by Contemporary Cruising |


Theory from Kenneth Goldsmith – Performed by SHIRT – Le Centquatre Paris

by Contemporary Cruising |

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‘National Idiom’ debuted at FLAM: Encounter 2018, Amsterdam by Richard John Jones. Performed by Eva Susova. Photos by Chun Han Chiang

by Contemporary Cruising |


The Artist as Choreographer, Talk, Alexandra Bachzetsis, Yve Laris Cohen, Xavier Le Roy, Isabel Lewis,
Hans Ulrich Obrist.

by Contemporary Cruising |


“Cabbage, No Cabbage” at Flam Festival, Amsterdam 2018, A performance by Tomislav Feller with live sound by S.M. Snider, Photo by Thomas Lenden, Cabbage, No Cabbage was created as a part of Mediamatic’s winter program Kool Cabbage in Amsterdam 2108.

by Contemporary Cruising |


Fame Prayer / EATING, Created and performed by Andrew Tay, François Lalumière, Katarzyna Szugajew Photographer Kinga Michalska

by Contemporary Cruising |


Sybrig Dokter with Kristóf Szabó, Photography: Nadja Voorham

by Contemporary Cruising |

Open letter: #metoo and Troubleyn/Jan Fabre
By (former) employees and apprentices at Troubleyn
september 2018

In the interest of the audience and the wish to inform future generations of performing artists, we, former employees and interns who have worked with Jan Fabre in the context of Troubleyn vzw, have come together to share our experiences and to raise our voices in the context of #metoo and its associated social shifts.

This collective response is prompted by statements made by Jan Fabre during an interview with the public broadcast station VRT on Wednesday the 27th of June 2018. In the interview, Fabre shares his thoughts concerning the results of a survey on sexual harassment commissioned by the Flemish Minister of Culture, Sven Gatz.

The starting point for the interview is the headline “1 out of 4 women in the cultural sector experienced sexual harassment in the past year”. On camera for the interview, Fabre responds with surprise and disbelief when these numbers are presented. He says that he is supportive of the actions and measures taken by the Ministry of Culture, but adds that “there is also something dangerous about this. Because, the relationship, the secret bond between director/choreographer and actor/dancer…. you will in fact also destroy and harm it incredibly”.

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