A Two Dogs Company / Kris Verdonck

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A Two Dogs Company / Kris Verdonck

A Two Dogs Company is supporting the artistic practice of artist Kris Verdonck and his companions.

BIOGRAPHY / KRIS VERDONCK

Kris Verdonck (born 1974) studied visual arts, architecture and theatre and this training is evident in his work. His creations are positioned in the transit zone between visual arts and theatre, between installation and performance, between dance and architecture. As a theatre maker and visual artist, he can look back over a wide variety of projects. The artistic practi

ce of Kris Verdonck has developed and expanded in a very fruitful way over the last few years. His projects have been presented on stages as well as in museums in Belgium and abroad. This growth can only be consolidated if a small flexible organisation can follow up and structure the work on a permanent basis. Theatre is never made alone: it is no longer the work of one dog, but about the practice of several dogs that play together. That’s why Kris Verdonck has chosen a name inspired by Friedrich Torberg’s poem, ‘Spleen’: A Two Dogs Company. The company is structurally supported by the Flemish authorities and the Flemish Community Commission (VGC).

05/05/2026

𝑫𝑬𝑴𝑶, an experimental shortfilm debut made by Kris Verdonck Blending elements of silent cinema, slapstick and contemporary vlog culture, 𝑫𝑬𝑴𝑶 constructs a world where the line between fantasy and harsh reality blur.

𝐖𝐡𝐞𝐧 𝐚 𝐜𝐢𝐭𝐲 𝐦𝐚𝐤𝐞𝐬 𝐬𝐩𝐚𝐜𝐞 𝐟𝐨𝐫 𝐠𝐞𝐧𝐭𝐫𝐢𝐟𝐢𝐜𝐚𝐭𝐢𝐨𝐧, 𝐰𝐡𝐚𝐭 𝐩𝐥𝐚𝐜𝐞 𝐫𝐞𝐦𝐚𝐢𝐧𝐬 𝐟𝐨𝐫 𝐭𝐡𝐨𝐬𝐞 𝐰𝐡𝐨 𝐝𝐨 𝐧𝐨𝐭 𝐟𝐢𝐭 𝐭𝐡𝐞 𝐢𝐦𝐚𝐠𝐞 𝐨𝐟 𝐭𝐡𝐞 𝐦𝐨𝐝𝐞𝐫𝐧 𝐜𝐢𝐭𝐲?

The Brussels canal zone is changing, gentrifying, the rough edges vanish. 𝑫𝑬𝑴𝑶 is both an absurdist portrait of an artist on the edge and a melancholic document of a city that no longer has space for certain, unemployed figures.

Days are dominated by an existential boredom, fought like any social media fanatic, by filming himself while performing stunts for an audience that doesn't exist. The performer's urge to entertain grows increasingly extreme, bitter, and dangerous. Pushing toward the absurd and the suicidal, though cartoon characters never truly die.

ᴄʀᴇᴅɪᴛꜱ:
ᴄᴏɴᴄᴇᴘᴛ & ᴅɪʀᴇᴄᴛɪᴏɴ: .verdonck
ᴅʀᴀᴍᴀᴛᴜʀɢʏ: Kristof van Baarle
ᴘᴇʀꜰᴏʀᴍᴇʀ:
ᴍᴜꜱɪᴄɪᴀɴ: Michael Schmid .ictus
ᴄᴏꜱᴛᴜᴍᴇꜱ: An Breugelmans, Eefje Wijnings, Karolien Nuyttens, Stephanie Becquet
ᴄᴀᴍᴇʀᴀ: Vincent Pinckaers
ᴘʀᴏᴅᴜᴄᴛɪᴏɴ ᴍᴀɴᴀɢᴇʀ: Erik Lambert
ᴘʀᴏᴅᴜᴄᴛɪᴏɴ: A Two Dogs Company
ᴄᴏᴘʀᴏᴅᴜᴄᴛɪᴏɴ: Quetzalcoatl & Shelterprod
ᴡɪᴛʜ ᴛʜᴇ ꜱᴜᴘᴘᴏʀᴛ ᴏꜰ: (VAF) & .be (incentive of the Belgian federal government)

08/04/2026

𝑰𝒓𝒐𝒏𝒚 𝒂𝒏𝒅 𝒔𝒂𝒓𝒄𝒂𝒔𝒎 𝒂𝒓𝒆 𝒕𝒉𝒆 𝒂𝒏𝒕𝒊𝒅𝒐𝒕𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒉𝒖𝒎𝒂𝒏 𝒄𝒐𝒏𝒅𝒊𝒕𝒊𝒐𝒏.

