GDIF 2014

GDIF 2014In the week of 20-28 June the outdoor GDIF, Greenwich – Docklands International Festival, took place. Performances that mix the genres of dance, acrobatics and poetry swooped unsuspecting tourists and visitors through the Cutty Sark Gardens, Old Royal Naval College and St Alfege Park.

We scrubbed our sorrows away with Laundry XL (De Directie & Co), saw our life passing buy on a Bench (Mimbre), we balanced out our life in the circle of Frantic (Acrojou), we scratched our knees on the concrete during Te Odiero (HURyCan) and we travelled through space and time on the words of a Poem by Inua Ellams.

Keep an eye out for this exciting festival and their programming!
They’ll need your support to keep the festival completely free for next year.

What’s the point of it? – Martin Creed

Life – laughing – numbers

Triggered from reading an article about Martin Creed in Aesthetica Magazine issue 57, I hastened myself to the Hayward Gallery in London.
Almost the whole gallery is dedicated to a diverse collection of the artists work. Every room, corner, level, wall and outdoors of the gallery is used to show the many No.’s that plunge you into a different dimension of reality, were everything is seriously humoristic and relative; it all depends how you look at it. The great amount of work creates a big collage that makes the building come alive giving it a heartbeat of movement.

Seducing all your senses even before you can give permission, brought on the pulsing allure of this exhibition that had a lot in common with that of an installation. Sounds make you aware that something is going on in a different place long before you reach it. Like in a big theme park I got really excited to try everything out, noticing impatience taking a hold of me.
My attention was firstly drawn by a clicking sound (Work No. 112: Thirty-nine metronomes beating time, one at every speed, 1995-98) before I could registrar what I was seeing. Searching for its source I encountered my sense of touch by almost wanting to duck out of the way of a big iron bar swooping over my head carrying the immense neon words MOTHER (Work No. 1092, 2011). While this installation was speeding up in its circular motion, I heard a very soft hint of tones climbing up a ladder. By entering the next space it became clear to me that this sound belonged to an actual piano and his player (Work No. 736: Piano accompaniment, 2007).

Knowing now where the sound had come from I lost interest in the actual work, which let me to wonder around in the space till I was watching a pile of arranged boxes (Work No. 916, 2008) when I caught a new sound. Something, that hold the middle between a fart and a sticking out of your tongue to your rivals sound, seemed to come out of all the artworks I laid my eyes on. Upon approaching the different artworks, however, I lost the sound connection, making me move on in the search of its origin. Ending up at a small sound speaker at the bottom of a staircase where I noticed out of the corner of my eye a change in light every other minute.

This switching light led me to enter the second level of the building where indeed the light was switchinh on and off (Work No. 227: The lights going on and off, 2000) to make place for short video clips (Work No. 670: Orson & Sparky, 2007) projected largely on one side of the space. On the other side of the space a sea of broccoli (Work No. 1000: Broccoli prints, 2009-10) engulfed the wall behind glass frames. I got fascinated by the way these frames picked up the switching light as well as the reflection of MOTHER. Her reflection revealed the secret behind her white neon light as with every rotation it showed her blue, green, yellow, pink and purple colours.

Moving up the stairs to the top level I started to see every part of the building as a possible participant of the exhibition. And not soon enough I was turning around when two works men entered the building carrying a bucket and gigantic pickaxe. Was this part of the exhibition or just a happy coincidence?
Turning another corner I encountered moving curtains (Work No. 990: A curtain opening and closing, 2009) that revealed the London skyline and made me go outside to get startled by a living car (Work No. 1686, 2013).

After having entered the exciting and calming balloon room (Work No. 200: Half the air in a given space, 1998) I went down the staircase where I halted at the toilet area because I heard some distinct sniggering, probably the most reassuring sound in a toilet block! Entering the small hall space in front of the toilets I discovered the source: another sound speaker protruded form the wall between the two entrance doors of the toilets.

Arriving at the exit I had a chance to leave all my shit behind by watching people puke and poop on screen (Work No. 503, 2006) in a line carpeted square room: Home.

You need to go and see this unique exhibition in the Hayward Gallery in London extended till the 5th of May!

Creed - Banner

6 April – ‘Kriebels in mijn bil’ – Bühnenbiest

Heb jij ook de lentekriebels te pakken?

Kom dan mee kriebelen op 6 april om 11:00uur in Theater Vrijburcht te Amsterdam met ‘Kriebels in mijn bil’!

Reserveren: 020 – 416 50 05
Voor meer informatie: http://buhnenbiest.nl/voorstellingen

Kriebels in mijn bil

NYMPH()MANIAC: Volumes I and II – Lars von Trier

NymphomaniacNymph()maniac: a must see!

I was in luck to score the last ticket to this film double bill on Saturday 22 February in London, which ended with a live satellite Q&A with Stellan Skarsgård, Stacy Martin and Sophie Kennedy Clark.

