In the past years Fernando Belfiore has been blurring the borders of theater, choreography and visual arts. Challenging modern logic thinking and social-political constructions he has touched metaphysical levels. The performer’s presence and potentialities of the body affects are a strong characteristic of his work, using movement to alter mental states and normality. His works are intense, designed, humorous, visual and radical often arriving at places of softness, vulnerability, and delicate transformation.
For this new work, Belfiore is playing himself with projections. Projections are the presentation of an image on a surface, especially a cinema screen. Belfiore creates installations and plays psychedelic atmospheres, projecting colors, high-quality paradisiac images, live recording, images for green screen and animations. But projections are also an estimate or forecast of a future situation based on a study of present trends.
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Niki van Callandt is a dancer, choreographer and co-founder of the movement Ahead of the Curve, dedicated to making a stand for dancers that deal with body discrimination 'Sizeism'. With her choreographies Niki wants to enhance an awareness in her audience and deals with subjects and communities that have to do with prejudices.
With her trio Or is it me she puts three strong personalities together on stage, to research if we are able to think beyond distinct categories. Choreography Niki van Callandt. Dance Carlotta Ippolito ‘Shiva Vineyard’, Ellen Houck. Text & spoken word Jodie Pinkney. Music Philip Glass, ‘Mishima’.
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Eye-catching appearance Junadry Leocaria (1985, Willemstad) is a strong urban dancer, specialized in waacking. In her own choreographies she searches for ways to bring varied styles together in an organic way. In Awor Aki she explores the themes self-acceptation, love for yourself and the will to grow as a person. Choreography Junadry Leocaria. Dance Elsa Mulder, Merci Liesem, Tamara Robledo Oud, Wendy de Vries, Junadry Leocaria.
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Sarada Sarita is a choreographer that is not shy to speak her mind and heart, likes to make statements with her work, and stands for humanity and equality. The coming two years she will develop her own practice under guidance of ISH. With Q4, Squaring the circles, Sarada took inspiration from the Quaternity-theory of Carl Jung, geometric shapes as the square and circle, and New Way Vogue to reflect on the structures and patterns that shape our lives. Choreography & Concept Sarada Sarita. Dance Carlotta Ippolito, Aran Asafo, Lara Matthey, Tamara Robledo Oud, Venla Keskinen and Sarada Sarita Keilman. Costumes Rani Art.
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This specific edition of YBDG restages part of Trapped in the Closet, a rap opera by American R&B singer R. Kelly that features a series of colourful characters. Following several longstanding traditions within gay performance that deal with appropriation, embodiment and representation, Vincent Riebeek and YBDG relate these to the perspectives they have cultivated through their various contemporary art practices.
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On angels and liquids; how those two universes collide, and my attempts for the last two months to control the mess they make.
Loosely inspired by Michel Serres’ Angels: A Modern Myth, theories on liquidity, the properties of fluid materials to leak, drip, change, disobey, make a mess and inspire thoughts on harmony in an upside-down way.
In collaboration with Jimmy Grima, an artist who was born on a tiny island in the middle of a sea.
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‘Deus ex machina’ is most commonly used to refer to an unexpected power that intervenes and saves a seemingly hopeless situation. Choreographer and performance artist Fernando Belfiore (Brazil) uses this notion to explore a poetic that can induce an experience of unimaginable changes. In D3US/x\M4CHIN4 notions of vulnerability and movement as energy will extend, the limits of theatricality are stretched and plastic faces will melt. Different sources of sounds form a chorus and a supernatural battle becomes a choreography that balances between the epic, science fiction and ritual.
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As a visual artist, (Belgium) often translates socio-political ideas and questions into broader journalistic and “objective” social frameworks. In his performance The Seafroth Knows Neither Pain nor Time, Nestel invites the audience to think through contemporary issues related to refugees, racism and the rise of right-wing nationalism in an increasingly interconnected world, all the while placing himself at the center of this endeavor.
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In deze bijzondere samenwerking met studenten van de opleidingen Productie Podiumkunsten, Regie Opleiding, Amsterdamse Toneelschool&Kleinkunstacademie, Theaterdocent en Mime Opleiding werken zij aan de volgende WijkSafari die plaatsvindt in Amsterdam Noord.
Met het project de WijkSafari trekken theatermakers de wijk in en adopteren zij haar buurtbewoners op zoek naar persoonlijke levensverhalen. Studenten transformeren van bezoeker naar familielid doordat zij daadwerkelijk twee weken lang gaan wonen bij ‘hun’ 10 wijkbewoners en hun gezin. Deze bijzondere ontmoetingen leiden tot voorstellingen waarin theater en realiteit met elkaar versmelten en bezoekers op ontdekkingstocht door de wijk trekken.
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Het TechnologyLab_ is een interdisciplinair onderwijsconcept waarin kunst, technologie en wetenschap geïntegreerd aan bod komen. De raakvlakken tussen wetenschap en kunst zijn in de praktijk vaak groter dan je op grond van de reguliere schoolvakken zou denken; ze zijn beide vanuit nieuwsgierigheid ontstaan. In de 21ste eeuw leidt deze nieuwsgierigheid tot samenwerken: kunst kan ook gemaakt worden in laboratoria en onderzoek kan plaatsvinden in ateliers. Tijdens TechnologyLab_ leren de studenten het ontwerpen, ontwikkelen en implementeren van onderwijsmateriaal in de context van kunst, technologie en wetenschap. Zij verdiepen zich in op actuele wetenschap en technologie georiënteerde kunst waarmee een basis ontstaat om duurzame samenwerkingen met bèta- en techniekvakken in het onderwijs aan te kunnen gaan.
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