In the weekend of September 4 and 5, Marres launches performance festival ROOMS. ROOMS presents new work by young makers and established talents. In the homely chambers of Marres, challenging theatre, dreamy films, intimate dance pieces and extraordinary visual arts alternate. Behind the doors of the rooms, ten makers take you on a two-day expedition to unexplored worlds.
Admission to ROOMS is free. Due to limited capacity, we recommend you to book a time slot in advance for each performance. Early August we will launch the timetable of the performances and tickets will be available.
Boris de Klerk – Kiem
Kiem is a stream of thoughts, trying to catch up with itself in fits and starts. A failed reflection on scale, context, language and people.
Marthe Koning – GOT 2 4 GET
In GOT 2 4 GET, Koning tries to not divide herself and the world into one ‘I’ and millions ‘others’. She surrenders. In a ritual incantation with the audience on her side, she defies gravity and sings away thoughts with one goal: to be allowed to dissolve into a greater whole.
Megan de Kruijf – Treat thy neighbour as thyself
Treat thy neighbour as thyself is a stream of consciousness exploring the discomfort of speaking your mind. A woman sits on a chair that for some reason has been put onto a platform. She has something to say and she will need to figure out how to do this. She might be addressing someone specifically. Sometimes the stage tries to highlight her words, other times it seems to contradict or even interrupt her.
Keren Levi – There she is
In this personal solo, in which Levi navigates in between dance and storytelling, memory and farewell are the central themes. She brings to life a multi-faceted and almost, but not quite, gossipy portrait of intimacy and distance within a family. She invites you to reflect on your own family history and the farewell of previous generations. The performance challenges you to open up to notions such as impermanence, memory and past.
Marika Meoli en Joost Vrouenraets – In presence of an embracement
Two bodies in a perpetual embracement; skin to skin, bones entangle and muscles interweave each other in one persisting movement. Since the global pandemic outbreak in 2020, our approach to physical contact has changed radically. Embracing each other has become a scarce physical act, solely allowed in private. In presence of an embracement highlights the importance of the simple but vital act of an embracement.
Jaap Scheeren and Rik van den Bos – Flipping The Bird
The photographic story Flipping The Bird takes you to the dunes; the starting point of a quest to make contact with flora and fauna. The film ends in an explosion; a plea to break free from your solid ground and to choose a new direction. Flipping The Bird is a beautiful and compact work of art, in which language and image constantly reinforce each other.
Myra Schouten – Ik ben gestolen
In Ik ben gestolen, Schouten tries to share something about the subject she initially tried to avoid: the unconditional love of a child for his parent. This monologue is a letter to her father. She demands of him, longs for him, loves him and looks back on him. In a sober setting, her words and her presence on the floor, which she uses as an instrument, are central. By telling her personal story she hopes to touch the universal.
Ika Schwander – Ten of Swords
Ten of Swords is a slow pace exploration on the transitional moment from life to death. A space, scarcely decorated with sound, tools and creatures, invites you to inhabit and examine a last breath.
Toon Teeken – The Day After
From his son in Lomé in Togo, Teeken (1944) received a photo depicting his son’s wife, mother-in-law, their two children and his family-in-law. The composition of the photo inspired him to create the motif for a painting: the tousled rhythm of their heads and limbs around the cluttered coffee table within the closed shape of the heavy sofa.
Toon Teeken – The Kitchen Table Series
In these 24 gouaches, Teeken (1944) investigates the chaos and order of his kitchen table. Every day he sees this round table, often things piled on top of it. The visual poetry of circular objects, such as cups, plates and glasses. against other, almost shapeless, items like a transparent plastic bag: the complexity, disorder and at the same time a certain arrangement fascinate him.
Nina Wilson – Does it even matter if it matters
Wilsons’s film is an inverted dream in which we disappear. She has been spinning around her own axis for too long and the earth, less and less solid, opens up. What happens at the ends of the circle? Wilsons’s work creates an open space for imagination and magic.