2017. Filming and editing for Kunsten Festival des Arts.
The 22nd Kunstenfestivaldesarts has presented a collection of bold, remarkable and demanding artistic creations. A space dedicated to creation and risk-taking, the festival has brought together a rich selection of artistic works that want to avoid any form of classification. It has shared these adventures with a wide and varied Brussels audience as well as a large number of international visitors. The festival has been a place for exciting discoveries and inspiring affirmations, presenting the works of artists not yet widely known in major venues to full houses. At WIELS the remarkable exhibition ‘The Absent Museum’ provided input for dialogue and exchange with the festival programme. Artists from different disciplines and horizons have experimented with astonishing and daring forms and experiences.
A portrait of electroacoustic composer and instrument maker Tarek Atoui. His artistic practice is fluid and varied, continually shifting between sound, visual, physical and performative expressions. At the Kunstenfestivaldesarts, these forms and events come in the shape of an exhibition and a series of concerts, based on the way in which people who are deaf or hard of hearing perceive sound.
The renowned Cuban artist Tania Bruguera creates a piece for the theatre for the very first time. ‘Endgame’ is a staging of the famous one-act play by Samuel Beckett, a post-apocalyptic play on death and despair in its purest form. For Beckett, there was nothing funnier than unhappiness. Building on this momentum, Bruguera reveals a play about domination, power and the limits of our limitless freedom that is universal in scope.
Brazilian choreographer Marcelo Evelin talks about his new dance performance ‘Dança Doente’(Sick Dance). Marcelo Evelin and his dance company Demolition Incorporada present this world premiere at Kunstenfestivaldesarts 2017. The performance stages a body that is infected by the world and dominated by external forces that are wearing it out to the point of ruin. Marcelo Evelin found his inspiration in Hijikata Tatsumi, the pioneer of butoh, also known as the “dance of darkness”, created in Japan in the 1960s.
Argentinian theatre-maker Mariano Pensotti explains ‘Arde brillante en los bosques de la noche’, a play that looks back at the past hundred years that went by since the Russian Revolution in 1917. With this new piece Pensotti is exploring new narrative methods, blending puppets, acting and film.
Boris Charmatz is taking over a public space in Brussels with a performance that has something of a concrete flavour to it. ‘danse de nuit’ is a nocturnal and eruptive rush of movements and words that draw their intensity from urban dance, public marches and street parties. ‘danse de nuit’ makes our tormented world’s obscure and almost carnivalesque impulses and transgressive charges its own in a truly dazzling display.
Monira Al Qadiri explains her new piece ‘Feeling Dubbing’, commissioned by the Kunstenfestivaldesarts. The play is a tragedy of fragmentation and plurality, a lucid and funny piece on the confusion sown in our lives by the stream of images from popular culture, a cryptic story of the Voice. It was presented at the famous Art Deco-style Villa Empain in Brussels.