Somehow thinking is always ‘to make think’. ‘To make think’, this means opening up a larger space, which is uncertain in its nature and direction. It’s like generating geography without the map, or even cosmography without an atlas.
Opening up a larger space
(which is uncertain in its nature & direction)
2 November 2016
◍ 19:30—20:00 → Chorus, Ilke Gers
Chorus is a performance by Ilke Gers, as part of a public programme put together by Hana Miletic during her exhibition Materials. On the opening night of the Bâtard Festival a group of performers will respond to the rhythm of the audience's movements through the building.
A performance by Ilke Gers and Hana Miletic
◍ 20:00—21:00 & 22:00—23:00 → PLACE, Adina Secretan
Well, spaces have multiplied, fragmented themselves, and diversified. There is nowadays all sizes and all kinds of them, for all uses and for any function. After all, life is moving from one space to another and possibly, without bump. — Georges Perec, Species of spaces
PLACE brings together six performers, a small shelter, and a big scream on a wall. This activist tale inspired freely by the Poetics of Space by Gaston Bachelard is about the happiness and the disgust to live together, and about the drive for closure, and spatial shutting down. Starting point of PLACE is the growing fear of population pressure, sharing space, and housing crisis. Nowadays in Switzerland popular initiatives or referendums are increasingly registered in order to "reduce population pressure" or to preserve the landscapes. It has strongly introduced the question of preserving the space in media discourses and in people’s mind. PLACE is a sensorial and critical journey about housing, about the right owning space and about to who the city belongs. How to make a place for yourself? Who has the right to own space? What does it mean to inhabit?
directing & writing: Adina Secretan | dramaturgy: Anne-Laure Sahy | performance: Louis Bonard, Joëlle Fontannaz, Marie-Aude Guignard, Louise Hanmer, Anne-Laure Sahy | sound design: Benoît Moreau | lights & scenography: Florian Leduc | scenographical assistance: Pauline Brun | general technical management: Félix Bataillou | photo: Sylvain Chabloz | supports: Ville de Lausanne, Loterie Romande, Pro Helvetia, Fondation Ernst Göhner, Fondation Nestlé pour l’Art, Pour-cent culturel Migros, Fondation Suisse des Artistes Interprètes | coproduction: Arsenic - centre d’art scénique contemporain - Lausanne, Théâtre de l’Usine TU - Genève, Théâtre ABC - La Chaux-de-Fonds
◍ 20:00—21:00 & 22:00—23:00 → [CUCKOO], Jaha Koo
One day in spring 2015, while eating a meal, it occurred to Jaha that he would be quite satisfied if he could lead his life making money fair and square, feed himself with that money and sleep comfortably. But the reality he has witnessed all his life was 고립무원(孤立無援) — which means ‘isolation without help.’ Then suddenly, his rice cooker, Cuckoo talked to him “Cuckoo has finished cooking rice. Please stir the rice.” Cuckoo is a Korean-style electric rice cooker designed to boil or steam rice for human consumption. This was how theatre maker Jaha Koo started [CUCKOO], his new performance.
text, direction, music, video: Jaha Koo | CUCKOO hacking: Nathan Andrew Fain | scenography: Eunkyung Jeong | acting: Four Cuckoos and a human actor | production: Kunstenwerkplaats Pianofabriek & Bâtard Festival | support: STUK, BUDA, DAS Theater
3 November 2016
◍ 20:00—21:00 → MEDEA - It’s a classic, Nadja Hjorton
Medea is a very annoying person. To avenge her boyfriend Jason she kills her children, and takes the opportunity to kill King Creon and his daughter while she’s at it. But she is also an oppressed, humiliated woman who rises and does the impossible — she slaughters patriarchy, reproduction and heteronormativity during one thrilling day in Corinth.
Medea - it’s a classic uses Euripides’ play Medea to move around questions about which narratives we implicitly and explicitly choose to reproduce, assuming that by choosing we also do a large gesture of excluding. It uses the classic tragedy — its function, aesthetics, symbolism and structure — as a filter for choreography and music. With too-much-of-everything and Dionysian decadence Medea — it's a classic wants to include more narratives in the Medea myth.
