SUMMER 2019


    DANCER #3

    21-30/06 Festival Kanal/Centre Pompidou,
    Brussels

    Installation

    We see a robot trying to stand up straight; he always falls down again, but never gives up. He endures this process of trial and error cheerfully and indefatigably. The machine gets to know its own potential. The energy of this automaton is infectious. His clumsiness and constant failure display the optimism of a clown who’s always tripping over.
    DANCER #3 is part of ACTOR #1 and IN VOID. The artist and theatre-maker Kris Verdonck quite often combines his fascination with machines with images and concepts that owe a lot to science fiction. This certainly applies to the three-part ACTOR #1 that deals with evolving: about what has come into being, what is, and what may come into being. Three variations on the metamorphosis from chaos to order.

    DANCER 3 Reinout Hiel LR2
    ©Reinout Hiel

    SOMETHING (out of nothing) // A Production of  A Two Dogs Company (BE), ICK (NL) 

    14-17/08 Kampnagel, Hamburg(DE)

    10/01/2020 De Meervaart, Amsterdam(NL)
    08/02/2020 Westrand, Dilbeek

    Dance performance

    What is the place of the human in a world in which ecological catastrophe and technology are fundamentally challenging this position? The new performance by Kris Verdonck explores the physical and mental state of being in the face of an impending extinction.
    The combination of a merciless desire for profit and growth with technological developments, has reduced the human to a disposable object. Making the landscape in which we live inhabitable is the next step. What remains after social, economic and ecological elimination? The dancers wandering around in Something(out of nothing), are oftentimes not more than silhouettes or shadows. They are the ghosts that are the consequence of the destructive dynamics between humanity and the landscape, which in the performance is evoked by large inflatable sculptures, noise cello player Leila Bordreuil and a robot drum.
    Parallel to the performance, one or more installations are presented in a museum context. Performative objects will create a similar environment in the white cube as they do in the black box. Theatre flows over into the museum and back.

    Sunset Inferior Mirage

    DETAIL

    28/08-01/09 Kunstfest, Weimar(DE)

    The sun shone, having no alternative, on the nothing new.
    (Samuel Beckett, Murphy)

    In the installation DETAIL, a large and massive boulder hangs on the ceiling. It is hanging on a steel cable, on a ball bearing, allowing it to fully turn around its axis. The ball bearing is put in motion by a steel wheel rotated by a motor which takes its energy from solar panels. The whole chain leads to a relatively simple situation: whenever the sun shines, the boulder turns around its axis. Once the sun shines, and therefore the stone starts to revolve, the mechanism is simultaneously unrelenting: the fatalism of a world that has to and will turn. A mobile with sunlight. A surreal image with an undertone of danger and yet fascinating at the same time.

    The whole (complicated) technical construction has no other goal than to have the “poetry” of a heavy colossus float and turn around. DETAIL is in this sense a pointless use of knowledge and material which makes it even all the more alienating. The question can also be put forward as to whether many other developments that we call ‘technical progress’ really do help the world. The destructive potential of ever greater, faster, more efficient and automatic algorithms, processors, motors and fire power assert their influence on a daily basis in wars and in the depletion of our planet. Where is technological knowledge taking us and does it make us able to handle the problems of our age for the most part caused by ‘technological progress’? DETAIL is then also a stationary situation: frozen, hanging in the air, turning in circles in a vacuum.

    DETAIL 15032019 final
    ©A Two Dogs Company

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