During this third edition of SLOW (36H), Concertgebouw Brugge (B) gives you 36 hours to stop and reflect in a society that is all too often rushing forward. Inspired by ancient and other cultures, we experience a different notion of time, by stopping the clock and getting maximal enjoyment from minimal resources.

BOREAS 02007, an installation by Lawrence Malstaf is installed in the Concert Hall. Admission is free with a ticket for the performances by Keiko Shichijo, Taurus Quartet or Organo.

BOREAS 02007 is a matrix of tubes spread out equally over the room. They bend over extremely slowly as if a slow motion wind were touching them. Leaning into one another they reaching out like the tentacles of a giant snail. The room continuously transforms from a geometric grid to an unpredictable organic structure and back. Order to chaos to order in a never ending cycle. 

Saturday 5 February 2022 
11:00 - Keiko Shichijo
20:00 - Taurus Quartet

Sunday 6 February 2022
16:30 - Organo

TICKETS

At first glance, tele-present wind (2018) by David Bowen could be perceived as a plant-like oddity composed of 126 dried plant branches mounted on metal rods. This undulating symphony is actually orchestrated by the wind’s blow, the intensity of which is captured via anemometers located in Minnesota, USA. This reconstituted mini-forest, acting as the promise of a somewhat disturbing mechanical future, rises and sways in unison, giving the scene a strange aura: that of a still life yet very much alive. The sound of the moving metal rods, like leaves caressed by the breeze, reinforces the organic spirit of the installation. tele-present wind is in fact a shifted representation of fluid dynamics, the main subject here being the observation of the movement of wind.

Mois Multi
David Bowen

Ohme invites you to F.A.S.T. Femmes Arts Sciences Technologies, an exhibition shedding light, from an historical and artistic point of view, on the invisibilization of women in the history of art, science and technology. 

Land/scape N.1 by Laura Colmenares Guerra is the first of a series of installations/sculptures, based on ongoing research that deals with the notion of landscape in relation to the Western conceptions of nature. The series explores how these geopolitical concepts are found in the periphery of what we consider artificial structures or conceived by the Human. The notion of nature that arises from the relationship between aesthetics and geography involves a narrative constructed both visually and linguistically. Both logics, the representation and the categorization of the world, correspond to a utilitarian ethic. They encode, categorize a visual order and generate hierarchy.

The strategy of framing material reality transforms the environment into a mental structure through which the subject in the West establishes its relationship with the cosmos. The notion of landscape cannot be reduced to its physical reality, or to the natural sceneries it represents; it is actually extra–natural, it conveys the particular relationship between society and its environment.

Laura Colmenares Guerra
Ohme

DEMO is Kris Verdonck's first short film.

The starting point for this film project is the performance UNTITLED, a show by Kris Verdonck / A Two Dogs Company that premiered at the Kaaitheater in 2014.
DEMO follows the genre of silent film, slapstick, musical and cartoons, as well as the style of the numerous uploads on YouTube and other social media.

DEMO is a social and absurdist portrait of Bee, an artist looking for work. Bee is homeless, lives under a bridge in the Brussels Canal Zone and is dressed as a mascot.  He makes videos of himself with his smartphone and hopes to one day find an audience. His main activity is boredom, an existential boredom, he just doesn't know what to do.

In DEMO, we follow Bee's path and his stunts for two days and three nights. His tricks are aimless and nonsensical, and as the days progress his existence begins to weigh on him. His surroundings - a clash of banks, art institutions, homeless people, refugees, expensive apartments and drug addicts - are indifferent. He is part of the scenery that nevertheless defines him and in which he simultaneously disappears. The enthusiasm with which he tries to entertain becomes increasingly extreme, wry and dangerous, to the point of being suicidal. Suicide is unfortunately not an option, cartoon characters don't die, they rise again and again.

Bee lives in a harsh reality and - just because of that - also in his imagination, in his madness and hallucinations. His big dream is to perform for an audience in one of the great art houses on the canal, Kaaitheater and KANAL - Centre Pompidou. There is much that stands in the way of the realization of this dream, not least his poor artistic skills. He thinks he knows great tricks, but in reality it doesn't amount to much, he fails or things go wrong.

CREDITS
Concept and Direction: Kris Verdonck
Dramaturgy: Kristof van Baarle
Performance: Marc Iglesias
Musician: Michael Schmid
Costumes: An Breugelmans, Eefje Wijnings, Karolien Nuyttens, Stephanie Becquet
Camera: Vincent Pinckaers
Production manager: Erik Lambert
Production: A Two Dogs Company
Coproduction: Quetzalcoatl, Shelterprod
With the support of: VAF - Vlaams Audiovisueel Fonds, Tax shelter incentive of the Belgian federal government

DEMO 

Whether it’s chamber opera, music theatre, compositions for orchestra, choir or solo instruments, Annelies Van Parys has mastered it all. The Flemish composer, winner of numerous awards, is now one of the most sought-after contemporary composers in Europe. So what makes her talent so unique?

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