Kevin Trappeniers (Belgium) develops a stilled, visual and physical theatrical language in detailed, sensate work at the intersection of performing arts and visual arts. He creates mainly performances where acting, lighting, sound, body and scenography are equally important.
During 2019 Trappeniers starts a new research phase with residencies in Belgium and the Netherlands.
In 2018, Trappeniers worked on AntennA and Ellipsis: a complementary diptych consisting of an installation in the public space and a theatre performance in the black box. Both works relate about the relationship between human and technology, and the mutual (mis)communication that arises from it, while having a different focus. How do technological possibilities influence the communication between people? And how do we as humans handle the rapid technological evolutions? Both the installation and the performance are on tour in 2019 and 2020, both in Belgium and internationally.
Asymptote is an earlier visual and physical theatre performance that stems from a research residency conducted and accompanied by arts works space L’L. The piece was supported and presented throughout Belgium.
Another project that originated from the research residency at L'L was the dance performance Selfed. Trappeniers worked on it in TAKT Dommelhof (Belgium) and with Plesni Teater Ljubljana (Slovenia). The piece was presented as physical theatre during TAKT Festival #17.
Parallel to this, Trappeniers worked on performances in a.o. the performances/installations of the Saturn series by Karl Van Welden (United Planets), Cinérama and the series Monster! by Abattoir Fermé, the exhibition dance performance Who Makes Paintings Anyway? with Lies Borgermans, Sara Tan and Thomas Vantuycom, The Wind Egg Project by Haseeb Ahmed, Egle Budvytytes‘ exhibition choreographic piece Skateboard Prayer, or Head below the Heart (Wiels).