29.04.2012, 17:00 hrs
Coinciding with the closure of Springdance festival 2012, BAK celebrates its exhibition Christoph Schlingensief: Fear at the Core of Things during a finissage with drinks and an improvised Thai kitchen.
The exhibition, curated by Kathrin Rhomberg, presents some key works by the theater director, filmmaker, author, and artist Christoph Schlingensief (1960–2010). Ever confronting the uncomfortable, Schlingensief masterfully collapses systems of art and politics through highly experimental means, arriving at an overwhelming sense of immediacy. Rather than placating viewers or forcing them to assume roles of consumers or spectators, the works make a call to the public to take responsibility for the world as it is, and with this knowledge to think—and to act—otherwise.
This year the program of Springdance (19–29 April in Utrecht) centers on the relationship between dance and visual arts and unfolds over 10 days filled with international contemporary dance and performance.
Among the works presented are those by visual artist and choreographer Ibrahim Quraishi. In his live-installation Wild life take away station, 2009–2010, reality and memory, and desire and melancholia, wash over each other. The work, which involves a naked older woman and a naked young man who share a home, invites you in to experience Quraishi’s raw yet poetic view of man and his physicality. Another work featured in Springdance is by visual artist Martin Creed, who applies a strict structure to his Work No. 1020 Ballet, 2009, using the five basic positions from classical ballet, a series of numbers, and the alphabet. Creed’s use of these strictures offers an endless source of humor and creativity. Live poetic punk rock accompanies the work, which, almost casually, elicits very important statements on composition, dance, and life. In addition to these rich contributions to the program, Tino Sehgal was asked by composer Ari Benjamin Meyers to change the traditional audience-orchestra setting for Benjamin’s Symphony X, 2009. Sehgal creates an immaterial set design that reconfigures the format of a concert inviting the audience to share the musicians’ experience of physical exertion.
Have a look at the complete program here: www.springdance.nl.
Caption: Martin Creed, Work No.1020 Ballet, 2009