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  • Needcompany | Contact
    Greece Greenland Grenada Guadeloupe Guam Guatemala Guinea Guinea bissau Guyana Haiti Heard Island and Mcdonald Islands Holy See Vatican City State Honduras Hong Kong Hungary Iceland India Indonesia Iran Islamic Republic of Iraq Ireland Israel Italy Jamaica Japan Jordan Kazakhstan Kenya Kiribati Korea Democratic People s Republic of Korea Republic of Kuwait Kyrgyzstan Lao People s Democratic Republic Latvia Lebanon Lesotho Liberia Libyan Arab Jamahiriya Liechtenstein Lithuania Luxembourg Macao Macedonia The Former Yugoslav Republic of Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Federated States of Moldova Republic of Monaco Mongolia Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands Norway Oman Pakistan Palau Palestinian Territory Occupied Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Reunion Romania Russian Federation Rwanda Saint Helena Saint Kitts and Nevis Saint Lucia Saint Pierre and Miquelon Saint Vincent and The Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia and Montenegro Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia and The South Sandwich Islands Spain Sri Lanka Sudan Suriname Svalbard and

    Original URL path: http://www.needcompany.org/EN/contact (2016-02-10)
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  • Needcompany | Newsletter
    has his friend fellate him at the Kaaitheater or Paul McCarthy sets up a butt plug as a Christmas tree in the centre of Paris could anyone care less And this is probably one of the reasons why Western art has become so depressive As artists we have to take more account of the importance of public space We too often confuse the free world with the free market Public space has been taken over by entertainment My great example is Goya who himself considered his Pinturas negras unfit for public spaces The art that he showed in this case done on commission had a public societal story to tell His black paintings had to do with his need and he kept them to himself This was not about self censorship but a full awareness of the societal significance of public space We live in a different era of course and the artist s task has changed We might even say that there is no longer a task and that this is the heart of the problem An artist who does not make himself of service is not worthy of the name Needcompany receives subsidies and so we have a responsibility to fulfil Our task is among other things to make difficult well considered and critical work and to present it in a socially sound manner People often say to me that these subsidies allow me the luxury of distancing myself from the art market but they forget that this luxury is a political and social choice for which one has to struggle hard After all Needcompany is a public space too And that was one of the reasons why the head curator Qiu Zhijie hands his museum over to us for 10 weeks We are going to create a new public space in the museum one that is entirely private in a country where public has a completely different meaning We are proud that Needcompany has been given this assignment and are currently working day and night in the formidable borough of Molenbeek to create as much beauty as possible Beauty is after all still a weapon and elsewhere in this newsletter you can read where we shall be confronting you with it in the near future JL 2016 will be a very varied year for Needcompany with new creations by Maarten Seghers Lemm Barkey Kuiperskaai and MaisonDahlBonnema and a solo exhibition by Jan Lauwers at Mingyuan Contemporary Art Museum McaM the brand new museum of contemporary art and performance in Shanghai Maarten Seghers together with the arch shaman Fritz Welch the desperate drummer Nicolas Field the masterly cellist Simon Lenski and the immovable time bomb Mohamed Toukabri is working on an invocatory song entitled O The premiere will be at Monty in Antwerp on 18 March and after that the performance can be seen at the FIDENA Festival in Bochum the Latitudes Contemporaines Festival in Lille Künstlerhaus Mousonturm in Frankfurt and humain TROP humain CDN in Montpellier A

    Original URL path: http://www.needcompany.org/EN/newsletter (2016-02-10)
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  • Needcompany | Archive
    beauty for me there where human life is rare part one 1997 Snakesong Le désir 1996 Needcompany s Macbeth 1996 Snakesong Le voyeur 1994 Orfeo 1993 Schade Schade 1992 Antonius und Kleopatra 1992 Invictos 1991 Julius Caesar 1990 ça va 1989 Need to know 1987 Performing arts Grace Ellen Barkey Chunking 2005 AND 2002 Few Things 2000 De wonderbaarlijke Mandarijn 1999 ROODREDROUGE 1998 Stories Histoires Verhalen 1997 Tres 1995 Don

    Original URL path: http://www.needcompany.org/EN/archive (2016-02-10)
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  • Needcompany | Performing arts: Grace Ellen Barkey | This door is too small (for a bear)
    the Sahara desert Imagine that everything could speak What a noise Cosmic soundscape Unbind your mind International absurdities universal illusions cosmic disorientation That s what we need to keep mother earth spinning Grace Ellen Barkey The productions of Grace Ellen Barkey are surreal and permeated by absurd humour grand failure the tragedy of a clown the clumsy barbarity of sexuality Her increasingly intensive cooperation with the artist Lot Lemm resulted in the Lemm Barkey label Together they seek out radically poetic images in a grotesque world The theatre magazine Etcetera described watching Barkey s production Chunking 2005 as looking at an untranslated uninterpreted fantasy In This door is too small for a bear Grace Ellen Barkey has created a visual idiom of her own that adds to her quest for how to free your mind looking for that part of the mind that has not yet been fathomed Frank Zappa s motto To me absurdity is the only reality is the thread that runs through her new production in which she balances between surrealism and the psychedelic Needcompany Hooikaai 35 B 1000 Brussels Tel 32 2 218 40 75 info needcompany org Premiere Kaaitheater Brussels 25 26 27 February 2010

