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010 Brussel / Bruxelles / Brussels Kunstenfestivaldesarts 0 01 07 - 29.05.010 BRUSSEL / BRUXELLES / BRUSSELS KUNSTENFESTIVALDESARTS Het Kunstenfestivaldesarts vindt elk Le Kunstenfestivaldesarts se déroule Kunstenfestivaldesarts jaar plaats gedurende 3 weken in mei, chaque année au mois de mai, et s’étale takes place in dozens of in tientallen gastvrije theaters en sur trois semaines durant lesquelles welcoming Brussels the- kunsthuizen in Brussel. des dizaines de théâtres et de centres atres and art houses for d’arts bruxellois lui ouvrent gracieuse- 3 weeks every May. Het Kunstenfestivaldesarts presen- ment leurs portes. teert podiumkunsten en beeldend werk, Kunstenfestivaldesarts van Nederlandstalige en Franstalige, Le Kunstenfestivaldesarts affiche à features performing arts Westerse en niet-Westerse kunstenaars. son programme des œuvres scéniques and visual arts, by Dutch- nouvellement créées par des artistes and French-speaking, Het Kunstenfestivaldesarts is een cre- francophones et néerlandophones, Western and non-Western atiefestival voor kunstenaars met een belges et internationaux. artists. persoonlijke kijk op de wereld, en toe- schouwers die hun eigen perspectief Le Kunstenfestivaldesarts est un festi- Kunstenfestivaldesarts is in vraag willen stellen. val de créations au sein duquel des a festival dedicated to new artistes partagent leur vision person- creations, intended for Het Kunstenfestivaldesarts is een kos- nelle du monde avec des spectateurs artists with a personal mopolitisch stadsfestival. Steeds meer prêts à remettre en question et élargir outlook on the world and maken we deel uit van een complex net- leur champ de perspectives. spectators willing to ques- werk van gemeenschappen, die de gren- tion their own views. zen van natie, taal en cultuur nuanceren Le Kunstenfestivaldesarts est un festi- en overschrijden. De stad is de omge- val résolument urbain et cosmopolite. Kunstenfestivaldesarts is a ving bij uitstek waar deze kosmopoliti- Nous faisons partie, chaque jour davan- cosmopolitan city festival. We sche samenleving zichtbaar wordt. tage, d’un réseau complexe de commu- are increasingly becoming part nautés où les concepts de nation, de of a complex network of communi- Het Kunstenfestivaldesarts vindt langue et de culture sont relativisés, ties that cross and redefine national, plaats in Brussel, de enige Belgische voire dépassés. La ville est l’environne- linguistic and cultural borders. stad waar de twee grote gemeenschap- ment par excellence qui rend cette The city is the environment “par excel- pen van het land samenleven. Talrijke communauté cosmopolite visible. lence” in which this cosmopolitan soci- Vlaamse en Franstalige instellingen ety can be seen. werken mee aan het festival dat als Le Kunstenfestivaldesarts a lieu à fundamenteel tweetalig project bij- Bruxelles, la seule ville de Belgique où Kunstenfestivaldesarts takes place draagt tot de dialoog tussen de ver- les 2 plus grandes communautés du in Brussels, the only city in Belgium schillende gemeenschappen in de stad. pays cohabitent. Il réunit autour d’un where the country’s two largest même projet de nombreuses institu- communities live together. Several tions tant flamandes que franco- Flemish- and French-speaking institu- phones. Conçu fondamentalement tions are involved in the project. comme un projet bilingue, il contribue Fundamentally conceived as a bilingual à encourager le dialogue entre les com- undertaking, it contributes to encour- munautés présentes dans la ville. aging dialogue between the communi- ties living in the city. 5 EDIT010 010. De vijftiende editie van het om te leven in een overbeschermde Belgrado test Tomi Janežic Kunstenfestivaldesarts. Een jaarlijkse wereld van permanente controle. de utopie van een theater afspraak met de hedendaagse interna- Moeten wij alles wat we tevoren geac- dat zich van de scène tionale creatie. Een selectie van werken cumuleerd hebben te allen prijze en bevrijdt, en het leven van die vandaag gecreëerd worden, met als voor altijd behouden? En gaan we mis- elke dag besmet. drijfveer een heden, dat ze ondervra- schien ooit dat betreuren waaraan we gen, dat ze proberen begrijpen en acti- nu geen behoefte hebben? In haar voor- Tot slot valt het op hoe veren. Een artistieke stand van zaken stelling zet Vera Mantero een terug - bepaalde projecten ver- die ons wellicht ook het ‘punt’ waar we kerend en bevrijdend ritueel in scène, trekken van een plek en ons bevinden kan aanwijzen. Een ruim- waarbij mensen tabula rasa willen de relaties met de directe te voor creatie en voor confrontatie tus- maken. De band tussen materieel bezit omgeving. Lia Rodrigues sen visies, voor ontmoeting en dialoog en geluk, maar ook de dreiging van ontplooit haar dagelijkse tussen werken en mensen. onzekerheid, staat centraal