𝙎𝙏𝘼𝙂𝙀𝙎 #𝟮 Residency x iMAL: Winju, a non-binary Brussels-based artist whose work bridges sculpture, performance, and installation. Their practice merges organic and mechanical systems, exploring vulnerability, identity, and resistance, where irony and sarcasm become antidotes to the human condition.

Aigü is a dive into the paradoxes of care and control, where suffering becomes catharsis and order cracks open to expose its absurdity.

Winju’s work transforms medical and industrial aesthetics into absurd, malfunctioning machines. Raw therapy, an exorcism of inner and outer tensions. Their sculptures and installations simulate function while disrupting coherence, revealing the invisible dysfunctions of bodies and societies.

Follow their journey as they develop Aigü. A universe where the medicalized body meets noise, metal, and tech, generating tension, chaos, and dark humor.

Artist:
Residency collaboration with

24/03/2026

𝑰𝑵 : 𝑀𝑎𝑛 = 𝑀𝑎𝑐ℎ𝑖𝑛𝑒

𝑰𝑵 reflects on our evolving relationship with technology: one built on trust, yet marked by loss of control. As dependence grows, so does a latent unease, a sense of unheimlich, where the familiar becomes strange, and the body drifts away from what it knows.

In 𝑰𝑵, the altered sensory environment induces a trance-like state, where amplified breathing and subtle movements heighten the tension between stillness and presence.

Rather than combining, Kris Verdonck explores the friction between disciplines, staging the clash between technological reproduction and the singularity of live performance, somewhere between control and surrender.

Verdonck’s performers exist at the threshold between human and machine, suspended in transition, neither fully one nor the other. In this isolation, the body becomes both subject and object.

For over 17 years, 𝑰𝑵 has been presenting internationally, from its premiere at in 𝐵𝑟𝑢𝑠𝑠𝑒𝑙𝑠 to venues such as in 𝐴𝑚𝑠𝑡𝑒𝑟𝑑𝑎𝑚 and in 𝐺𝑒𝑟𝑚𝑎𝑛𝑦. As well as various festivals including the National Review of Live Art in 𝐺𝑙𝑎𝑠𝑔𝑜𝑤 and the in 𝐹𝑟𝑎𝑛𝑐𝑒. The work has travelled further to in 𝑆𝑒𝑜𝑢𝑙 and Studio d’Essai in 𝑄𝑢𝑒𝑏𝑒𝑐, and was more recently shown at .centrepompidou in 𝐵𝑟𝑢𝑠𝑠𝑒𝑙𝑠 and SPRING in Autumn at .

ᴄʀᴇᴅɪᴛꜱ:
ᴄᴏɴᴄᴇᴘᴛ & ᴅɪʀᴇᴄᴛɪᴏɴ: Kris Verdonck
ꜱᴏᴜɴᴅ: Aernoudt Jacobs
ᴘᴇʀꜰᴏʀᴍᴇʀꜱ: Eveline Van Bauwel, Kajsa Sandström, Heike Langsdorf, Gilles Polet, Anna Rispoli, Geert Vaes
ᴘʀᴏᴅᴜᴄᴛɪᴏɴ: Margarita Production for stilllab vzw, A Two Dogs Company
ᴄᴏᴘʀᴏᴅᴜᴄᴛɪᴏɴ: Kunstenfestivaldesarts (BE), Beursschouwburg (BE), kcBelgië (BE), Nadine vzw, Het Net, HISK
ᴡɪᴛʜ ᴛʜᴇ ꜱᴜᴘᴘᴏʀᴛ ᴏꜰ: The Flemish Community Commission

11/03/2026

𝐏𝐑𝐄𝐘 - 𝑾𝒆 𝒂𝒓𝒆 𝒇𝒐𝒐𝒅.