    Original URL path: http://www.needcompany.org/EN/this-door-is-too-small (2016-02-10)
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  • Needcompany | Special projects | Needlapb
    process is fluid and dynamic and has not yet acquired a definite form A Needlapb is an open thinking space with unlimited freedom A unique opportunity to take a look at the working process This ensemble approaches its work with the same precision with which it mixed the cocktails in the interval and that is also why this work is still so refreshing even after 25 years January 2014 Franfurter Allgemeine Zeitung This Needcompany evening was everything at the same time performance reflection on art interaction with the audience and even a happening an unforgettable event September 2014 Die Presse Needcompany Hooikaai 35 B 1000 Brussels Tel 32 2 218 40 75 info needcompany org Needlapb 1 Beursschouwburg Brussels 21 22 April 1999 Needlapb 2 Brigittinenkapel Brussels 27 28 29 June 2001 Needlapb 3 STUK Leuven 13 14 November 2002 Needlapb 4 Kaaitheaterstudio s Brussels 27 June 2003 Needlapb 5 Vooruit Ghent 10 February 2004 Needlapb 6 Théâtre de la Bastille Paris 6 7 8 April 2004 Needlapb 7 Théâtre Garonne Toulouse 24 April 2004 Needlapb 8 Deutsches Schauspielhaus Hamburg 3 June 2004 Needlapb 9 TorinoDanza Torino 20 February 2005 Needlapb 10 Festival d Avignon Avignon 18 19 20 July

    Original URL path: http://www.needcompany.org/EN/needlapb (2016-02-10)
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  • Needcompany | Film | Goldfish Game
    32 2 218 40 75 info needcompany org What follows is from an interview with Jan Lauwers by Pieter T Jonck from the Financieel Economische Tijd of Saturday 8th September 2001 Jan Lauwers The film was finished beforehand But as soon as you start filming everything starts to shift We started with a real story a sequel to Morning Song one of Lauwers plays But that was only an instrument Its classical composition the unity of time and place is also primarily a metaphor It indicates a way of dealing with time For example you always have to see that the sun is in the right position This gives you a certain drive But in the midst of all this I have become involved in the medium itself As an artist I open up art to discussion in the work I do Can one open up the medium of film to discussion too And how many films do you have to make to acquire the mastery that enables you to truly question things The fear of the great machinery of film makes you shy away from so doing But as Churchill said The only thing you have to fear is your own fear I made several fundamental choices such as working with photographers instead of film cameramen That makes a big difference a film cameraman provides light while a photographer seeks it out We also shot unusually long takes which offered us great freedom Secondly we chose to use a digital camera hand held We shot quickly too We shot a 2 hour film in 21 days Lastly I immediately edited each day s takes with Nico Leunen The results of this daily editing urge you to rewrite and restart during shooting So an initial rough version of the film

    Original URL path: http://www.needcompany.org/EN/goldfish-game (2016-02-10)
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  • Needcompany | Performing arts: Jan Lauwers | Marketplace 76
    a passionate community full of excessive love friendship happiness and survival The questions Jan Lauwers asks in the play go to the heart of twenty first century politics In a globalised world the things that once held a society together tradition religion ethnicity nationality and so on have lost their self evident binding force The possibility or impossibility of coexistence is the crucial issue in Jan Lauwers plays over the last decade Isabella s room 2004 The Lobster Shop 2006 The Deer House 2008 together the Sad Face Happy Face trilogy are all stories about the forces that bind a group together or break it apart In Marketplace 76 Jan Lauwers tells the story of the deliverance of a community The market was and still is the starting and finishing point of demonstrations and events expressions of the citizens will It is the place for public speaking The things that concern the community take place on the marketplace and vice versa whatever happens on the marketplace concerns the community The epic play gives Lauwers the opportunity to let the village undergo a sort of psychoanalysis Needcompany Hooikaai 35 B 1000 Brussels Tel 32 2 218 40 75 info needcompany org

    Original URL path: http://www.needcompany.org/EN/marketplace-76 (2016-02-10)
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  • Needcompany | Visual arts: Jan Lauwers | The House of Our Fathers
    central position in my ideas concerning The House of Our Fathers These objects have literally been torn out of their own past The heart may come from the East at that time around 1950 numerous organs and skeletons were brought from India to Western universities for the purposes of study while the baboon mummy was probably robbed from a grave in Egypt and smuggled to Europe History is always written by individuals and is thus never an objective report What meaning does an individual history have in the face of history in general Are we capable of writing a meaningful history What would these objects signify if they were given a different history This is the essence of the house It is a confrontation with a past that is always changeable So what does memory actually mean Contemporary art history is determined entirely by politics The influence of the art market and shifts in the affluence of our society combined with the influence of religions are greater than ever What does this house signify in this context I am building a house A movable house Every detail of the house is a non functional work of art in its own right A hospitable house To which people are invited so they can signify something there Needcompany Hooikaai 35 B 1000 Brussels Tel 32 2 218 40 75 info needcompany org The biggest difference between work in the theatre and in the plastic arts is the use of the observer s time In the theatre it is the maker that determines the time given to observe an image whereas in a work of art it is the observer himself I make use of the concept of the border image in my theatre work This is an image which as a result

    Original URL path: http://www.needcompany.org/EN/the-house-of-our-fathers (2016-02-10)
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