Jozef Wouters was toch heel erg duidelijk geweest. In zijn vraag aan een vijftiental theatermakers, choreografen en andere kunstenaars om na te denken over welk landschap zij in het theater verbeeld zouden willen zien, had hij gestipuleerd dat er in het eindproduct hoe dan ook geen tekst aan te pas zou mogen komen. Toen zijn enige eis massaal werd genegeerd en slechts drie makers erin slaagden om daadwerkelijk alleen met een beeld te komen, zag Wouters zich echter genoodzaakt om de regels aan te passen.→
In ‘INFINI #1’ Yuval Tebol, Daniel Landau and Arkadi Zaides documented a section of the European border, specifically the coastline of the Mantamados region of Lesbos, which is the Greek island’s closest point to Turkey. In 2016, each day approximately 1,500 migrants entered Europe through this location.
The video work investigates the increasing digitization of border control. The image of the coastline (photographed by Tebol) is fundamentally transformed (by Landau) with the use of digital effects: fragments are cut out, isolated and framed. The hills are blacked out and demarcated with a yellow dotted line. The sea, the air and the rubber dinghies have also been edited extensively. This all takes place silently, detachedly: as if the tragedies unfolding on the coast were nothing more than a problem that can be solved with the aid of digital technology.
Credits & CollaboratorsConcept Arkadi Zaides Photographer Yuval Tebol Video artist Daniel Landau Local coordinator Lesbos Efi Latsoudi Commissioned and presented first as part of INFINI, a project by Decoratelier Jozef Wouters at the KVS, Brussels
Articles & Reviews
With contributions from: Anna Rispoli, Arkadi Zaides, Begüm Erciyas, Benny Claessens, Chris Keulemans, Jisun Kim, Jozef Wouters, Michiel Soete, Michiel Vandevelde, Rebekka de Wit, Rimah Jabr, Rodrigo Sobarzo, Sis Matthé, Thomas Bellinck and Wim Cuyvers.
With INFINI 1-15, Decoratelier created a performance around the following question: “which spaces must we show in the theatre today?” Fourteen artists entered into a dialogue with Jozef Wouters and Decoratelier, an eclectic group of builders and thinkers, and each conversation resulted in an infini: a unique interpretation of the painted backdrops that were lowered on pulleys, as a horizon for the imagination. The book INFINI 1-15 is a continuation of that dialogue, a translation of scenographic space and image into both words and layout. Published by De Nieuwe Toneelbibliotheek, the volume gathers together the makers’ performance texts, stage directions and spatial descriptions.→
For all our Flemish and Dutch speaking friends, the Belgian magazine Etcetera has released an article by theater scholar Esther Tuypens discussing the use of empathy in performing arts. The article analyzes mechanisms of emotional identification in Arkadi Zaides’ creation Archive as well as in Milo Rau’s Empire. It is available online→
How can we rethink the documentary in art in terms of content, form and method? The School of Speculative Documentary is an interdisciplinary space for an encounter that seeks to question the documentary act. Creators take the floor to discuss uncertainty and guesswork, to confront the unfixable holes in their work and the messiness of reality.
What influence do images have on migration policies? How do dictatorial regimes produce their imagery? Is there an ethical way to document war zones? USAGES GÉOPOLITIQUES DES IMAGES is a new publication that sets to examine these issues through the works of various contemporary artists. The book compiles the writing of twelve contributors, among them is Frédéric Pouillaude, whose essay examines Zaides' practice over the past years.→