keren kraizer  

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Preformer / dancer 

stage work


work by Lydia McGlinchey

at 'WTF' festival, viernulvier, gent
and KAAITHEATHER, Brussels (supported by piano fabric)

“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.”

En reconnaissance

by Gaëtan Rusquet

La balsamine theater and Ostende 'dansart festival' , Belgiam ( prodaction by Hiros)

En reconnaissance merges choreography and sound in a performance that creates a space to experiment with what separates, links and moves us. Giving room to what is present, to every thing that is present without establishing a hierarchy between what is considered human and non-human. En reconnaissance examines the matter and what animates it, and tries to make perceptible the links between the visible and the invisible.

In this new creation, Gaëtan Rusquet seeks to question the way we situate ourselves in relation to the other, to the group and our milieu. En reconnaissance is an attempt to ritualise our desires for connection and detachment. It investigates our dynamics of

participation and rejection by proposing a space where the political and the intimate meet.

photos by Stanislav Dobák




main role in a short film by David Williamson

15 min

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




HotWheelz focuses on the flesh, choreographing a grotesque intimate space. Two female figures unveil one another as bare piles of flesh. Home and intimacy, are exposed to brutality.
The so-called ‘natural caring’ relation between women is alienated and called into question.
This work is composed of images of affection, rage, closeness, and harm, which are thought together, as there is no space of care where violence is absent. It produces intensities through the encounter between skins and tires. Each gesture adds to the arch of palpable tension, posing contradictions about femininity & care.

excerpt of the work



concept: Keren Kraizer
collaborators /preformers: Eimi Legget, Fouad Nafili, Keren Kraizer

40 min

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.

Rehearsal managere

xternal eye and dramaturgy

900 Something Days Spent in the XXth Century

work by Némo Flouret
14 dancers 
60 min

preformed at  Ménagerie de Verre 2023

“The choreographer asks eight performers to survey each space as a place for their dance to erupt. Lively moves and precise and honed body lines streak the space and enter into dialogue with the architecture with a choral score that is like a race against time. The bodies become involved in a mechanism that speeds along, favouring loops in which a ballet of lights and a game of pulleys and magnetic tape accompany each trajectory, sculpting new images to add to the memory of past gestures.”