initiator: Nadja Hjorton | with and by: Daniel Andersson, Halla Olafsdottir, Shirley Harthey Ubilla (replaced by Stina Nyberg), Nadja Hjorton | composer: Britta Persson | lights, set design and costume: Chrisander Brun | photo: Chrisander Brun | producer: Siri Hjorton Wagner | Medea is a co-production between MDT, Uppsala Stadsteater, Norrlands operan and ÖFA-kollektivet | residency: Turteatern, Reykjavik Dance Festival | supported by the Swedish Arts Council, the city of Stockholm and the Stockholm County Council | the presentation is part of the project [DNA] Departures and Arrivals, which is co-financed by the Creative Europe program of the European Commission
◍ 22:00—23:00 → Fractured memory, Ogutu Muraya
The great force of history comes from the fact that we carry it within us, are unconsciously controlled by it in many ways, and history is literally present in all that we do… And it is with great pain and terror that one begins to assess the history that has placed one where one is, and formed one’s point of view. — James Baldwin
Through interlacing literary text, video projection and storytelling, Ogutu poses the question - how to deal with an inherited history full of complexity. The piece reimagines James Baldwin’s essay Princes and Powers which describes in great detail a congress of Afro-intellectuals, writers, artists, philosophers and theorists, held at the Sorbonne in Paris in 1956. Central to his research and this performance is a multiplicity of perspectives which includes Baldwin’s essay, historical archive, and personal experience. Through examining the legacy of the congress, injecting the personal and creating fiction, the performance becomes a shift of perspectives, disjointed voices and fractured contours. The performance aims to create an acknowledgement of a shared history and find a new vocabulary to deal with its uncomfortable truths. Ogutu explores the boarders between oral and visual narrative in order to create a multi-dimensional space that is discontinuous and characterized by fragmented time. A space where the teller and the image form a dialogue.
composition and performance: Ogutu Muraya | dramaturgical and direction assistance: Esther Mugambi and Noah Voelker | initial research with: Nele Beinborn | with advice from: Nicola Unger & Andrea Božić | filming & editing: CitéNOIR | image: Thomas Lenden | produced by: Das Theatre | special thanks: Roland Albrecht, Akira Milan, Lena Graber, Dirk Verstockt, Edit Kaldor, Muthoni Garland and Al Kags
4 November 2016
◍ 20:00—21:00 & 22:00—23:00 → Mining stories, Silke Huysmans and Hannes Dereere
In the documentary theatre performance Mining Stories, Silke Huysmans and Hannes Dereere bring together different perspectives on one catastrophic event. Their starting point is the recent mining disaster in Brazil (November 2015) nearby the house where Silke grew up as a child. A mud stream, caused by a dam failure, washed away several villages. After this disaster, Silke and Hannes started to collect the stories of different voices who are all related in one way or another to the disaster and brought them together in a sound patchwork. All of them (habitants, scientists, historians, activists, neurologists, fisher men and politicians) tell their version of the story with their particular context and interest. In this performance they take a look at the different kinds of understanding which appear in the encounter of the different voices.
concept: Hannes Dereere, Silke Huysmans | performance: Silke Huysmans | coaching: Dries Douibi | conversations: William Adeodato, Roliene Almeida, Lindsay Newland Bowker, Andres, Xavi Camacho, Eduardo Campos, Stef Craps, Luc Crevits, Paul De Grauwe, Roberto De Lima, Du Duarte, Juliano Duarte, Ana Elisa Novais, Adelaide Luiza Novaes Dias, Vander Sebastião Martins, Maria Clara Mendes, Cristina Pereira, Dona Hebe Rola, Mathijs van de Sande, Preta Suares e.a. | production: Kunstenwerkplaats Pianofabriek & Bâtard Festival | coproduction: Vrijstaat O./De Werf| residenties: CC De Grote Post, Kunstencentrum Vooruit, Veem house for performance | set: Frédéric Aelterman, Luc Cools | Image: Tom Callemin | transcriptions: Luanda Casella, Miguel Cipriano | Traduction: Minne Huysmans | Thanks to Roliene Almeida, Marcelo Queiroz D’Angelo, Tom Callemin, Cria Mariana, Griet Deconinck, Jan Dereere, Lieve Demin, Maria Dé Fatima Santos, Hilde De Rop, Charlotte De Somviele, Dries Douibi, Minne Huysmans, Johan Joris, Cristina Pereira, Michiel Vandevelde, Karlien Vanhoonacker, Nathan Wouters
◍ 20:00—21:00 & 22:00—23:00 → Tosca, Lulu Obermayer
Non feci mai male ad anima viva
I lived for art,
I lived for love,
I never harmed a living creature.
In this performance 9 bars of the aria Vissi D´Arte from the opera Tosca are being isolated from the plot and looped. Performer Lulu Obermayer lends her voice and body to an ontological and existential inquiry which Tosca within the narrative structure of the opera is not allowed to have.