A radical, ecological performance about mortality, vulnerability, and the stories that bind us to the earth.

Three generations of women — actress, singer, dancer — each confront the terrifying beauty of being part of nature’s cycle. Not above it. Not outside it. 𝐼𝑛𝑠𝑖𝑑𝑒 𝑖𝑡. "𝑾𝒆 𝒂𝒓𝒆 𝒇𝒐𝒐𝒅." - 𝑉𝑎𝑙 𝑃𝑙𝑢𝑚𝑤𝑜𝑜𝑑

𝐏𝐑𝐄𝐘 draws from the life and near-death experience of ecofeminist Val Plumwood, who survived a crocodile attack and emerged with a profound truth: 𝒕𝒐 𝒍𝒊𝒗𝒆 𝒊𝒔 𝒕𝒐 𝒃𝒆 𝒑𝒓𝒆𝒚. This performance weaves her ideas with the haunting structure of Japanese Noh theater, where landscapes hold ghosts and stories unfold like dreams.

On stage, performers disappear into a multimedia forest, swallowed by scenography as they grapple with the fragility of the human body and the myths of immortality. The music, composed by Annelies Van Parys for the ICTUS Ensemble, echoes the tension between harmony and chaos, recognition and alienation.

𝐃𝐎 𝐖𝐄 𝐍𝐄𝐄𝐃 𝐓𝐎 𝐅𝐀𝐂𝐄 𝐎𝐔𝐑 𝐎𝐖𝐍 𝐌𝐎𝐑𝐓𝐀𝐋𝐈𝐓𝐘 𝐓𝐎 𝐓𝐑𝐔𝐋𝐘 𝐒𝐄𝐄 𝐓𝐇𝐄 𝐖𝐎𝐑𝐋𝐃?

𝐏𝐑𝐄𝐘 is an attempt to find solace in the horror, and the hope, of being part of something much larger than ourselves.

𝐷𝑒𝑣𝑒𝑙𝑜𝑝𝑒𝑑 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑠𝑢𝑝𝑝𝑜𝑟𝑡 𝑜𝑓 𝐾𝐴𝑆𝐾 – 𝑆𝑐ℎ𝑜𝑜𝑙 𝑜𝑓 𝐴𝑟𝑡𝑠, 𝑤𝑖𝑡ℎ𝑖𝑛 𝑡ℎ𝑒 𝑟𝑒𝑠𝑒𝑎𝑟𝑐ℎ 𝑝𝑟𝑜𝑗𝑒𝑐𝑡 '𝑃𝑒𝑟𝑓𝑜𝑟𝑚𝑖𝑛𝑔 𝐴𝑏𝑠𝑒𝑛𝑐𝑒' [𝟸𝟶𝟷𝟿–𝟸𝟶𝟸𝟸] 𝑏𝑦 𝐾𝑟𝑖𝑠 𝑉𝑒𝑟𝑑𝑜𝑛𝑐𝑘 𝑎𝑛𝑑 𝐾𝑟𝑖𝑠𝑡𝑜𝑓 𝑣𝑎𝑛 𝐵𝑎𝑎𝑟𝑙𝑒.

ᴄʀᴇᴅɪᴛꜱ
ɪᴍᴀɢᴇꜱ: & .photography
ᴄᴏɴᴄᴇᴘᴛ, ᴅɪʀᴇᴄᴛɪᴏɴ & ꜱᴄᴇɴᴏɢʀᴀᴘʜʏ: .verdonck
ᴍᴜꜱɪᴄ: &
ᴘᴇʀꜰᴏʀᴍᴇʀꜱ: Katelijne Damen, Anna Clare Hauf, Mooni Van Tichel
ᴛᴇxᴛ: Kris Verdonck & Kristof van Baarle
ɪɴꜱᴘɪʀᴇᴅ ʙʏ: Val Plumwood - The Eye of the Crocodile

ᴄᴏ-ᴘʀᴏᴅᴜᴄᴛɪᴏɴ: & Perpodium
ᴡɪᴛʜ ᴛʜᴇ ꜱᴜᴘᴘᴏʀᴛ ᴏꜰ: .be
ꜱᴘᴇᴄɪᴀʟ ᴛʜᴀɴᴋꜱ:

05/03/2026

𝐼𝑠 𝑤ℎ𝑎𝑡 𝑤𝑒 𝑠𝑒𝑒 𝑟𝑒𝑎𝑙𝑙𝑦 𝑤ℎ𝑎𝑡 𝑖𝑡 𝑠𝑒𝑒𝑚𝑠?

