Stijn Van Dorpe

27 April 2017

Being together apart

performance in the frame of Hotel Charleroi@mhka/ photo Ilke De Vries

I invited two or three people I met during the hotel Charleroi project
to sit with me in a space
for the duration of half an hour
without speaking
keeping an eye on the spread clocks
drinking together a glass of water every 5 minutes

I repeated this a few times with other invited guests

25 March 2017

short cut tarwewijk (2017)

scale model 'the room', AIR Antwerp

performance maja jantar activating 'the room'

During my residency in AIR I had a scale model of the exhibition space in Hasselt build from tropical wood Wengé and took it back to the students. Each student painted one of the four walls of the scale model. The model can now be shown in exhibition contexts, but must each time be activated by a live sound performance composed from the sleeping sounds.

https://stijnvandorpe.blogspot.be/2016/12/blog-post.html

the 'Room', Z33 Hasselt

photo Kristof Vrancken

For the exhibition in Manufactuur 3.0 in Z33, I worked with pupils from the department painting and decoration techniques from KTA Hasselt. Together we painted an exhibition space using an imitation marble technique. After completing this work, we spend the night in that room and our sleeping sounds were recorded. During the finissage of Manufactuur 3.0, musician Maja Jantar played a set composed of the sleeping sounds recorded in the marbled room.

State of the City

http://basis-frankfurt.de/de/ausstellung/state-city

het contract (installatie)

Voices

voices (film, 2016)

Voices starts from recordings of stories / voices from local residents of the Tarwewijk in Rotterdam.

These stories were collected during the production of short cut Tarwewijk, but did not end up in the final video. During (the course of) two afternoons, these stories / voices from local residents were used as material by local children during a singing workshop in a music studio. A video was made of these workshops in which the political potential of the voice is central. A double, contrasting transfer takes place. Stories that express the moral and political visions of local residents (a kind of linguistic / mental architecture) are passed on (as is the case in life), but in addition there is a learning process that focuses on the voice and its physical, material characteristics. A dichotomy continues to exist between the stories and the musical experiments. The space of art and that of the tarwewijk and life there do not really merge or serve each other but rather comment on each other.

https://vimeo.com/188978220