Works

Fare Thee Well!

Visitors look through a telescope and see a slow-moving text on a news ticker two kilometres away: a collection of things and ideas that we as a society have bid farewell or recently embraced. Händel’s opera aria Ah! Spietato plays on their headphones.

The work is a response to gloomy and apocalyptic future scenarios. Whether we should accept, lament or fine-tune these changes remains unclear.

Visitors look through a telescope and see a slow-moving text on a news ticker two kilometres away: a collection of things and ideas that we as a society have bid farewell or recently embraced. Händel’s opera aria Ah! Spietato plays on their headphones.

The work is a response to gloomy and apocalyptic future scenarios. Whether we should accept, lament or fine-tune these changes remains unclear.

Video

Fare Thee Well! (2012). Version Berlin

Press

"They are the powerful moments of the world exhibition, in which the special space fuses with that which is shown. This Fare thee well! by Dries Verhoeven does this is a genial way. (…) A magical entanglement of distance and proximity, of openness and privacy and a melancholic swansong and derisive political incorrectness."

‘Ort und Kunst verschmelzen lassen’, Matthias Weigel on Nachtkritik.de (01-06-2012)read the review (in German)

"You have no choice: you have to keep watching these hypnotic messages."

‘Verslag Over Het IJ’ ('Report on the IJ'), Simon van den Berg in Het Parool (17-07-2013)read the report (in Dutch)

"Verhoeven is partly playing with classic philosophical ideas of the sublime in having us survey --and be unsettled by-- the accelerated history of development and privatization in our urban surroundings."

‘PuSh 2015: Fare Thee Well!’, Peter Dickinson for Performance, Place, and Politics, a blog about the local/global interfaces of audience and event (02-02-2015)read the review (in English)

Background and public reception

report from Rio de Janeiro

An interview with Dries Verhoeven prior to the edition in Rio de Janeiro (October 2012).

watch the interview (in English)

article

Edwin Stolk wrote a lengthy article – ‘Call of the mall and wake up to a better world’ – about his visit to the visual arts manifestation Call of the Mall: “It gave me the personal touch I was looking for and it felt as a layered and daring visual meeting in time and space. One of those meetings I will not easily forget…” (17-09-2013).

read the article (in English)

controversy

Before the version at STRP Eindhoven (March 2015), local fractions of the LPF and PVV [Right-wing political parties] in Eindhoven had trouble with the sentence “Welcome Islamic State”. This led to parliamentary questions. Verhoeven responded on Omroep Brabant (radio).

listen to the audio clip (in Dutch)

achtergrond_welcome-islamic-state

Student Master of Arts, Public and Society at the University of Tilburg, Robin Verleisdonk responded to the outcry with his opinion piece ‘Kunst mag bang maken’ (‘Art may scare’) (25-03-2015).

read the article (in Dutch)

Credits

concept Dries Verhoeven

artistic assistance Cindy Moorman (2013) and Bart van de Woestijne (2015)

technicians Kas van Huisstede (2013) and Roel Evenhuis (2015)

dramaturgy 2019 Quebec Marte Boneschansker, Anne-Marie Olivier, Tristan McKenzie

photography Colin Griffiths and Saris & den Engelsman

production Olga Godschalk

version Berlin (June 2012) co-commissioned by HAU Hebbel am Ufer