Audio-visual Performance
Event
CLOSING SESSIONS & CLOSE ENCOUNTERS
Out of Sight, Antwerp
Artists
Partners / Locations
Kunsthal Extra City, MORPHO and Out of Sight are joining forces on Saturday, 28th September. We are warmly inviting you for a full day of events in our neighbourhood. For Kunsthal Extra City and MORPHO this day marks a start of Closing Sessions, a new collaborative ritual that celebrates the ending of an exhibition and an artist residency at their shared locations in the monastery. For Out of Sight it is the second chapter of the long-term project CLOSE ENCOUNTERS.
::: PROGRAMME :::
> Kunsthal Extra City | Provinciestraat 112
13:00-14:00
Curatorial walk with Joachim Naudts for the finissage of the exhibition ANCESTRAL CLOUDS, ANCESTRAL CLAIMS by Denise Ferreira da Silva & Arjuna Neuman
> OUT OF SIGHT | Somersstraat 31
14:00-15:30
Diane Mahin — GUT / durational performance
15:30-16:00
Laila Claessen — BITTER / performance
16:00-16:30
Boris de Klerk — ER IS GEEN RITME, ER IS REGEN / performance
16:30-17:00
Break & drinks
17:00-17:45
Manuel Groothuysen — IN SOFT OUT LOUD / performance
18:00-18:30
Boris de Klerk and Finn Borath — CHAMBER PIECE / audio-visual performance
Warning! This performance contains strobe lights which may be harmful to photosensitive people.
> MORPHO Refectory | entry through Kunsthal Extra City, Provinciestraat 112
19:00-19:45
Judith Engelen — MELT / performance (by OUT OF SIGHT)
> Kunsthal Extra City | Provinciestraat 112
20:00-20:35
Melisa Yağmur Saydı — A STAIN OF LIGHT ON MY SCREEN, TRAVELING DOWN THROUGH YOUR PIXELS / audio-visual performance (by MORPHO, M HKA and Salt)
21:00-22:00
Drinks in the garden
Entry to all the performances is FREE.
Realised with the support of: Flanders — State of the Art, the City of Antwerp, M HKA, Salt
***
For the second chapter of CLOSE ENCOUNTERS, Out of Sight presents a series of audio-visual performances in which we taste and we smell, we see and then we hear. Through senses we meet each other and the world around us.
Diane Mahin, Laila Claessen, Manuel Groothuysen, Boris De Klerk, Finn Borath and Judith Engelen confront us with the materiality of the body while questioning the metaphorical meaning we ascribe to our perceptions.
In the durational performance GUT, Diane Mahin imagines how humans behave when their bodies are turned inside out. The intestinal sounds of a performer are amplified. A visceral and absurd experience that gains in vitality as the gut becomes more active.
Moving up to the mouth, Laila Claessen presents Bitter. We are invited at her dinner table to eat Brussels sprouts, while she recounts a tale of adverse family relationships. Drawing inspiration from Ayurvedic nutrition, she investigates how bitter tastes disappear from western diets while it actually has a positive effect on our physical and mental wellbeing.
er is geen ritme, er is regen by Boris de Klerk is a slow and rhythmical exploration of silence, speech patterns and the voice. Via a short repetitive reflection on how a day passes by, Boris slowly uncouples his voice from his body slowly merging it with the echoes of the space to eventually have it drowned out by rain and eventually silence.
Manuel Groothuysen investigates the synchronicity between the breath and the moving body in In Soft Out Loud. Through his physical motions, the rhythm and intensity of his breath is affected, the sound of which drives an acoustic composition invoking strange and uncanny worlds.
In their Chamber Piece, Finn Borath and Boris de Klerk create a direct relationship between light and sound, eyes and ears. A grid of fluorescent lights is manipulated, creating intense visual patterns while at the same time producing an electro-acoustic composition from the sound the lights make when switched on and off.
MELT by Judith Engelen starts from the visual and tactile properties of wax. As a material that historical played an important role in the development of writing and cast making, it is deeply entwined with how we as humans extend and share our memory. The transient nature of the material is used as an analog to the uncertainty of our recollection.
