Annabel van Baren's Page
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Annabel van Baren posted a blog post“Field Works-Office”.... A giggle-fest of a fieldtrip!
Annabel van Baren posted a blog postOf mackerel, feathers and glass: Ibrahim Quraishi’s “Wild Life Take Away Station”
Annabel van Baren posted a blog postCeci n'est pas une [...] The astonishing malleability of Ivo Dimchev's "I-on"
Annabel van Baren commented on Heather Hermant's blog post The image of the effect: Sideways RainAnnabel van Baren replied to Estrella Reyes-Pinto's discussion Vraag over hedendaagse dansProfile Information
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Annabel van Baren teaches at the University of Applied Sciences in Utrecht, the Netherlands, where she spreads the joys and finesses of English literature, language, and humour to future teachers of English. After receiving MA degrees in Gender Studies and English (cum laude) she was a post-graduate scholar at York University, Toronto and Roehampton University, London, UK. Her interests are everyday movements, ‘healthy’ vs. ‘unhealthy’ bodies, ‘mind over matter’, and the power of storytelling. These engagements result in various projects, both solo and collaborative. Annabel is experimenting with making sculptures founded on people’s personal narrations; in progress is a dance video series, in which several questions are investigated, such as “how to portray the feeling of sweaty palms?”; she is planning a documentary project on the ritualised aspects of daily movements, together with everyday-friend and visual anthropologist Domitilla Olivieri.
Annabel van Baren's Blog
Nudge-nudge, wink-wink: hilarious repetition in Martin Creed’s "Work No.1020 Ballet"
With an enthralling Glaswegian twang, Martin Creed invites us for a 70-minute tour into his work of make-believe, projected erect penises, budding nipples and a small dog and a big one, humour, repetition (with difference, nod-nod-wink-wink, Deleuze and Guattari), music, absurdity, and most of all: joie de vivre. Work No.1020 Ballet is, first and foremost, a feel good experience, and one with which Creed ventures into as of yet unexplored territory: choreography.
An acclaimed…
ContinuePosted on April 29, 2012 at 1:36pm
Multi-spectrum Sound: Meg Stuart | Damaged Goods’ “Violet”
Imagine a body whose organs are so light that they let sound flow through them. Imagine skin so porous that sounds reverberate and change its molecular structure. Imagine sound so embodied that the bodies performing them become them. The performance Violet by Meg Stuart | Damaged Goods tests the limits of auditory comfort while ensuring a spectacular experience.
It’s apparently officially required that theatres hand out free earplugs when spectators are exposed to sounds…
ContinuePosted on April 28, 2012 at 5:29pm
“Field Works-Office”.... A giggle-fest of a fieldtrip!
Heine Avdal & Yukiko Shinozaki’s “Field Works-Office”. Seen on 25 April 2012. Reviewed by Annabel van Baren.
It takes a lot to have me smiling, beaming even, when it’s raining cats and dogs and I’m to cycle through all that wetness: Heine Avdal & Yukiko Shinozaki’s site-specific and location-based performance “Field Works-Office” did exactly that. It already started upon entering the offices of the Central Museum where I was ‘greeted’ (inaudibly and most likely also…
ContinuePosted on April 27, 2012 at 7:42pm
Of mackerel, feathers and glass: Ibrahim Quraishi’s “Wild Life Take Away Station”
Reviewed by Annabel van Baren. Seen 22 April 2012, Centraal Museum, Utrecht.
On this suddenly sunny Sunday afternoon I encounter remnants of what seems a Greek salad, a half eaten loaf of bread. Wine in crystal glasses upon a long table lined with a white cloth. When my legs get sore from standing I sit at that table, on one of the chairs, given that the two performers (Ria Higler and Diego Agulló) are now lying on one of the two sofas, their backs turned to each other. The…
Posted on April 25, 2012 at 4:00pm
Ceci n'est pas une [...] The astonishing malleability of Ivo Dimchev's "I-on"
Ivo Dimchev’s I-on. Reviewed by Annabel van Baren. Seen: 20 April, 2012, Theater Kikker.
Ceci n’est pas une pipe. Ceci aussi n’est pas une hélicoptère, ou un vibrateur, ou un casque [okay, switching to English – pardon my French]… The objects that Dimchev manipulates on stage, namely so-called ‘adaptives’ by Austrian sculptor Franz West are odd-looking structures: blobs of ordinary everyday objects encased in plaster. One of them looked like a long, coiled up snake; the other…
Posted on April 20, 2012 at 10:00pm
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