Artist in residence from October 21 ’till November 1- 2013
Fleur Khani is a Brussels based artist, performer and a writer. As an upcoming
theatre maker, she got selected for the
Danceweb scholarship in Vienna this
summer. She makes her own theatre
shows in which she works on the voice,
the monstrification of the body and the
use of text on stage. She presented the
autofictional work Show don’t Tell at the
Bâtard Festival (Brussels, Novembre 2012). In Rasa (Antwerp, February 2013)
Khani embodies a cabaret singer behind the piano and with seductive ease
she sings contemporary theory (Agamben, Latour…) as well as lyrics about
banal sexuality and longing.
As a writer, Khani co-founded the literary platform KARKAS (2010) in
Antwerp. She performed numerous times with KARKAS and has read her
poetry on various occasions. Khani’s writing is painful and funny. Although
she always takes in a critical viewpoint, her texts are anchored in every day
life. From tongue-in-cheek over dark humour to cold realism, Khani draws
you into her universe of intimacy, exposure, laughter and love. Speaking and
writing fluently in Dutch, English and French, she collaborates with many
international artists in Brussels.
In 2012 Khani had the opportunity to work for Oscar nominee Michaël
Roskam. It was then that she picked up the taste for working for film and she
is currently developing a new film project with the young director Aïlien
Reyns that will be released in the fall of 2014.
In May 2013, Fleur graduated from the artistic research program a.pass
(Advanced Performance and Scenography Studies) with the presentation of
Texture, a work that investigates the relations we have to our bodies through
language and song.
She took part in the Is.m Festival (Vienna, August 2013) in the group
performance Object are Humans Too and performed as a musician at the
Jardin d’Europe Award Ceremony in the Odeon Theatre (Vienna, August
Space Generator is the first part of Space Agency: Moon. In Space Generator Fleur Khani explores relations in space through the use of movement, sound and melody. The performers invest the space with their bodies and their singing. The different dimensions that are unlocked through this layering of physical textures eventually allow for the performers to drop their identity and to merge into the ‘less then one and more then one’-body of the choir. Can we make a space appear and then disappear without leaving traces? How do we electrify and highlight the different relations in space? What remains when the show is over?