𝐁𝐎𝐆𝐔𝐒 𝐈–𝐈𝐈–𝐈𝐈𝐈

First shown on at .centrepompidou

Three monumental inflatable sculptures appear and disappear into their boxes, forming a landscape of performative objects. Made from black theatre fabric, the automated forms inflate, breathe, and collapse again — bodies of air suspended between presence and absence.

𝗕𝗢𝗚𝗨𝗦 gives shape to emptiness: sculptures that seem alive yet remain hollow. Their scale and ambiguous material turn them into uncanny presences, somewhere between sculpture and shadow, matter and void.

𝐓𝐨𝐝𝐚𝐲 𝐨𝐛𝐣𝐞𝐜𝐭𝐬 𝐚𝐫𝐞 𝐝𝐞𝐟𝐢𝐧𝐞𝐝 𝐥𝐞𝐬𝐬 𝐛𝐲 𝐰𝐡𝐚𝐭 𝐭𝐡𝐞𝐲 𝐚𝐫𝐞 𝐭𝐡𝐚𝐧 𝐛𝐲 𝐰𝐡𝐚𝐭 𝐭𝐡𝐞𝐲 𝐚𝐫𝐞 𝐰𝐨𝐫𝐭𝐡 — 𝐯𝐚𝐥𝐮𝐞𝐬 𝐢𝐧𝐜𝐫𝐞𝐚𝐬𝐢𝐧𝐠𝐥𝐲 𝐝𝐫𝐢𝐯𝐞𝐧 𝐛𝐲 𝐬𝐩𝐞𝐜𝐮𝐥𝐚𝐭𝐢𝐨𝐧 𝐫𝐚𝐭𝐡𝐞𝐫 𝐭𝐡𝐚𝐧 𝐦𝐚𝐭𝐞𝐫𝐢𝐚𝐥 𝐫𝐞𝐚𝐥𝐢𝐭𝐲. 𝐃𝐞𝐬𝐩𝐢𝐭𝐞 𝐫𝐞𝐩𝐞𝐚𝐭𝐞𝐝 𝐜𝐫𝐢𝐬𝐞𝐬, 𝐬𝐩𝐞𝐜𝐮𝐥𝐚𝐭𝐢𝐨𝐧 𝐜𝐨𝐧𝐭𝐢𝐧𝐮𝐞𝐬 𝐭𝐨 𝐢𝐧𝐟𝐥𝐚𝐭𝐞 𝐛𝐮𝐛𝐛𝐥𝐞𝐬 𝐭𝐡𝐚𝐭 𝐢𝐧𝐞𝐯𝐢𝐭𝐚𝐛𝐥𝐲 𝐜𝐨𝐥𝐥𝐚𝐩𝐬𝐞.

The relentless pursuit of growth and profit haunts governments, industries, and even our own thinking. As Joseph Vogl writes in The Spectre of Capital, if an 𝑖𝑛𝑣𝑖𝑠𝑖𝑏𝑙𝑒 ℎ𝑎𝑛𝑑 guides the market, it is certainly not a benevolent one.

𝐖𝐡𝐚𝐭 𝐫𝐞𝐦𝐚𝐢𝐧𝐬 𝐰𝐡𝐞𝐧 𝐭𝐡𝐞 𝐛𝐮𝐛𝐛𝐥𝐞 𝐛𝐮𝐫𝐬𝐭𝐬?

BOGUS has become a monument to a possible human collapse. Where the desire for more and the allure of wealth inflate fragile bubbles that, once they burst, reveal where these ambitions ultimately lead: ɴᴏᴡʜᴇʀᴇ.

