“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.
Archive for the performance Category
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.
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.
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).
What happens when dance is governed by another set of rules? Some thoughts on ‘Work/Travail/Arbeid’ by Anne Teresa De Keersmaeker (Wiels, Brussels)Posted in art, contemporary art, dance, performance with tags critique, recensie, review on June 18, 2015 by Utopia Parkway
What happens when dance is governed by another set of rules? Well, you get a hype, to begin with. More than 24.000 people went to see Work/Travail/Arbeid by Anne Teresa De Keersmaeker during the nine weeks it was on at Wiels contemporary art centre, Brussels. The exhibition was one of this year’s best ‘performances’ a jury of Flemish critics decided, and so there will be a short rerun at Wiels in September, for Het Theaterfestival in Brussels. In 2016 Work/Travail/Arbeid will be presented by Centre Pompidou (Paris) and Tate Modern (London). I went to Wiels several times, trying to figure out why people were so drawn to this. These are my thoughts.
I was on my way to my yoga class around the corner, but decided to skip it yesterday, as something odd had caught my attention. A guy in a room playing the piano, next to some mattresses on the floor. I opened the door, sat down, and listened. Other people dropped by, and left. Whenever the guy had finished playing a piece, he scribbled the title of it on one of the white walls. Without speaking. ‘A kind of pagan chapel where life and music can become one’, that’s how pianist/conductor/performer Marino Formenti describes his project nowhere. For 12 days he will reside in the Zsenne art lab (through Sunday March 29). He will be sleeping, eating and playing there. It’s one of the many projects of this year’s edition of Performatik, Kaaitheater’s performance art biennial. Want a zen moment? Go and listen (10am-10 pm, 2 Rue Anneessensstraat), as this is more than a gimmick: Formenti really is a great pianist. Not living in Brussels? Watch (and listen to) the livestream, here. I’m already addicted.
Three interpreters sitting on the floor, moving slowly, making clicking sounds, singing; everything happening in a strange slow motion kind of way. Did I really hear the guy singing Destiny’s Child’s Say My Name? Did I see that girl throwing a lasso Gangnam Style? In 2015 Stedelijk Museum Amsterdam is presenting a major survey of the work of Tino Sehgal: A Year At The Stedelijk, 12 presentations in 12 months. But for those of you living in Brussels: you don’t need to go to Amsterdam if you want to get to know the work of this art world darling and Turner Prize nominee (2013). Gallery Jan Mot is currently presenting Yet Untitled (2012), through February 28, a piece that was featured in the official Venice Biennale exhibition in 2013. Sehgal even won the Golden Lion for best artist for it. Want more info on Yet Untitled? You’ll find an interview at the end of this clip. Two rules from the unwritten Tino Sehgal crash course, for when you go to Jan Mot: don’t call this a performance, and, as always: pictures not allowed.