This movie is an open conversation. A book with a simple story line and many chapters that invite you to enter the world of Joe. Documentary and fiction style grip you in their frames, frames that switch from 16:9 to 4:3 and more. It also contains collage, still image and multi staging, making it into a minefield for the senses, since you find yourself completely opened up by the inviting rhythm and speed of the movie.
Addressed in this movie are art, femininity, humor, society, lust, masculinity, jealousy, music, love, asexuality, stigma’s, fishing and choices.

No, it is not a porn movie. No, it is not a feminist movie.
Yes, it is a intriguing story, told with a great sense of humor and detail.

Go and see this one of a kind!

Blurred Lines – Carrie Cracknell

blurred_lines_poster_1On 13 February I went to see the play Blurred Lines by Carrie Cracknell in The Shed, London.

Damn it!

Three feet under in a matter of seconds. Simple words, clear set, everyday clothing costumes, harassing lights, catchy beats and I’m stuck. I can’t escape. In one way or another you’ll recognize the performed. Question: question femininity. How not to put words in anyone’s mouth, but still trying to say the thought out loud? Dare!

In a fluent rhythmic motion the roles of the characters were passed on between the actresses telling us many sides of this story, the story of value. It hurts to see how easily emotions are swept of the table as a non-valid argument, how women get to hear over and over “get a grip, don’t be so hormonal!” and how the little constant things make you confused and doubtful on what choice to make.

It must have been frustrating as a man to watch this piece because it seems that they are pointed out as the big disruptors in women’s life’s, but a few minutes into the play it becomes very clear that it is not pointing a finger at man: It is pointing to everyone who takes it upon themselves to disrespect another human being, male or female.

blurred lines set photoANNE•Mind you, it still wasn’t a joyful piece to watch since there are so many mistakes made out in the world and they chose to show us a lot of them, but it was clear from the start of the piece, even the flyer, that what you see is what you get. Just before the piece ended it threw in a nice twist in which the audience got totally confused whether the play had finished or not. To every painful side there was a humorous side, and it was this contrast of strengths that made you watch till the very end.

set photo by ANNE•     Keep an eye out for this production and its creators!

Credible Likeable Superstar Role Model – Bryony Kimmings

credible likeable superstar role modelOn Wednesday 16 October I went to see the performance Credible Likeable Superstar Role Model by Bryony Kimmings at SOHO theatre in London.

Sincere

After squeezing into our seats in the sold out theatre, we focus in on the young girl skipping about in a presized half circle on stage, created by the rope that her older opponent has attached to her. We are taken into the world of this nine year old tween, who is a big Jessie J fan. The girl and young woman, who look alike, start dancing to the song Domino of Jessie J in which the young woman completely loses herself to the beat. Here we see the first differences on interpreting the song and its meanings to the both of them. We start to wonder if it is appropriate for the nine year old.

Bryony and Taylor (Bryony’s actual niece) take turns talking to the audience of what they think about each other. Taylor tells about what she thinks about her aunty who is a dinosaur that drinks too much and is unhappy in love. Bryony talks about the journey she took over the last year by diving into her nieces world. Soon she found herself looking for other or new role models than the ones mass media presented her with. She calls her niece little deer and tries to protect her from the sinister grownup world by all means she knows: earplugs, fighting moves, gun use and when that doesn’t seem to help she pulls out her nieces eyes.

This is certainly not where the story ends, on the contrary! Taylor becomes Bryony’s manager in real life after they develope the character Catherine Bennet, who is the first new role model created by Taylor. It’s not before long that we find ourselfs dancing to their self made hit song Animal Kingdom. Could there still be a way to change this harsh indifferent world for young girls?

The identical costumes and set design (David Curtis Ring & Stephanie Turner) have a traditional and stereotyped look that serves, according to Bryony, to create a place of comfort and fun on stage for her niece. The idyllic surface of it becomes layered through the lighting (Marty Langthorne) and deafening music and sound scapes (Tom Parkinson). Bryony becomes more bare, vulnerable and disarmed by the minute, whereas Taylor keeps on growing rapidly into womanhood. When we come out of the theatre into the real world, we are left to wonder where do we go from here?

For information and dates click here
For trailer click here
For hit song click here

Eerste Keer – Danstheater AYA on tour


READY, SET, GO!!!

Next week the performance Eerste Keer starts it’s NL tour!
Come and see us live!

For dates and tickets:
Amsterdam, De Krakeling 8 – 11oct première
Alkmaar, Theater de Vest 17oct
Amersfoort, De Lieve Vrouw 31oct

Complete time table: October 2013 – March 2014

Beeld-Eerste-Keer-def-320x452

Eerste Keer – eerste schoolvoorstellingen @ Zaantheater

Today:
Eerste Keer has it’s first school performances @ Zaantheater!

Toitoitoi!

For tickets: click here

Eerste Keer