If we’ll be looking back in twenty years at the dance of the noughties, what will remain? Integrating a postconceptual attitude and a strong interest in embodied knowledge, one particular strand could be called “critical expressionism”. Artists such as Meg Stuart, Boris Charmatz, Philipp Gehmacher, Jennifer Lacey, Vera Mantero or deufert&plischke use choreography to reflect on the human condition, specifically by questioning the limits of representation. In a formal sense, they mobilize the dancing body as a critical force within visual regimes, adopting various strategies. Their choreographies submit the stable, vertical image to gravity, operate in a scattered field of signs, create medial noise, acknowledge blindness and temporality as constitutive of perception, or embrace the acoustic imaginary’s heterogeneous realm. Moving against the grain of visuality, what promise does the stage hold?
September 30th, 16:30 at ArtEZ, Onderlangs 9, Theatrium (exact location yet to be announced). Please let us know if you are coming by sending an email to Konstantina Georgelou at: firstname.lastname@example.org
Jeroen Peeters is a writer, dramaturge and performer based in Brussels. He publishes on dance, performance and art theory in various books and specialized media, such as corpus, Dance Theatre Journal and Etcetera. Since 2002, Peeters has been co-directing Sarma, a laboratory for discursive practices and expanded publications within the field of dance and beyond (www.sarma.be). Interested in documenting the heterogeneous “languages of making”, he set up several dialogical projects with artists, which resulted for instance in a book in collaboration with Meg Stuart, Are we here yet? (2010). In 2012, Peeters received the Dutch literary award Pierre Bayle for his body of work in dance criticism. Aristic collaborations in the field of dance with a.o. Julien Bruneau, Deufert+Plischke, Jack Hauser, Sabina Holzer, Martin Nachbar, Meg Stuart and Superamas. Peeters has taught dramaturgy at the SNDO (Amsterdam), the HZ Tanz (Berlin), the Institute for applied theatre studies (Giessen) and Teak (Helsinki).
featured image: ‘Clochard’ by Tadeusz Kantor