With our series To be continued, we facilitate personal encounters between programmers and artists working in Belgium. Online. You will discover new work and engage in conversation with artists and other programmers about their plans and yours. Together, we turn our eyes to the future.
With Yasmina Reggad, Myriam Van Imschoot, Sara Manente, Gaëtan Rusquet, Moya Michael, Mathieu Charles & Jihan Imago
Organised in collaboration with Hiros and kosmonaut
2 pm . introduction – plenary session
2:10 pm . two conversational group sessions with a selection of artists to talk about the new creations and working processes
4:30 pm . open session where you will have the opportunity to talk plenary or have a one on one with another participant/artist.
5 pm . the end
How to register?
Book your virtual seat here before January 4.
Yasmina Reggad is an independent curator, writer and performance artist based in Brussels, Belgium. She holds an MA in Medieval History from the Sorbonne University. She co-funded and is currently the curator of aria (artist residency in Algiers). She previously worked at the Delfina Foundation and Art Dubai Projects. Reggad is the co-curator of the French Pavilion at the 59th Venice Biennale, represented by artist Zineb Sedira.
Her research and projects focus on the politics of futurity, investigates alternative systems of knowledge and artistic modes of production, and explores performative methodologies inspired by dance and performance notations. In the past years, Reggad has developed personal projects that span different genres from lecture-performance to dance pieces and sound intervention. This series of performances and scores that are based on unconventional audio-visual and documentary archives, operate as an alternative to the practice of essay writing. The site-specific performance she refused to be what she was told she was (2018, The Breeder Gallery, Athens/Greece) activates artworks by artist Navine G. Khan-Dossos; IF-THEN GOTO (2017, Art Dubai, UAE), in collaboration with dancer Lana Fahmi, is a choreographic algorithm based on the diagrams, instructions and the performance archive of the late Emirati artist Hassan Sharif.
The first two episodes of the long-term research we dreamt of utopia and we woke up screaming, that takes as a starting point the radio broadcasts of the liberation movements based in Algeria in the 60s and 70s, has recently been staged at Kaaistudio’s (Belgium), Jeu de Paume (France), Tabakalera International Centre for Contemporary Culture (Spain) and Biennale Warszawa (Poland).
Sara Manente works as a choreographer, performer and researcher. She studied Communication Sciences at the University of Bologna in 2003, obtained a postgraduate degree in performance studies at a.pass in 2008 and was part of the a.pass research center in 2019. She is also active as a performer and mentor at KASK, ISAC, Juan Dominguez, Kate McIntosh, Aitana Cordero Vico, Marcos Simoes, Jaime Llopis, Nada Gambier, a.o.
For Sara Manente, thinking from dance and the body in movement allows her to question the way we see and do things in relation to ourselves and the other. As a result the projects circulate around topics such as language/opacity/noise, hybrid/chimera/third. Interested in narrowing the distance between the performer, the work and the spectator, she realizes projects of different size and format: book launch, 3Dfilm, written text, interview, choreographic piece, workshop, telepathic experience, etc.
She created two major dance pieces Lawaai means Hawaai (2009) and Faire un four (2011). Together with Marcos Simoes she created projects and workshops around notions of collaboration such as This place, Tele Visions and Lava (2012-19), followed by a longer research project focusing on “ekphrasis” and the critical relationship between dance and language: Spectacles (2016-18). In her recent research Wicked technology/Wild fermentation (2019) she brings together practices of fermentation, feminism and artistic research to question togetherness in the live arts. In 2020 she made the research public in the magazine ROT Issue Zero. She is currently working on a second magazine and preparing the performance MOLD.
Myriam Van Imschoot
Myriam Van Imschoot makes performances, creates sound poetry and vocal pieces, exhibits video and sound installations. She holds a unique position in the Belgian art field, moving between institutional fields and media, with a keen interest to experiment with contexts when not creating her own. As an artist she first started working with archives as her medium, like she did in her solo Living Archive (2011), a personal testimony of what could be any ‘girl living next-door with a passion for mixed tapes’. Fascinated by phenomena of long-distance communication, Van Imschoot embarked on a cycle of works that deal with yodelling, crying, waving and bird calls. Hola Hu (2013) and Kucku (2014) are deconstructive yodel duets, and with an ensemble of women she has been creating performances on the basis of a trill that is occurring in different parts of Africa and the Middle East. YOUYOUYOUYOU (2015), a stunning whirlwind that is composed as one prolonged ‘collective’ cry in crescendo’, became a seminal piece.
