The installation Homo Desperatus is now on permenant display at the Verbeke Foundation (Kemzeke, BE). In Homo Desperatus 70,000 ants inhabited life-like scale models of human suffering. The glass cases, now minus the ant colonies, contain models of the nuclear reactor in Fukushima, a drug clinic in Germany, and a collapsed Bangladeshi garment factory – all derelict and abandoned. A video of the work reveals the dystopian world when it was still inhabited by the ant colonies. The video was previously presented at institutions in Poland, Brazil and Italy.
“In Verhoeven’s installations, happenings and performances, the viewer is implicated in the project in a way that is difficult to predict, and often radically so, although based on an open relationship—namely, that of a voluntary glance.”
Kasia Torz in Klaxon.
read the article (from page 59)
Liesbeth Groot Nibbelink about No Man’s Land in ‘Nomadic Theatre, Mobilizing Theater and Practice on the European Stage’.
a link to this publication
In the Bloomsbury publication ‘Thinking through theatre and performance’ Maaike Bleeker writes about ‘No man’s land’.
a link to this publication
‘She does everything she needs to do, and more’
Article by Herien Wensink in ‘de Volkskrant’, July 2019
Image: Hilde Harshagen
Unfortunately, this message is only in Dutch.
In the installation Homo Desperatus, 70,000 ants inhabited life-like scale models of human suffering. Four years after the exhibition at the Stedelijk Museum ‘s-Hertogenbosch, the Verbeke Foundation has approached the Studio to ask if the work can be included in the winter exhibition (11 November 2018 through 7 April 2019). The glass cases, now minus the ant colonies, contain models of the nuclear reactor in Fukushima, a drug clinic in Germany, and a collapsed Bangladeshi garment factory – all derelict and abandoned. A video of the work reveals the dystopian world when it was still inhabited by the ant colonies. The video was previously presented at institutions in Poland, Brazil and Italy.
‘Intermedial Performance and Politics in the Public Sphere’, released in August 2018 by Palgrave Macmillan, contributes to a lively, dynamic discussion across several disciplines, including theatre and performance studies, political and social sciences and media studies. Apart from attention for Verhoeven’s work, it includes interviews with internationally acclaimed intermedial artists and companies such as BERLIN, Rimini Protokoll and Kris Verdonck.
The scale model sold on the construction site, can be ordered here. For 12,50 euro the gypsum statue (21 x 15,5 x 9cm) is yours, to be picked up in Utrecht (unfortunately the statue has proven to be too fragile for posting).
If you’re interesed, send us an email.
We are delighted by the news that Phobiarama has been selected for the Flanders Theaterfestival.
The jury report says: “Phobiarama is flawless horror-delectation with a razor-sharp underlying message. Afterwards, you return to the outside world with a keener awareness of fear’s destructive mechanisms, and can’t help seeing your everyday reality and other fellow humans, differently.”
Read the full jury report here (in Dutch).
Recently the German tv-program Kulturpalast devoted an edition to ‘anxiety’. One of the artists interviewed about the subject being Dries. View the broadcast here (first ten minutes).
Last Monday, in the offstage competition of the Fadjr International Theater Festival in Teheran, Verhoeven won the prize for ‘best international performance’. Writing about his video work Guilty Landscapes, the jury stated that it calls for a dialogue in the arts. Guilty Landscapes is an interactive video installation that brings the viewer in direct contact with someone standing amidst a presumed ‘guilty landscape’: a site we usually see only on the news. In 2016, Verhoeven made a series of four of these landscapes. The third episode, entitled ‘Homs’, was screened last week at the theatre festival in Teheran.
From 7 until 11 February the Rotterdamse Schouwburg is bringing the work back to the Netherlands as part of Art Rotterdam.