“How a Pickle turned into a Sheep”

performance, 20 mins’, 2017 / 2018



A closing door, an eel thrown at you, flashlight at a screen, moving chairs, curtains opening, a window that lights up, breakfast hovering past, a pickle under voltage, snowfall on stage, a granny who knits herself into a sweater, singing of a choirboy.

A silent ringmaster and a man in rain-gear guide you through a series of events resembling a night at the movies with your seat just a bit too close up-screen for some.

Words fail me to describe what the performance is about. So here are some visitors’ descriptions of the experience instead:

_ _ _

“It felt like a breath of fresh air to experience this. KI-NE-MA is firmly rooted in contemporary visual art. But at the same time it is moving totally outside of that field. You first enter a white cube space but you end up at something that is entirely dark in the end.

The show evoked both senses of entertainment and horror in me. That presenter who is so huge and nearby. And then all those layers that open up one after another. There is a lot of talk in art about hyperrealism at present; the way that media have taken over our reality. Everything that reaches us through the news and apps and computers is so utterly bizarre that one doubts wether it is all real.

And then you arrive at this show where everything is real and it turns out that reality is even more surreal than everything that reaches us through tv- or computer-screens.

I also hadn't expected that someone would be sitting behind it. And that this person would look at you from out of the “tv-set”. That was almost too much for me because it felt like she was solely looking at me and no one else” – Iris Bouwmeester, Breda.

“The step-by-step sequence of music, rain and darker sounds that were sometimes alternated by a sudden speech or a hastily passing tray with objects. Moving objects that made the weather change (snowstorm) as on demand or that gave us a glance at a reality behind it all. The quiet presence of a knitting woman, a palmtree and even a reality that continues behind the windows where cars pass by. All of this occurred as a layered presentation of realities, like an onion being peeled.

The gallery space, the elements of the show and the foyer hall were all centred around a sculpture that was disguised as a theatre at the heart of the exhibition” – Gerard Koek, Nijmegen

“For me the term Vaudeville is a concept from an intangible part of history that I instantly longed for the moment I heard of it ever first; how gladly would I have wanted to experience that! For I imagined it as liberating mini-circus, physical and intimate, between laughter and tear, tragicomical, playful, varied, critical and intelligent. With Vaudeville I associate unpredictability, weirdo's and wacky humour, cinematic music, the subconscious, short acts by strangely deviated creatures who use incomprehensible language, a nomadic form and so on. It reminds me of how I viewed the world as a child and how life presented itself to me by the things and people that were around me. Of how I was guided by my senses and imagination instead of by well argumented thoughts, like I am now, let alone by experience. Because I simply did not have experience. That I accepted how the here and now approached me without judging it. Because I had no understanding of it yet. That I left my secure place without a second thought when there was something so curiously freaking me that I had to figure it out. No one would see what I did in the dark, was my reasoning, just because I couldn't see anything myself. This KI-NE-MA performance meant that Vaudeville for me, it evoked all of that in me” – Griet Menschaert, Eindhoven

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de Sociale Dienst, Eindhoven