However, they are just carefully archived stages in an ongoing creative process.Īn example is Dune, a fine work of public art, created last year in commission for the community of De Esch in Rotterdam.
Even his finished products, created in the context of a commission, can hardly be called final products at all. The museum is his experimental test area. Roosegaarde’s exhibited artworks are temporary extensions and manifestations of designing processes. His installations are never finished, always in flux and progress, listening to emotionless production line titles, like Dune 4.2, Lotus 7.0 or Flow 1.1. Thinking and travelling with the speed of light, interweaving his personal life and creative business within the matrix of the global village, he defines the contemporary and has become a welcome guest in museums and symposia.
MEISKE VENTURE FORTHE UPDATE
Never harassed by techno-fear or even theory – is there any theory in his works? – Roosegaarde seems to work intuitively and from a totally optimistic view of the world: ‘I want to update the world’, he cried out lyrically in an interview with De Volkskrant (8 October 2010). The book is also a proud manifesto, proclaiming the rise of a small factory, just beyond the outskirts of Rotterdam: Studio Roosegaarde, and portraying its entrepreneurial founder. And you’re not doing children any favours by omitting things like that from your show.It is a pleasure to share a few words with you on the occasion of a book launch – Interactive Landscapes, the first extensive Daan Roosegaarde catalogue, containing a wild collection of ideas and concepts about interactive and self-sustaining environments, relational architectures, non-decorative design, smart fashion, techno-aesthetics, futurist humanism and re-inventions of public space. Ugly, dark things happen that’s just life. Inne Goris has this to say about that: ‘As a child you go through a lot: your cat dies, your grandmother dies, you get into a row with someone at school – you name it. The Girl, the Hunter and the Wolf does not shy away from heavy themes. In her most recent project, Ophelia, she immersed the audience in the emotional world of 12 young ‘Ophelias’ and their perspective on love. She has a great affinity for the experiences of children and young people. The result: idiosyncratic productions that bring together visual art, theatre and dance. In her work Flemish theatre director Inne Goris actively seeks to reveal what is normally hidden. In this suffocating environment they cling to their habits and rituals. This opera weaves a gloomy tale of a brother and a sister who live together in a house and never venture outside. His first opera, The House Taken Over, had its premiere at the prestigious Aix-en-Provence Festival. With his compositional style, he is a master at evoking a variety of moods and repressed tensions. The Portuguese composer Vasco Mendonça has written extensively for both opera and musical theatre. He meets Little Red Riding Hood, who forms a bond with him and tries to help. In the story, as conceived by librettist Gonçalo Tavares, the hungry wolf is on the run from two hunters. In The Girl, the Hunter and the Wolf, reality turns out to be a lot more complex than fairy tales would have us believe. This season’s programme will feature a number of operas aimed at children: in addition to The Girl, the Hunter and the Wolf (6+), DNO is presenting Lucas Wiegerink’s new opera Het Lijflied (5+) and Be Opera XL (6+), a musical play with arias by various composers. This includes children (and their families). Dutch National Opera makes musical theatre for everyone.
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