LAFS#6 zit er op. Veel dank aan alle makers en aan deze dertien partners om deze zesde editie van het festival waar te maken!
Bosse Provoost (b. 1993) obtained his Master in Drama from the School of Arts|KASK Ghent in 2016. In his work, he radically opts for ‘a theatre of sensory under-stimulation’, creating compositions of shifting light and atmospheres, silences and semi-human-seeming figures. He teamed up with Kobe Chielens when making his first productions, in which they often emulated the physical idiom of animated cartoon characters. More recent work explored the sphere between theatre, performance and installation art. Theatre spaces were turned into ‘environments’ in which all objects within a theatre have the possibility of expressing themselves. Matisklo (2018) is a challenging quest for the visualizable and expressible aspects of the pitch-black poems of the Jewish Romanian poet Paul Celan. SUN-SET (2020), made with Ezra Veldhuis, focuses on the evocative effect of light and darkness on the spectator. This is an intimate performance that sharpens your senses, operating as it does on the borderline between perception and imagination.
Ezra Veldhuis (1991, NL) is a visual artist who maintains a hybrid practice in which she focuses on light as both material and subject matter: she uses monumental paintings to make installations, paints on film stock and works on performances and theatre productions, mainly as a scenographer and lighting designer. She designed the lighting and scenography for the production Matisklo, and has had exhibitions at In de Ruimte in Ghent, the Concertgebouw in Bruges, the Museum of Fine Arts in Ghent and Plagia Rama in Brussels. Her work was selected for the KOMASK Award and the Grote Prijs Ernest Albert, for which she received an honourable mention. Veldhuis made a painted ‘print only’ work for Kluger Hans #32, about which Yasmin Van ‘t veld wrote: “Ezra is interested in alluding to a confusing moment that is practically an abstraction in itself, not so much by depicting something as by bringing up a detail. The result is a story without illustrations, rooted in a reality that seems unreal.”