La tête d'Actéon

    12/05  | 20:00
    12/05  | 22:00

€ 12
50 min

Antlers are growing on Actaeon’s head. The trunks and branches that cover his head are the extension of the tree structure of his brain. A strange fate that means he is able to think “outside of himself”. This hat fits him like a dream, a souvenir, and is worn out of the need to “make this dream come out”. It’s the part of his head that doesn’t belong to him, that he has inherited but doesn’t recognise. Actaeon is a character from Greek mythology who was transformed into a stag by Artemis, goddess of the hunt, after he saw her bathing naked. This year, and for this new creation, Actaeon turns back into the sinful man who should have had his eyes clawed out but who is rather left to suffer, torn into strips by his own dogs; watched to die with as much delight as he must have felt at the moment of his error. Antlers are growing on his head but this year they will fall.

The street artist known as Bonom, Vincent Glowinski has become established over recent years both on the walls of cities he passes through as well as through his plastic art works and his theatre projects. For this creation, he worked with composer Walter Hus, who created a Decap Organ, a kind of large automated orchestra, controlled by a computer and developed by the company of the same name. The musical creation is the fruit of a joint effort with musicians Teun Verbruggen (drums) and Andrew Claes (saxophone).

Directed & performed by
Vincent Glowinski

Walter Hus, Teun Verbruggen, Andrew Claes

Davy Deschepper

Set paintings
Patrick Van Tricht

Set sculptures
Agnés Debizet

Video software programming
Jean-François Roversi

Entropie Production (Brussels)

Kunstenfestivaldesarts, Le Botanique – Centre Culturel de la Fédération Wallonie Bruxelles

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Vincent Glowinski was born on 10 August 1986 in Paris. He began studying art in 2004, focusing on observational drawing in natural history museums. He then spent a year studying anatomy and morphology at the École nationale supérieure des Beaux-Arts in Paris, as well as taking drawing classes. He continued his studies at La Cambre in Brussels from 2005 to 2008 before devoting himself entirely to his own creations in Paris and Brussels. Under the pseudonym Bonom, he has acquired a fine reputation, initially in Brussels then internationally, for his huge works spread out in the urban landscape. His urban creations, either commissioned work or personal undertakings, certainly do not leave people indifferent. A macabre aesthetic is unleashed from his most recurrent motifs (monstrous or mythical animals suffering from gigantism, skeletons and even foetuses). This specific imagery draws its power from stories, legends and myths whose underlying but always vivid structures rise to the surface of reality, questioning current foundations. The artist has increasingly undertaken projects involving visual art (the creation of sculptures in parchment leather), performance (Human Brush) and various drawing and painting techniques. In 2008, he developed the performance Human Brush with Jean-François Roversi, in which he uses his body to draw on a screen thanks to a sensor picking up movements in real time (performed at the Kunstenfestivaldesarts in 2010). This led him to been given a residence by the choreographer Wim Vandekeybus and his company Ultima Vez for the creation of his own show, Méduses. Since 2010, following an encounter with the saddler Geoffrey Corman who taught him how to work with parchment leather, he has also been working on volume, producing large skeletons and monumental puppets. His work on stage is a collaboration with the musician Teun Verbruggen (drums). Duo à l’encre is a spontaneous short form revealing a miniature theatre. On a desk, drawings and animated objects merge to the rhythm of the music in a narrative writing. The story changes and evolves from one performance to the next. After two major exhibitions in Brussels at Iselp (2014) and Ixelles Museum (2012), the museum at the Botanique opened its doors to him in 2016 for a presentation of his sculptures in the form of a natural history museum, combining his work with that of his mother.

Walter Hus (b. 1959) is a Belgian pianist and composer with a sense of adventure. Having studied piano at the Brussels Conservatory, he went on to play free jazz in the 1980s with the Belgian Piano Quartet. He’s also a co-founder of the avant-garde group Maximalist! (along with, among others, Thierry De Mey, Peter Vermeersch, Eric Sleichim, and Jean-Paul Dessy). Since the 1990s, Hus has presented himself more as a composer, creating an extensive oeuvre of string quartets, concertos, song cycles, choral music, operas, chamber and ensemble music, piano music, and symphonic works. The masterful album of 24 preludes and fugues that he wrote roundabout the turn of the century in homage to Bach shows him at the height of his contrapuntal abilities. During the last edition of the Ars Musica festival, his work formed the heart of five concerts, including his Temesta Blues Concerto creation and his comic opera LINT. Over the years, Hus’s music has been performed by Bojan Vodenicharov, Frederic Rzewski, Goeyvaerts Consort, Blindman quartet, Arditti Quartet, Moscow Soloists, Quadro Quartet, Smith Quartet, Bela Quartet, Spectra Ensemble, Prometheus Ensemble, Calefax reed quintet, Shimonozeki woodwind sextet, Bureau des Pianistes, Oxalys Ensemble, Collective, New Music Group, Flanders Symphony Orchestra, Brussels Philharmonic, and others. He also works with internationally renowned painters, writers, video artists, choreographers, cartoonists, theatre makers, cineastes, video game designers, and musicians from the rock and techno world, such as Michel Thuns, David Van Reybrouck, Stefan Hertmans, Ben Okri, Walter Verdin, Pierre Radisic, Marie André, Rosas, Roxane Huilmand, Jan Ritsema, Discordia, Guy Cassiers, Needcompany, Bud Blumenthal, Peter Greenaway, Chris Ware, Tale of Tales, Push, Fatoumata Diawara, Angélique Willkie, Lucie Graumann, Peter Krüger, Manu Riche, Guo Gan, and many others. In addition, Hus realises projects with children (the children’s opera De Nacht), as well as with amateurs (Marollenopera), buskers (Brussels Street All Stars Orchestra), and military brass bands. Around the year 2000, he discovered the Decap instrumentarium, a computer-controlled assemblage of automated organs, accordions, and percussion instruments developed by the Decap company in Herentals. He began to explore this new instrumentarium, and Decap gave him access to one of these instrument installations for creating new works. With the Decap Orchestrion he composes soundscapes, operas, film scores, ballet and theatre music, and rock and techno songs. He also brings live performances and installations to churches, factories, theatres, museums.

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