Lifting the veil from Brussels' latest pop-synth enigma
You might have heard: we’re throwing a third edition of Subbacultcha at S.M.A.K.! One of our star invitees, next to Planningtorock, is self-proclaimed narcissist Benjamin Abel Meirhaeghe. Making sure allure and dramatics are ever present he’ll sweep you off your feet with his enchanting voice together with his main squeeze Laurens Mariën. But that’s not why we’re here today. To kick off April he has put together a selection of events that are sure to be a little bit adventures for the average Subbacultcha member. Even more reason to go!
Text and selection by
Benjamin Abel Meirhaeghe
I’m looking forward the most to the new theater piece BAMBI by Sarah Moermans with texts from Joachim Robbrecht. My dearest Benny Claessens, also Schauspieler des Jahres in Germany (with a reason!) is performing the role of Bambi. In this show you see the once innocent fawn like you never saw it before: as a director of its own story. The real story. Meet Bambi Claessens. “The problem of victimship is that people will feel good in being the victim. The victim is always the gutmensch. People identify themselves in our so called post-modern society with victims rather than with the perpetrator and in this meaning we are always all perpetrators.” Alzo sprach Benny. Come to this performance with fur.
Definitely going to Ends of Worlds from Michiel Vandevelde. I didn’t really ‘like’ his last production Ariane for some reason, but I’m curious to see his new creation. Michiel Vandevelde is a graduate from PARTS and is active as choreographer and curator of Extra City. In his new performance Vandevelde will reflect on past times (as will I for a new project at Opera Ghent, a theater as a time-travel-machine). Looking forward to see what Michiel is touching. The year is 0.2300. The bodies of the dancers: reproduced homo sapiens. The stage: a historical reconstruction. The dance: an evocation of a past space-time construct. In five speculative acts about the past from the future, the present is inevitably reflected upon. The choreography becomes a form of science-fiction. Whilst time traveling, not only is the history of dance misrepresented and reimagined, but also past disasters are remembered.
As an ex-resident of something that felt like a never-ending residency at Gouvernement I like to highlight another artist, the 15th Interne, Domas van Wijk. He is the tallest Hollandia guy I know but is also described as ‘a love doctor’ (a friend of mine can confirm that). His residency period is devoted to developing varying ways of presenting his current research, which links the movie Free Willy to Jean-Michel Basquiat’s persona in Downtown 81. Despite their distinctive historical contexts and impact on (popular) art history, van Wijk unites them. In a meshwork of different interrelated meaning and constructions, the lives of Keiko (the whale impersonating Willy) and Basquiat not only share common ground like freedom and identity, they are both also members of the 27 club. Later this month Gouvernemoeke welcomes Christian Bakalov, known as a performer for artists like Ivo Dimchev and Miet Warlop.