A duet between the live body of the performer and the mediated bodies of the speakers is taking place and opens up space for reflection. It raises questions: what does a life for art mean? What does a life for love mean? What are the consequences? Is it even possible? And along the way, isn't it unavoidable to harm someone?
concept and performance: Lulu Obermayer | dramaturgy: Aline Benecke | mentoring: Sandra Umathum, Florian Feigl, Boyan Manchev | production: Hochschulübergreifendes Zentrum für Tanz, MA Solo Dance and Authorship
5 November 2016
◍ 19:00—20:00 & 22:00—23:00 → An Illiad, Felix Mathias Ott
Felix Mathias Ott‘s An Iliad is more than just a recount of the original epos by Homer. Three men are controlling the plot with archaic force and energy, creating Trojan spaces. A choreography of constructing and destroying turns into suggestive imagery and an acoustic and visual landscape, that entices the spectators to face their own desires. Collage-like An Iliad is wandering from the current stage to the ancient polity and back to the present, which is unmasked due to its invisible games.
The work of Felix tends to create reflexive more than conceptual spaces where the spectator is invited to discover the and his/her unconscious world. While offering fragments, he calls upon the creativity of the audience to create their proper world. Within this, Felix wants to create a silent dive from reality into fiction and contrast our contemporary ways of receiving information with its screaming manipulative slogans.
performance: Felix Mathias Ott | artistic consulting: Helga Wretman | sound: Alex Kassian | light design: Martin Pilz | photo: Dieter Hartwig | performer: Ante Pavic, Maik Riebort | production: Inge Zysk | special thanks to Falko Purner | sponsoring: Holz Possling, Baubühne GmbH | production: Felix Mathias Ott | coproduction: Tanzfabrik Berlin, Student Centre Zagreb (University of Zagreb) - Culture of Change, MCA Amiens | subsidised by Haupstadtkulturfonds Berlin | supported by Apap - Performing Europe 2011-2016
◍ 19:00—20:00 & 22:000—23:00 → Indispensible blue, Bryana Fritz
A blueness: How does (one), how does (zero), how does (one), how does (zero)…
If software exerts a choreographic force on the user, how can she employ dance as a means to escape its clutch?
A blueness 2: the everyday user’s illiteracy - in the gap and lack of access to the structuring of technology, can she fabricate in its “superficial” use an imagined and profound depth… a dance of poetic excess that drips off the code… an inquisitive movement between use and misuse, domination and submission, form and feeling.
A blueness 3-49: By assuming the role of the everyday user —not a programmer- can she detach herself from co-opting with software’s choreographic demands in order to attain a depth, not through mastery, but rather through a way of moving (dancing!) which neither assimilates nor opposes.
A blueness 50: on poetry, on dance, on a bed of software, on surface depth, on submission
to form and on the Poetics of Usership.
written and performed: Bryana Fritz | advice: Bojana Cvejic, Tom Engels | many thanks to: P.A.R.T.S. Research studios, Jan Ritsema, Camille Durif Bonis
◍ 19:00—20:00 & 22:000—23:00 → Nice weather for operative systems (working title), Nestor Garcia Diaz
If we observe the demands that digital media has placed in our psyche, it seems that we have achieved Marinetti’s dream society. As if globalization has found the ideas of the early avant-garde's aesthetic model. International freelance labour increases and culture becomes global due to the influence of the Internet. More and more frequently we experience feelings of non-belonging and a sense of diminishing political agency.
This feeling of displacement and the demands for flexibility has also deeply affected the art practice of Nestor Diaz Garcia. A place where he tends to work within different, constantly shifting media and frames of representation. In an attempt to search for some fixed ground he is looking to areas where current discourses, art, popular and underground culture intersect.
In this piece I attempt to counter the dominant a-historicism of digital media by re-inscribing its strategies in different artistic genealogies and traditions. In an effort to problematize Internet culture with its own tools, by borrowing digital strategies and devices and remixing them with traditional and outmoded frames of representation, I am working to adhere to contemporariness through disjunction and anachronism.
concept, set design, video, sound and performance by: Néstor García | duration: ±45min | co-production: Station / Service for contemporary dance (Belgrade), Bâtard Festival (Brussels), wpZimmer (Antwerp) | thanks to: Akademie Schloss Solitude (Stuttgart), Kunstencentrum BUDA (Kortrijk), Kaaitheater (Brussels), PARTS/ROSAS Summer Studios (Brussels)
◍ 20:00—21:00 & 21:00—22:00 → 21st century, Students Conservatorium Antwerp & Michiel Vandevelde
Cannibalizing advertisement videos, pop video clips, the NO-manifesto from Yvonne Rainer and text fragments on thinking.