ᴄʀᴇᴅɪᴛꜱ
📷 by
Concept & direction by .verdonck
Dramaturgy by Kristof Van Baarle
Technical coordination by Jan Van Gijsel
Technical design & Construction by Eefje Wijnings, Kris Verdonck, Koen Roggen.
Software & Electronics by Vincent Malstaf
Production by A Two Dogs Company

𝑾𝒊𝒕𝒉 𝒕𝒉𝒆 𝒔𝒖𝒑𝒑𝒐𝒓𝒕 𝒐𝒇: the Flemish Authorities, the Flemish Community Commission (VGC)

26/02/2026

Step into 𝙀𝙓𝙊𝙏𝙀, a living installation where beauty and danger intertwine.

This is no ordinary garden: it’s a landscape of the future, a world reshaped by humanity’s hand.

Here, you’ll encounter 100 of the world’s most invasive plants and animals, species that have traveled far from home and now threaten ecosystems worldwide. From the relentless Japanese Knotweed to the suffocating Water Hyacinth, each organism tells a story of human intervention and ecological disruption.

𝑾𝒉𝒚 𝒕𝒉𝒆 𝒑𝒓𝒐𝒕𝒆𝒄𝒕𝒊𝒗𝒆 𝒔𝒖𝒊𝒕?
Because every seed, every spore, must stay contained. 𝙀𝙓𝙊𝙏𝙀 is a warning: if these species escape, they could rewrite nature as we know it.

This garden is a potential disaster, frozen in time; beautiful, terrifying, and entirely of our making.
𝙀𝙓𝙊𝙏𝙀 is the anti-Eden, a mirror held up to our impact on the planet. What will our world look like if biodiversity collapses? What landscapes will we inherit?

𝙀𝙓𝙊𝙏𝙀 𝙄 was first shown in 2011 at Z33 in Belgium and was created by .verdonck. 𝙀𝙓𝙊𝙏𝙀 𝙄𝙄 was shown in Bilbao, Spain in 2016.

𝗖𝗥𝗘𝗗𝗜𝗧𝗦
Dramaturgy by Marianne Van Kerkhoven
A production with
With the support of:
, the Flemish Authorities, VGC, , Groep C and Levis
EXOTE II (2016, SP)
Concept & direction: Kris Verdonck
In collaboration with:
Mercedes Herrera (Ecology and Plant Biology, EHU/UPV), Iñigo Zuberogoitia Arroyo (ICARUS), Pedro Abad (EL KARPIN), Patricia Orejas (BRINZAL), Mitxel Ipiña (Gardener) and Bilbao City Hall Gardening Department

18/02/2026

𝐶𝑖𝑣𝑖𝑙𝑖𝑧𝑒𝑑 𝑙𝑖𝑓𝑒 𝑖𝑠 𝑏𝑢𝑖𝑙𝑡 𝑜𝑛 𝑖𝑙𝑙𝑢𝑠𝑖𝑜𝑛𝑠. - 𝐽.𝐺. 𝐵𝑎𝑙𝑙𝑎𝑟𝑑

Through nine stereographic [3D] view-boxes, virtual living sculptures unfold. Inside, we find a standardized suburbia, a world where safety masks aggression and the middle class quietly embodies the apocalypse.

