2021: "IN-DEPTH" - collaborator on artistic research -
/a preformative installation by
Gaëtan Rusquet & Damien Petitot iMAL, Center for Digital Cultures and Technology, Brussels
“This project was born from the paradoxical desire to exit and immerse oneself in screens, and the difficulty of situating oneself and the other with these tools when they are used as communication media.
The ambivalence of screens and their materiality is all the more significant as real encounters have been very limited in recent months. These tools are becoming an experimentation ground for our intimacy and our desire for connection. The projection of oneself to meet the other does not satisfy. While the calm of the night, its silence and floating temporality, gives us the necessary space to introspect and listen to what is going through us, these screens become a means of getting out of ourselves, not feeling and escape solitude. And sometimes, it remains a privileged space for what is not audible, incommunicable, what comes to the surface of consciousness.”
2021: "FERAL" - performer -
/work of Lydia Mcglinchey, Brussels
“FERAL is a series of staged landscapes charged with the glamorous, the feral, the horrific, the absent, the semi-present. These landscapes and their inhabitants contradict and complicate savage/civil, pure/obscene, natural/synthetic, human/animal, present/non-present, the felt and the produced. They refuse a body's presupposed neutrality; consider the naturalising effect of landscape media. The scenography is composed of textile pieces, woven to texture and form the space, inspired by swamp and desert.
Emerging, bleeding, presenting, obstructing, toning, exposing, touching the skin of.”
THE BLINED LEADER
2020: "THE BLIND LEADER" - performer -
/ an installation by Rachel Monosov, Brussels
“The Blind Leader composed largely of models for imposing limitations on the human body.
At the meeting point between object and body, is a forced gesture. The limitation of one’s movements is imposed, and quickly becomes one's nature, without being natural at all. Once conditioned, what actions can one take? Each model creates a scenario that requires wrestling with social construction.”
2019: "SOMNIA" - performer -
/ Kunstenfestivaldesarts, Brussels
“Together with Anne Teresa De Keersmaeker and Jolente De Keersmaeker, forty-four dancers enter into a dialogue with the natural landscape, where factors such as sound and silence, light and dark, distance and proximity become a matter of perspective, and where both new possibilities and boundaries emerge. In search of an ecological aesthetic they leave behind the four walls of the theatre for a performance that requires few theatrical interventions and fuse seamlessly with the natural environment.”
2018: "SPLASH!" - artistic assistant and performer -
/ work by Myriam Van Imschoot & Christine De Smedt, Kortrijk (Buda)
“In Splash! Myriam and Christine find inspiration in the swimming pool as a public space. The water plays the antagonist role in this play where the protagonists are the pool and its many users. From the side the public follows what’s going on. In Splash! publicity and intimacy come together.”
2018: “MEANWHILE” - performer -
/ work by Gaetan Rusquet, Kanal - Centre Pompidou, Brussels
“The French set designer and artist Gaëtan Rusquet has three performers put up a construction. Even as they build it, they have to struggle against its disintegration. It crumbles into a ruin. The raw materiality of the set, the physical sound and unavoidable language of movement make Meanwhile, an apocalyptic performance in which the passage of time and the relationship between man and his environment become tangible. This is a journey through the history of a city.”
a film by Keren Kraizer
The film , shot this last exceptional year, lies between an experimental documentary, poetic dance video, a travel journey and a jurnalistic testimony of the time. It follows temporary communities, ephemeral assemblies, groups of people in search of resilience or resistance, in their contexts:
Lanzarote, a volcanic island, a non-politicized landscape that hosts the passersby, a community of travelers and nomads that search for alternative ways of habitating. This land holds space for suspense, adventure, friendship, intimacy, playfulness, the pleasure of silence and the impotence of dwelling.
Israel, Jerusalem, a political vortex, a land of all the goods and all the gods claimed by everybody. In an endeavor to suspend, prevent, or change the current catastrophe, the normalization of a sick government, the protesting community engage by placing their bodies on the tragic theater of the public square, disturbing the order by simultaneously performing anger and love.
With gratitude to these people I have lived a fragment of time with.
Reflection paper (my thesis)
Full movie on vimeo
a performance by Keren Kraizer and Lydia Mcglinchey
Two girls on different missions arriving nowhere
dropping and drifting ending up displacing ourselves
‘HotWheelz’ is a performance which was made during travels, the form of its materials are imprinted by the different contexts which it rolled through. An accumulation of traces, spaces and embodiments. The work is enabled by friendship and ongoing conversation which continues to contribute and shape the work.
excerpt of the work
concept: Keren Kraizer
collaborators /preformers: Eimi Legget, Fouad Nafili, Keren Kraizer
The work brings to the forefront a discussion on the power of image in our society (body image, photos, videos). The political power, the social significant, the manipulative power, the impowering potential. We all use this power, for better or worse, in person and public; the power to create, to manipulate, to distirbute has become part of the constant flow of daily life. The work deals with questions about the limits of privacy in a monetary world, it questions censorship and self censorship, it exposes the ‘behind the scenes’ of images, and by expanding the frame, also enters into a discussion about reality and truth(s).
The work is not cynical, but provocative. The work is not peacefull but respectfull, it tries to enter a critical yet delicate dialogue with the audience. The work has no documentation and will remain undocomented.
main role in a short film by David Williamson
04.12.2020 Jan Sulmont
“Ada is on trial before the court of assizes. Did she really commit that bloody murder? As far as she's concerned, she's told enough to the detectives. She does not speak a benevolent word in court. She'd rather die.
What a beauty in this breathtaking melancholy poem. Keren Kraizer, a Brussels-Israeli performer and photographer, plays Ada with a subtlety that takes your breath away. The artist previously worked with Anne Teresa De Keersmaeker. It looks like a performance by Marina Abramović: the emotions flow from her face, while she is barely breathing. Like Nicole Kidman in ' birth', Kraizer is filmed in close-up for minutes. It can't be a coincidence that her hair is suddenly cropped, just like that of the grieving Kidman in Jonathan Glazer's film. Every trembling lip or glance – even once straight into the camera – further increases the tension.”
Link for the movie on IMDb
*ask me for the full movie
DIGITAL COLLAGE WORK
on-going collaboration with