal, I know, but I can’t help finding them very moving, those two, lying there. Just as the other guy, seemingly disappearing into thin air. Or that Mr. Big, a tiny bit too tall for the hallway he finds himself in. You think you know all the tricks Antony Gormley has up his sleeve, but I can’t help it: being in the presence of his works of art always touches me. It’s one of at least three interesting sculpture shows in galleries in Brussels, right now.
Metal giants, ceramic gods and other strange creatures: Antony Gormley, Johan Creten and Folkert de Jong in BrusselsPosted in art, contemporary art, sculpture on March 29, 2017 by Utopia Parkway
Slowly going to the heart of the matter: Morton Feldman’s ‘Piano and String Quartet’ by Ictus & Fumiyo IkedaPosted in contemporary classical music, contemporary dance, dance, music with tags Brussel, critique, Kaaitheater, recensie, review on February 18, 2017 by Utopia Parkway
Once in a while a photographer takes a picture, and when he looks at that picture, he notices the presence of some ghostly figure. Someone who wasn’t in the room at all when the photo was taken. That’s what I had to think of, watching the Belgian contemporary music ensemble Ictus perform Morton Feldman‘s Piano And String Quartet (Kaaitheater, Brussels). On stage with them: Rosas veteran Fumiyo Ikeda. Was it that peculiar piece of music, or her dancing? It seemed as if she was there while not being there at all.
“I dance because I wanted to be a magician but I’m not good with stuff”, Meg Stuart tells the audience, somewhere along Show And Told, her collaboration with Tim Etchells. If the piece proves one thing, it’s how good the American choreographer and the British (performance) artist actually are with stuff. Be it other stuff. Movement stuff. Language stuff.
Making the ungraspable tangible. Or how Romeo Castellucci gets his ‘Minister’s Black Veil’ right the second timePosted in performance, theatre with tags critique, recensie, review, Willem Dafoe on December 28, 2016 by Utopia Parkway
When was the last time these people had been queuing up to get into a church? Not to admire a unique painting or a stained glass window, but for a real service? Just a thought, as I was standing on the steps of Antwerp’s Sint-Michiels church, watching the crowd, waiting for the doors to open, thinking about religion, theatre and rituals. Three things I was sure this evening was going to be about. The Minister’s Black Veil. Five years ago Romeo Castellucci tried to stage it, but he failed. So I was really curious to see what he would do this time, with the help of American actor Willem Dafoe.
Crack effect of another kind: Mark Manders explores working on a larger scale (‘Dry Clay Head’ at Zeno X, Antwerp)Posted in art, sculpture on December 15, 2016 by Utopia Parkway
“You have to walk around a sculpture. A sculpture doesn’t have four sides. There are many ways to look at it.” The more I was inspecting Mark Manders‘ Dry Clay Head, the more I felt drawn to it. And I remembered what Berlinde De Bruyckere had told me once, about the complexity of creating a sculpture. Looking at this impressive, peaceful face reminded me also of the fact that watching pictures on a gallery website can never beat the sensation of actually being in front of a work of art. Because although Dry Clay Head doesn’t speak, it will talk to you. You’ll wonder about the clay (it’s bronze) and about the tension created in the work by that plank, slightly bent, and that rope. With works such as Dry Clay Head (through December 17, Zeno X Gallery, Antwerp) the Belgium-based Dutch artist is exploring working on a larger scale. Manders was recently invited by the Walker Art Center (Minneapolis) to create a sculpture for their sculpture park, to be opened June 2017. He is also working on a bronze fountain for Amsterdam’s Rokin, and was asked to create a large sculpture for Central Park in New York (2018).
It’s as if you are searching for something that you’re never able to find. What a reader of this blog once told me. A remark I suddenly remembered, as I was watching Rain, version 2016, fifteen years after Anne Teresa De Keersmaeker had put it to the stage for the first time. I realized that person was right. Although I know there are other things in art to aim for than the sublime, part of me will always be looking for that: beauty’s more exalted version. And here it was.
A painting starts to bleed, a sculpture comes to life, and isn’t that coffee machine behaving rather strangely? Welcome to Peeping Tom‘s universe, where “normal” is a concept that doesn’t seem to exist. With Moeder (Mother) the Brussels-based company once again puts on stage a piece resembling a surreal dream, in which one strange event follows the next.