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It is part XXX of an ensemble, and this ensemble is no longer necessarily ceremonial

1 June 18:00, Museum Dhondt-Dhaenens

Artists Bas van den Hurk, Caradt researcher in the Cultural and Creative Industries group; Jochem van Laarhoven; and Museum Dhondt-Dhaenens invite you to It is part XXX of an ensemble, and this ensemble is no longer necessarily ceremonial, a free manifestation that will take place in the museum on Wednesday 1 June from 18:00.

In collaboration with Networked Collective, the artists will transform MDD into an experimental meeting-place. There will be a continuous performance, film screening, and dinner, all focusing on questions of collectivity and shared authorship.

Collaboration, cohabitation, encounters, conversations, performance, theatre, film and scenography – key themes from the organisers’ artistic research – are activated and embodied with the audience during this live event. Can a new community emerge through the course of the evening? The event will conclude with a collective conversation between members of the collective and Noortje de Leij, researcher and editor of De Witte Raaf.

 

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Location: Museum Dhondt-Dhaenens, Museumlaan 14, B-9831 Deurle

Artists: Bas van den Hurk | Jochem van Laarhoven

Image: Bas van den Hurk & Jochem van Laarhoven, It is part XXX of an ensemble, and this ensemble is no longer necessarily ceremonial (film still), 2022.

Thanks to: Mondriaanfonds | Makersfonds Tilburg | Stichting Gerbrandy Cultuurfonds

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Film

Bas van den Hurk and Jochem van Laarhoven created the film in collaboration with several members of Networked Collective, a larger artist collective that they initiated. The film, which was shot last year during a residency at Juliaan Lampens’ Woning Van Wassenhove, employs the theatrical technique of ‘viewpoints’, through which characters relate their ‘being’ – movements, emotions, and bodies – to an architectural space. A number of printed textiles are used as props and costumes by the performers.

About Bas van den Hurk and Jochem van Laarhoven

Since 2018, Bas van den Hurk and Jochem van Laarhoven have been working together on research into the relationship between visual art and theatre. Drawing on this research, they create installations and performances that use a range of media. The multiplicity of their work addresses an urgent need to revisit important modernist questions: How do we live together, and how do we embody this coexistence? Van den Hurk and van Laarhoven are part of Networked Collective, a non-permanent group of some thirty artists, theatre-makers, actors, performers, theorists, and students who undertake residencies together, and make exhibitions, performances and publications. Collectively, the group explores relationships between the social processes involved in working and living together, and the autonomous formal qualities of the outcomes.

Networked Collective has recently exhibited in De Garage, Mechelen; Emergent, Veurne; HARDSPACE, Basel (CH); Fondazione 107, Turin (IT); Skaftfell, Centre of Visual Arts, Seyðisfjorður (IS); Dürst Britt & Mayhew, The Hague; Bradwolff Projects, Amsterdam.

With contributions by

Suze Milius (director), Marcia Liu (dancer), Reinout Scholten van Aschat (actor), Naomi van der Horst (actor), Chrys Amaya Michailidis (student), Toine van den Hurk (ex-yoga teacher), Loran van de Wier (student/cook), Lotte Driessen (actor), Sanne Jansen (fashion designer), Bas van den Hurk (artist), Jochem van Laarhoven (artist), Samieh Shahcheraghi (artist), Gijsje Heemskerk (artist), Sofie Hollander (artist),  Rob van Kranenburg (theorist), Isabel Cordeiro (artist), Mike Suijkerbuijk (student), Marijn van Kreij (artist), Roel Swanenberg (viewpoints teacher), Noortje de Leij (theorist) and Mohammad Salemy (theorist).

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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