Van Imschoot also creates site-specific work for public spaces, urban or rural, like mountain ranges, railway station areas, parks, roof tops and public squares. She received commissions of International Sculptural Rotterdam, ZUS architects, Binaural Sound arts Center, Téléphérique, etc. Currently, she is exploring a new field of research, ‘new polyphonies’ and their social and political implications for listening. Myriam is regularly invited to teach voice workshops or workshops on sound poetry with Marcus Bergner. In parallel to her performance work she directed eight films, Le Cadeau (2018) being the last film in a series on vocalists.
After studying Applied Arts in Paris at L’ENSAAMA, Gaëtan Rusquet obtained a Masters degree in stage design and performance at l’ENSAV La Cambre. He works as an artist and performer, in the field of performance, dance, theater and visual arts. Recently, he performed in Celestial Sorrow of Meg Stuart, Square Dance of Bryan Campbell and created the costumes and scenography for Boundary Games of Léa Drouet. In his artistic proposals, Rusquet focuses on the relation between the body and the space, by using a medium and the necessity of a movement linked to this. In his work, he wants to share a visual and a performative experience with the audience. In Meanwhile, (2014) the performers struggle against the disintegration of the construction they build, while As We Were Moving Ahead Occasionally We Saw Brief Glimpses of Beauty (2018) explores the choreographic potential of (live) video editing and the perspective of the selfie. the eYe in the light in the eYe (2020), commissioned by Europalia, echoes the photographic practice of Brancusi by making images appear and disappear in the eyes of the viewers, who become the medium themselves. Currently, he is working on his research the edge, in which he explores ways of dealing with the body and liminal spaces.
In Coloured Swans, dancer, performer and choreographer Moya Michael questions how layers of imposed identities change how an artist moves, speaks, sings and what specific spaces their bodies visualise or capture. Dance and performance are intertwined with singing, video and speech. Classified as a “coloured” person in Apartheid South Africa, Moya invites artists from a variety of disciplines and backgrounds to join her in this quest. Together they share their personal stories in order to confront and intertwine the complexity of their experiences into one overarching creation. Each encounter leads to a performance created for and with the artist as one of the swans of Coloured Swans. Coloured Swans can be seen as an umbrella concept: it is an umbrella that connects several creations. The first creation was “Khoiswan” (2018), followed by “El Dorado” (2018). “Harriet’s ReMix” (2020) represents the third part of this exciting body of work.
Mathieu Charles (1984) is a Mauritian Creole / Belgian theatre maker and spoken word performer. His most recent performance is “Fanon Mixtape”, where he brings his love for Hip Hop and mixtapes together with the life and theory of Frantz Fanon. For his next two projects, “Akomfrahdio (2021) and “Ayonbi”, he’s working with de Brakke Grond, RIGHTABOUTNOWINC, Productiehuis Rotterdam and Kunstencentrum Vooruit. Mathieu also gives creative writing workshops and lectures about the multidimensionality of (de)colonization.
Jihan Imago is a visual artist, performer, illustrator and writer, born in a family of Algerian miners in the Hauts-de- France in the 1980s. This heritage, this emotionally charged cultural heritage, as well as the fact that he is trans, have had a strong social impact on him; especially in the discrimination that each of these aspects entails and the roles that are assigned to him. Although these two subjects are generally not the themes of his works, they are necessarily imprinted. In a society based on social inequality, no identity can be neutral. A work is carried by a person, his singular trajectory, his identity and his history. Each work is a point of view situated by the author, the interpreter, in a fragmented world.From April 2019, Jihan decided to approach the body as a medium of exploration and expression, in the discovery of his own language. This project, “Natural Born Healer”, took the form of a creation a year and a half later. The solo will perform for the first time at Batard festival (Brussels) in January 2021.