𝑁𝑎𝑚𝑒𝑑 𝑎𝑓𝑡𝑒𝑟 𝑡ℎ𝑒 𝐺𝑟𝑒𝑒𝑘 𝑤𝑜𝑟𝑑 𝑓𝑜𝑟 “𝑒𝑞𝑢𝑎𝑙,” 𝐼𝑆𝑂𝑆 𝑟𝑒𝑓𝑙𝑒𝑐𝑡𝑠 𝑎 𝑓𝑢𝑙𝑙𝑦 𝑠𝑡𝑎𝑛𝑑𝑎𝑟𝑑𝑖𝑧𝑒𝑑 𝑤𝑜𝑟𝑙𝑑: 𝑐𝑜𝑛𝑡𝑎𝑖𝑛𝑒𝑟𝑠, 𝑔𝑟𝑖𝑑𝑠, 𝑏𝑜𝑑𝑖𝑒𝑠, 𝑏𝑒ℎ𝑎𝑣𝑖𝑜𝑟𝑠. 𝐻𝑢𝑚𝑎𝑛𝑠 𝑠ℎ𝑟𝑖𝑛𝑘 𝑡𝑜 𝑖𝑛𝑠𝑒𝑐𝑡𝑠. 𝑂𝑏𝑗𝑒𝑐𝑡𝑠 𝑔𝑎𝑖𝑛 𝑝𝑜𝑤𝑒𝑟. 𝑇ℎ𝑒 𝑖𝑙𝑙𝑢𝑠𝑖𝑜𝑛 𝑜𝑓 𝑐𝑜𝑛𝑡𝑟𝑜𝑙 𝑞𝑢𝑖𝑒𝑡𝑙𝑦 𝑐𝑜𝑙𝑙𝑎𝑝𝑠𝑒𝑠.

Observed from above, through peepholes, tiny human figures are trapped inside containers. ISOS exists as a shortfilm edited in the viewer’s imagination.

𝑨𝒓𝒄𝒉𝒊𝒕𝒆𝒄𝒕𝒖𝒓𝒆 𝒃𝒆𝒄𝒐𝒎𝒆𝒔 𝒂 𝒄𝒂𝒈𝒆. 𝑭𝒊𝒍𝒎 𝒇𝒓𝒂𝒎𝒆𝒔 𝒃𝒆𝒄𝒐𝒎𝒆 𝒘𝒂𝒍𝒍𝒔.

ISOS has been touring internationally across Europe, shown in theatres, museums, and major film and arts festivals including the Geneva International Film Festival in Switzerland, International Film Festival Rotterdam, Teatros De Canal in Madrid, .centrepompidou and in Brussels, Comédie de Reims and in Paris.

ᴄʀᴇᴅɪᴛꜱ
Concept & Direction by .verdonck
Images (2, 3, 6 & 7) & by © Anna Scholiers
Image (9) .ch by © Laetitia Gessler by

𝘞𝘪𝘵𝘩 𝘵𝘩𝘦 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘰𝘧

04/02/2026

𝙎𝙏𝙄𝙇𝙇𝙎 𝙄-𝙑𝙄𝙄
𝙂𝙞𝙜𝙖𝙣𝙩𝙞𝙘 𝙣𝙖𝙠𝙚𝙙 𝙗𝙤𝙙𝙞𝙚𝙨. 𝙏𝙤𝙤 𝙗𝙞𝙜 𝙛𝙤𝙧 𝙩𝙝𝙚𝙞𝙧 𝙤𝙬𝙣 𝙨𝙥𝙖𝙘𝙚.

The STILLS (I–VII) appear as monumental projections: fragile, voluminous human figures trapped inside boxes that are far too small. They move only slightly, searching for comfort in uncertainty.

STILL I & II were first commissioned in September 2006 by La Notte Bianca (Rome) and projected onto the monumental façades of the EUR district — Mussolini-era architecture meeting vulnerable, exposed bodies. A powerful contrast between authoritarian scale and human fragility.

ʙᴏᴅɪᴇꜱ ᴀɢᴀɪɴꜱᴛ ᴘᴏᴡᴇʀ.
ꜰʀᴀɢɪʟɪᴛʏ ᴀɢᴀɪɴꜱᴛ ᴍᴏɴᴜᴍᴇɴᴛᴀʟ ʜɪꜱᴛᴏʀʏ.
ꜱᴛɪʟʟɴᴇꜱꜱ ᴛʜᴀᴛ ꜱᴘᴇᴀᴋꜱ ʟᴏᴜᴅʟʏ.

In 2007, during Kunstenfestivaldesarts (Brussels), the works appeared again on the upper part of the Kunstberg, another imposing, politically charged site.

The journey continued in 2008:
At the Review of Live Art, Glasgow – STILL III
& LOW Festival, Budapest – STILL I & II

Later, STILL I & II traveled to Gijón, projected onto a monumental façade from Franco’s regime as part of II Ciclo Performance 2010, organised by El Teatro de la Laboral.

