The Young 2019
21st - 23rd February
<Future | Fragmentations>
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Tara Pandeya, Exhibition of currency from Tajikistan and Uzbekistan
In our world, there are some bodies that are valued and others that are devalued, bodies that have the agency and right to move and bodies which have not been given the space to be visible or heard. There are so many examples of women being written out of history for being the ‘wrong body’, women whose husbands, brothers, fathers or colleagues took credit or muted women’s contributions. Female agency as an artist, is restricted when women become wives and mothers. How might the landscape of art-making change if women were allowed equal agency and support to realize their artistic work?
Lotte Vrancken and Vincent Focquet, How we took a break from being here and now
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Through How we took a break from being here and now, Lotte Vrancken and Vincent Focquet, Master Students Performance Studies at University of Ghent, are looking for ways to connect their academic research with artistic practice. This time, they won’t write another paper, but they’ll try to bring the theoretical framework of thinkers like Rebecca Schneider, Henri Bergson and Walter Benjamin into practice by imaging strategies for leaving the here and now. Can we be there and then? A residue of these attempts will be presented in a format in which both researchers will be both present and absent.
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Daniel Vorthuys, Wardrobe H, Show & Tell!
Daniel Vorthuys is a poet based in Amsterdam. His work explores the heritage of the western classical tradition through its stories of metamorphosis, transforming this tradition into a mythology of alien and unstable subject-hood. His writing is geared towards performance and video introducing elements of music and costume.
Ditte Jacoby, Steff Nellis, Simon Knaeps, Ans Van Gasse, Zenaïd Paepe, Liesje Baltussen, Margaux Vandecasteele and Silke Gunst
Decolonizing the Campus
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Where is here?
Here for us is Belgium, a divided country not only by language, but also by politics. Once the oppressive colonial ruler of Congo. Here for us is the University of Antwerp. An academic institution where, primarily, white men are still in power. Where, primarily, white middle class citizens fill the auditorium.
Where is now?
Now is a time of polarizing nationalism and racism, in Belgium and the rest of the world. Now is a time where we need to start thinking differently. We need to realize how we, citizens of Belgium, students of the University of Antwerp, are still stuck in a colonial hangover and how we can free ourselves from these structures.
Our research brings us the task of engaging critically with our institution and our curriculum. At the conference, we would like to present you our journey towards the formation of an alternative canon by means of diving into the library, striking up conversation and attending contemporary theatrical performances.
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Alexandra Tsotanidou, Not Four
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Having a strong interest in what silently resides inside the known, the familiar, the unquestionably established, my
research focuses on the use of sabotage, disruption and deconstruction as possible tools to challenge and interfere
in our involvement in the here-and-now in order to reveal and bring into view new aspects of it. Deriving inspiration from techniques of distortion, disruption and fragmentation mainly used in digital arts, design, photography and film, I am experimenting with transferring these tools and applying them to the live body in order to unleash its hidden potentiality.
‘Not four’ is the literal Google translation of ‘pas de quatre’, already negating and undermining its own meaning
through the interpretation process. This short performance is an attempt to revisit and deconstruct a dance piece,
playing with its form, structure, temporal and spatial elements in order to uncover and bring into view the physical
or conceptual elements that are added to or taken away from the body. It is a dance that aspires to become
conspicuous through its absence.
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Caterina Danzico, This is (not) a solo
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‘This is (not) a solo’ recreates a memory, which belongs to the past. Through this recollection, key words such as stillness, distortion and exposure are investigated and interpreted. Constantly aware of the impossibility to stage a memory, the aim of the piece is to contemplate the results generated in the mind and body’s performer and spectatorship. What if now my body get the potential to dance the past? What if I can be here and now while being in an old experience?