ALIENATION — ACCELERATION — SLOWING DOWN — DISTRACTION — ARTIFICIALITY — REPETITION — GLITCH — RETROGRADE — REMIX — ULTRA-EDITING — BLENDING — CANNIBALISM — REAPPROPRIATION — SUPERFICIALITY — DEPTH — TECHNIQUE — EFFECT — BIG — SMALL — HYPERTEXT 21st century is the result of a workshop with five students from the ‘Conservatorium Antwerpen’, a professional education for actors.
with: Kenneth Cardon, Daan Idelenburg, Taeke Nicolaï, Issam Daka, Michiel Vandevelde and Maarten Degraeuwe | thanks to: Dries Douibi, Willem de Wolf, Sara De Roo, Clara van den Broek, Conservatorium Antwerpen
2-5 November 2016
◍ 19:00—23:00 → A Method for Blue Logic, Riley Harmon
In 2012, Riley Harmon received an email from a conspiracy theorist. He was confused with a homonym, an actress who would have been created by the government to mislead the media. As an uncertain exploration of this mail he created the film a Method for Blue Logic: in which you lose grip on what is real and what isn’t.
◍ 19:00—19:45 → Presentation Bâtard-publication, Tom Engels
(18h-18h45h op zaterdag—à samedi—on Saturday)
◍ 21:00—22:00 → Artists talk, moderated by Maria Rößler
To open up a new space for encounters and shared thinking within the festival programme, this year, Batard would like to introduce to you the invited artists in a series of public talks. Each night two artists/collectives will join Maria Rößler for a conversation about concepts and questions that they are concerned with in their artistic research. These talks are a unique opportunity to get to know the international festival artists outside and beyond their performances. They will take place each night of the festival, in the time between two performances. Admission is free.
Maria Rößler lives and works between Amsterdam and Berlin. She studied Theatre and Media Science in Berlin and Dublin. As a producer and dramaturge, she has worked for performing arts productions, festivals and conferences. From 2013 until 2016, she was part of the artistic programme team of Foreign Affairs festival at Berliner Festspiele. Besides, she pursues independent projects including an on-going collaboration with technologist Nathan Fain. Together they developed the performance “Right Is the Might of the Community. A lecture on future democracy“, commissioned by HAU Berlin, which was presented by Batard in 2015.
◍ 21:00—22:00 → Échangeur, Rob Jacobs and Anne Reijniers
(20h-22h op zaterdag—à samedi—on Saturday)
In the streets of the metropolis of Kinshasa, young Congolese imagine their version of the colonial past. While archival footage shows how the statue of explorer Stanley is being towed by a crane, a Lumumba imitator is looking for former president Mobutu. A man scrubs manhole covers until the word 'Leopoldville' becomes legible again. A boy with a whitewashed face, tropical helmet and whip, dances with ghosts on a roof. After the Democratic Republic of Congo gained independence, the Belgian colonial monuments were removed from Kinshasa's public squares. Today they stand side by side in the Congolese National Museum. In Échangeur emerges an imaginary city around an empty pedestal, where archival footage, performances and present-day Kinshasa interact.
a film by: Rob Jacobs and Anne Reijniers | with: José Batekele, Jude Mansita, Klarchi Ngonde, Ange Katalea, Dieu Ndebo, Tiliton Kuzana, Docha Glody, Vialig ze Ngonde, Kimvuidi Lema Chef, Banzila Yemeyi Desire, Arqabound Kabunda Mbuyi Mick, Widjo Wiyombo, Erwan Soumhi | research: Davy Verbecket, Rob Jacobs, José Maria Masanga, Nizar Saleh Hirji, Widjo Wiyombo, Anne Reijniers | production: Rob Jacobs, Anne Reijniers, Thijs Paijmans, Koen Bleuzé, De Imagerie, Het Bos | image: Anne Reijniers | sound: Anne Reijniers and Erwan Soumhi | editing: Rob Jacobs and Anne Reijniers | sound editing: Aïda Merghoub | sound mixing: Michel Coquette | grading: Thijs Paijmans | advice: Elias Grootaers, Martine Huvenne, Lotte de Bruyne, Hilde D'Haeyere | translation: Veerle Duflou, José Maria Masanga, Nizar Saleh Hirji, Aïda Merghoub, Christopher Daley | title design: Mario Debaene