In 2015, Kris Verdonck created a new series for the Onassis Cultural Centre (Athens). After just one day, STILL IV & V were removed following police complaints about the artistic content — sparking widespread reactions across European press and social media.

𝗖𝗿𝗲𝗱𝗶𝘁𝘀:
Concept, Direction & Sound by .verdonck
Photo's by ©Stavros Petropoulos & ©Vincent Pinckaers
Dramaturgy by Marianne Van Kerkhove
A partneship with La Notte Bianca Rome &
Presented in Brussels at & on the façade of
𝐒𝐓𝐈𝐋𝐋𝐒 𝐈 & 𝐈𝐈
Co-produced with La Notte Bianca Rome [IT]
Special thanks to
𝐒𝐓𝐈𝐋𝐋𝐒 𝐈, 𝐈𝐈, 𝐈𝐕, 𝐕, 𝐕𝐈 & 𝐕𝐈𝐈
Co-produced with Onassis Cultural Center - Fast Forward Festival [GR] .foundation

27/01/2026

While we enter the 2026 season, stay tuned in for updates on new productions like PROTOCOL, EXTRACTIONS 26, STAGES #3 x iMAL residency as well as our ATDC Studio, Lab and Atelier residents!

While the works are in progress, let's take some time to look back at the year 2025...

Photo’s & credits:
𝟏. 𝘛𝘩𝘦 𝘎𝘢𝘳𝘥𝘦𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘍𝘶𝘵𝘶𝘳𝘦
Photo © Tine Declerck
𝟐. 𝘋𝘈𝘙𝘒 - Performance by &
.van.der.ven
Photo © .photography
𝟑. 𝘌𝘟𝘛𝘙𝘈𝘊𝘛𝘐𝘖𝘕𝘚 25
𝟒. 𝘚𝘱𝘢 𝘧𝘰𝘳 𝘚𝘱𝘪𝘳𝘪𝘵𝘴 𝘹 𝘌𝘟𝘛𝘙𝘈𝘊𝘛𝘐𝘖𝘕𝘚 25
Photo © Lorenzo Frison

𝟓. 𝘚𝘓𝘌𝘌𝘗𝘐𝘕𝘎 𝘊𝘌𝘓𝘓𝘚 at Fête de l'Éléphant Schaerbeek
Photo © Michael De Lausnay
𝟔. 𝘔𝘦𝘥𝘪𝘤𝘢𝘭 𝘉𝘭𝘢𝘤𝘬 𝘔𝘦𝘵𝘢𝘭 by STAGES #2 Resident Winju

Photo from EXTRACTIONS 25
𝟕. 𝘙𝘌𝘚𝘐𝘋𝘌𝘕𝘛: Fyllenia Grigoriou
𝖯𝗁𝗈𝗍𝗈 © 𝖬𝗒𝗋𝗍𝗈 𝖦𝗋𝗂𝗀𝗈𝗋𝗂𝗈𝗎
𝟖. 𝘞𝘈𝘓𝘓 𝘛𝘖 𝘞𝘈𝘓𝘓 by Marc Iglesias Figueras &
Kris Verdonck
.verdonck
𝖯𝗁𝗈𝗍𝗈 © 𝖵𝗂𝗇𝖼𝖾𝗇𝗍 𝖯𝗂𝗇𝗄𝖺𝖾𝗋𝗌 & 𝖣𝖺𝗇𝗂𝖾𝗅 𝖱𝗈𝗆𝖾𝗋𝗈

07/01/2026

Shifting Ground featuring EXOTE (2011) by Kris Verdonck, by Australian curator Felicity Fenner.

Written by experts and practitioners on the frontline of making change. Twelve case studies showcase a range of projects, from artist-initiated works to major institutional commissions.

The publication explores 'The Evolving Role of Art in the Australian Public Domain'. From colonialist imperatives to more inclusive and contemporary approaches. It highlights key projects and themes, including the growing visibility of First Nations culture and art’s connection to urban and natural environments.

Adres

A. Lavalléestraat 41
Brussels
1080

Telefoon

+32 (0)2 219 07 25

Website

http://www.atwodogscompany.org/

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