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.
Archive for the contemporary dance Category
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
“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.
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.
The piece reached its low point somewhere near the end, when one of the dancers pulled his briefs down and started fucking the dead horse that had been lying there all the time, legs wide open. It was not a scene depicting utter hopelessness or despair, it was a scene that stood for the lack of directorial vision I had been feeling for quite a while, watching Nicht Schlafen; at that point a piece that seemed not to know where to go anymore. Just do something, and it will be okay. Even fucking a horse.
“Three, two, one”, a voice said. “When you open your eyes, you are still alive.” The lights went on, and it seemed as if everyone around me was waking up. A few moments later everybody in the theatre (KVS, Brussels) got to their feet for a roaring standing ovation. If there’s one thing filmmaker Jaco Van Dormael and choreographer Michèle Anne De Mey are good at, it’s this: bringing a packed theatre into a state of collective reverie. Yes, Cold Blood, the successor to that immensely successful Kiss & Cry (180.000 spectators, 300 performances, 20 countries) has its flaws, but to make a theatre with grown-ups look at things with the same sense of wonder they had when they were kids? Quite unique.
That first view was rather disconcerting. A guy was walking away carrying a canvas. Other paintings stood on the floor, rather randomly, backs against the wall. Did I arrive too late? Was the exhibition already over? But then the guy came back and introduced himself. “I will be your host today. If you have any questions, don’t hesitate.” Euhm, yes: the paintings? “I’m moving them around”, he said, smilingly. “It’s all part of the exhibition. If you’re unable to locate a specific work of art: just ask.” And off he went. Suddenly I noticed that one of the other visitors had begun to move rather strangely, in the hall of that ever so grand Villa Empain (Brussels). You’re in for a few surprises, if you visit Répétition uninformed (through August 21).