We are convinced that good working conditions and a welcoming environment are key conditions for artistic creation. For the audience, the residency working may be the least visible part of what we do, but it is the beating heart of our House for Dance, Image and Sound. Every day, artists from Belgium and abroad work in the Ateliers, Studio, Labozaal and Soetezaal. STUK’s role as a stimulating workplace is a public secret by now: professional studios, a technical and production staff that thinks along with the artist, apartments within walking distance of STUK and an artists’ kitchen as a lively meeting place.
A residency is always tailor-made. Some artists are still doing research, while others are much further in their process or are close to a premiere. A big amount of artists get the rooms at their disposal, a smaller number of them receives extra support. STUK has the know-how for guidance from A to Z: content and dramaturgy advice, productional and technical support, a financial framework, presentation options, an international network and a close collaboration with the KU Leuven for research.
Deposing is the chance of state of volatile matter into solid. I’m exploring methodologies of embodiment of processes of inverted transcendence. The gaze is given agency, and as it wanders in space, deposes on invisible traces of unexpected brilliance.
Zee is a dance piece in which the two performers find themselves in a continuous conversation. They go through physical, emotional and mental landscapes. This ongoing concentration simultaneously connects and isolates them in their solitude.
DANCING is the newest solo performance by Koen De Preter.
Objects seem sometimes dead, sometimes alive. We mostly act with reason, but sometimes superstitions take the upper hand. Doubt and conviction change roles in the blink of an eye. We constantly shift between different orders of reality.
During this residency Lisa will continue the work on my project Softcore, which will have its premiere on June 14th in Buda, Kortrijk. Softcore is a dance and an embodied talk that questions both the hard and the core in hardcore techno.
ORPHIC EXUBERANCE VERSUS SOLAR CAPITALISM is an assembly of cosmic entities to decide the fate of earth within the solar system. Their assembly takes the form of movement, sound, colours.
Igor Shyshko and Tale Dolven are doing a research project together, supported by the Flemish ministry of culture.
Where does a body begin? In our new creation, we take the duet form as a starting point for an investigation of the outer edges of human intelligibility.
SHE is a solo performance on the crossroads of DIY-spiritualism, urban shamanism, and feminist channeling practices.
Invisible investigates what happens to man when he loses his ground. Created with four young children and three adult dancers, the performance talks of purification, compassion, loss and hope.
Manon Santkin works on her new project New Measuring Rites. More info will follow soon.
How can abstract music and dance elicit emotional responses from audiences? What can evolutionary biology tell us emotional reactions to art? Do the sonic qualities of sad music relate to the physical qualities of sad dance?
This residency is a first performative stage in the research process A Dance Of One’s Own.
Maybe it is worth running the risks associated with anthropomorphism (superstition, devinization of nature, romanticism) because it, oddly enough, works against anthropocentrism: a chord is stuck between person and a thing, and I am no longer above o
RULE OF THREE is a mix between a concert and a collection of short stories. The atmosphere of a nightclub is interwoven with a sense of getting lost between the pages of a book.
Seul (Alone) aims to investigate the concept of being alone in a mercenary society not interested in giving the possibility to realise our ideals. This loneliness is not depending on the society’s absence.
In the work Rasp Your Soul the body of the performer is exposed into a force stream.This stream carries the errors and echoes of language and information of our cultural era. His body is the matter which this stream passes through.
In Æ – All ears we work with vocal recordings of poets, neighbors or public figures speaking. We listen to how words move us, and step with their flow.
In Attention.app (working title) two figures, two women, two bodies are committed in an exercise of reaching out surfaces, like the surface of their own bodies, the surface of the floor that its under t
This residency will be the first steps of the creation of a new performance planned to be played during the festival Playground in 2017.
By revealing the different building blocks of a dance trio, The moon is the moon is the moon (performed at STUK on May 3) peels away the many layers of choreography.
Equipped with the tools of dance, Berlin choreographer Clément Layes face the cycles of life and the infinite recurrence. His new show The Eternal Return features 15 performers in a small room built on the stage.
But we never permitted the birth of logic among us.
—Oswald de Andrade, Manifesto Antropófago
The departure point of Elsewhere is a research which considers space as an artistic medium with physical, temporal, and social dimensions.
Focusing on repetition and variations repetition as a sort of infantile naïve humorist logic that support processes of learning and unlearning inside fixed forms, as a way to travel in time, to move forward and back again, allowing details to be lost and found and lost