There’s a distinct chill in the air and as summer draws to a close, we had a chat with DE SINGEL’s programmers about their autumn program. Michiel Vandevelde, programmer of performing arts and Merle Scheske, programmer of music cue us in on some of DE SINGEL’s recent changes, visions for the future, and upcoming events including the first edition of Bliss #1 (11.10 - 12.10), which is free for Different Class members on 11.10.2024.
What attracted you both to DE SINGEL?
Michiel: When I started here, there was a shift in eras after 30 years of the same direction. For me, it was exciting to co-write a new chapter in the history of this institution which is so important for the internationalisation of arts in Belgium. It was a unique opportunity so I was eager to join the new team.
Merle: I came out of a personal quest to work in programming and give context to something, to work on something more thematically. Before, I was working more in music production, with concepts that were never really my own, so I really had a personal quest to develop that. Then, luckily, DE SINGEL came around, very much by chance.
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Tell us a bit about Bliss #1!
Michiel: Bliss is a continuation of Radiant Nights, which we launched a few years ago. One of the issues we analysed when I started was that there was little space for artists who don’t have much visibility yet. DE SINGEL is known for large-scale theatre and dance performances, mostly of artists who are quite well-known. But, there were fewer initiatives to support younger and less established artists. So we wanted to install something structural, a platform returning throughout the year. And with Bliss, there is a focus on experimental performance practices. We also want to think more about how we can allow these artists to grow in the organization, and become a part of the program without being framed in a certain context.
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What is something that has surprised you as a programmer?
Merle: When I started at DE SINGEL, I didn’t really understand that there is a need for younger artists, for a space and time to explore their voice and interests; a need for time and space to create. In music, especially, everything is very structured: rehearsal, recording and performance. But people need to talk more and explore what they want to do in their musical practice. I was surprised by the need for this, but also by how much energy it takes to have these talks, think along, and encourage people to go for something new. I burn for this, it’s the reason I do what I do. I love these personal talks and dedicating time to people who come with a mission.
There’s a need for time and space to create
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What do you want to see going into the future?
Michiel: What is still a big task at DE SINGEL is to make the building more dynamic: activating the corridors and in-between spaces. Often it would feel very empty, even during events, which felt like such a missed opportunity. We’ve made many positive changes already, but growth is still possible.
Merle: I also think it was really needed, because a cultural centre should be a space where you want to spend time. Come here on your own, or meet friends, visit a book shop or eat something nice a few hours before a show, or ideally even visit a sound installation or exhibition. For me, a cultural centre is a space where you want to be, to hang around, and maybe even identify yourself with.
A cultural centre should be a space where you want to spend time
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Considering the importance of space, and zooming out a bit - how do you feel working in the context of Antwerp?
Merle: I’m still at the beginning of an active dialogue with creators, still trying to understand the city and its citizens. I find it kind of messy to unravel, even though I am starting to understand the audience and in general, the communities of Antwerp. I’m happy to explore who is here, and also through our on_off_space, I get to know so many new faces.
Michiel: There are so many great artistic organisations in Antwerp. For a long time, I felt like DE SINGEL was such an island, on the periphery of the city, so disconnected in a way. But now I think that’s actually a good thing because it's an island of possibilities - an enclosed space where you can experiment and try things out. I like that when I ride my bike from the Berchem station, I enter this island, it’s like a different reality.
It's an island of possibilities - an enclosed space where you can really experiment
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Besides Bliss, what else are you looking forward to in the autumn program?
Merle: I’m very much looking forward to the Shifting Sounds festival, which is about what contemporary can or could be - how music could potentially sound. It’s very much inspired by electronic music, collaboration, and exploring different compositional voices. There are different groups coming like Roomful of Teeth and Cello Octet Amsterdam, who work with audiovisual artist Nick Verstand. The compositions are all by composers from the realm of electronic music like Caterina Barbieri and Qasim Naqvi. There’s also a collaboration between Ensemble Modern and Carsten Nikolai, who works on the threshold of electronic music and visual arts. There are so many more great artists, and I hope the festival’s concept of sound exploration really resonates with the audience.
Michiel: I’m curious about Anthea Hamilton. She’s making her first big theatre piece at the end of September. I find this really exciting because she comes from visual art. It’s also based on Shakespeare, so I’m curious to see what a visual artist will do with Shakespeare.
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<div class="editorial-banner"> <div class=“editorial-credits”> @merlescheske / @vandevelde.michiel / @desingelartscentre </div></div>
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