in het ver- choreografiepraktijk mid- rassende Een poppenhuis, herwerkt denin een favela. In een wereld die wordt ingehaald door door Daniel Veronese. Christoph Schlingensief, de excessen die hij produceert, voeren In Versus maakt Rodrigo García zich geniaal provocateur, ont- economie en maat het hoge woord. zorgen over de dreiging van passiviteit werpt een ‘operadorp’ in We moeten besparen. Ons inenten en intellectuele en morele leegte die Burkina Faso, en durft de tegen epidemieën. Ons waarborgen inherent is aan het surplus. Zijn explo- sprong te maken tussen tegen financiële onzekerheden en tegen sieve mise-en-scènes verzetten zich werelden die ver uit elkaar de dreiging onze verworvenheden te tegen de nivellering van talen en licha- liggen. Lotte van den Berg verliezen. Ons beschermen tegen de men: ze zijn op zoek naar een leefbare nodigt haar buren uit op de gevaren van de straat, de goden van en levende ruimte, ergens tussen de scène van een theater, en ont- de ‘anderen’, onze eigen excessen. uitersten van exces en stilzwijgen in. wikkelt een werk rond verplaat- Het Kunstenfestivaldesarts wordt sing – die wordt gezien als de enige niet rond één thema georganiseerd. Vormen van controle en hun gevolgen manier om een ‘thuis’ te definiëren. Elk werk op de affiche draagt zijn eigen voor de bewegingsvrijheid worden vaak Tegenover de onverbiddelijk om zich visie in zich en ontwikkelt een taal om opgeroepen. Zuid-Afrikaan Boyzie heen grijpende globalisering onderzoe- die te verwoorden. Nochtans is het boei- Cekwana klaagt de (bewust of onbewus- ken kunstenaars wat nabij is, en schet- end – en dat is wat een festival zo bui- te) mechanismen aan, die erop gericht sen cartografieën van hun eigen stad tengewoon maakt – zich te verdiepen in zijn de verschillende fysieke en raciale (Enrique Diaz) of van hun eigen straat wat deze creaties ons zeggen wanneer identiteiten te classificeren, maar ze ook (Sarah Vanagt). ze samen worden gepresenteerd, hier te onderdrukken – of ze nu op één per- en nu. En om te onderzoeken in hoever- soon van toepassing zijn, dan wel op een 010. Welkom op het Kunstenfestival - re ze in staat zijn de vinger aan de pols volledig continent. Jorge León brengt desarts. Om er een dertigtal nieuwe wer- van de tijd te houden. een drieluik rond de figuur van de meid. ken te ontdekken, die meestal door het Hij toont een geglobaliseerde slavernij, festival gecoproduceerd worden. Om te Voorstellingen die getuigen van moei- en de verschrikkelijke machtsverhoudin- luisteren naar wat ze ons zeggen, hier lijke paradoxen. Van een delicate, gen die ermee gepaard gaan. Amir Reza en nu. Om, doorheen de werken, een pijnlijke situatie voor de mens, die Koohestani, die werkt vanuit Teheran, subjectieve staat van de wereld op te schippert tussen de bewustwording bedenkt fabels om te kunnen spreken maken. We danken alle partners die dit van zijn excessen van ‘homo consu- over een realiteit waarin elementaire project mogelijk maken, en nodigen u mens’ en de vrees deel uit te maken rechten met de voeten worden getreden. uit om het samen met ons drie volle van een uniforme maatschappij. Heen Bij Toshiki Okada zoekt het individu zijn weken intens te beleven! en weer geslingerd tussen enerzijds de eigen vrijheid, los van etiquette en socia- legitieme behoefte aan veiligheid en le hiërarchie. De voorstellingen getuigen Christophe Slagmuylder en de ploeg stabiliteit, en anderzijds de weigering van bevrijdende processen, en in van het Kunstenfestivaldesarts 7 010. La quinzième édition du Kunsten - Devons-nous garder, à tout prix et à Enfin, il est frappant de festivaldesarts. Un rendez-vous annuel jamais, tout ce que nous avons accu- constater que plusieurs avec la création contemporaine inter- mulé ? Et allons-nous en arriver à projets au programme nationale. Une sélection d’œuvres regretter ce dont nous n’avons pas cette année ont pour ori- créées aujourd’hui et stimulées par un besoin ? Dans sa dernière création, gine un lieu de travail et présent qu’elles sondent et tentent de Vera Mantero met en scène un rituel ses relations avec son comprendre et d’activer. Un état des répétitif et libérateur où les êtres, contexte immédiat. Lia lieux artistique susceptible aussi d’in- incertains mais joyeux, tentent de faire Rodrigues déploie sa pra- diquer le « point » où nous nous trou- le vide et de se débarrasser des biens tique quotidienne de cho- vons aujourd’hui. Un espace pour la qu’ils ont acquis. Le lien entre posses- régraphe au milieu d’une création et la confrontation de visions, sions matérielles et bonheur, mais favela. Christoph la rencontre et le dialogue entre des aussi la menace de précarité, sont au Schlingensief, provoca- œuvres et des personnes. centre de l’étonnante Maison de pou- teur de génie, conçoit un pée revisitée par Daniel Veronese.
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