PARIS.- Brussels, the multifaceted and interdisciplinary capital, comes to light at the Palais de Tokyo. Within the space of a few years, Brussels has turned into an international platform dedicated to emerging artists and to artistic experimentation. Artists from all around the world gather there to find a breeding ground in which to showcase their talents. Characterised by their artistic risks, local artists don’t seem to share any common ground, other than their undisciplined nature and their interdisciplinary bias.

Over the weekend of the 3rd and 4th September 2016, more than 30 artists, comprising visual artists, performers, choreographers and video makers based in Brussels, will be invited to the Palais de Tokyo by INDISCIPLINE, selected by the curators which include WIELS (Brussels centre of contemporary art), Kunstenfestivaldesarts (Performing Arts Festival) and the Wallonie-Bruxelles Théâtre/Danse agency. Coming from around 15 different countries, these artists will present works from diverse crossover disciplines, pushing a number of our symbolic, physical, cultural and linguistic boundaries.

INDISCIPLINE is an initiative of the Minister of Promotion of Brussels Mr Rachid Madrane, carried out by visit.brussels in collaboration with WIELS, Kunstenfestivaldesarts and Wallonie-Bruxelles Théâtre/Danse.

PERFORMATIVE CONFERENCES
Untitled
Danai Anesiadou
At the invitation of WIELS, Danai Anesiadou, an artist of the Greek diaspora, created a performative conference based on the installation ‘Anonerousanus’ during the Atopolis exhibition (organized by WIELS in Mons in 2015). Her fake academic presentation combining extracts of emails between the artist and the curators of Atopolis written during the conception of the work, fragments of videos of her previous work and quotes from movies and cartoons by other artists.

Gastromancy
Koenraad Dedobbeleer
The artist Koenraad Dedobbeleer believes that works are always inextricably linked to the place and manner in which they are exhibited. This interest in architecture and exhibition scenography also lies at the heart of the collection of museum postcards that the artist has been amassing over the last few years and that he presents in the form of a slide show with commentary. Around the museum world in 80 postcards.

Our Friend the Automobile
Harald Thys & Erik Thys
This off-the-wall conference plunges us into the family odyssey of two brothers linked by their fascination with automobile design. The Thys brothers use images to interpret the advertising messages disseminated by luxury car brands.

FILMS & VIDEOS
I comme Iran
(I for Iran)
Sanaz Azari
Somewhere in Brussels, behind closed classroom doors, Sanaz Azari is learning to read and write in her native language, Farsi, using a textbook dating from the Islamic revolution. Over the course of the lessons, her teacher initiates her into the basics of the language, which becomes a gateway to the history and culture of Iran. The didactic style of the lessons evolves into a poetic, visual collage which introduces the notion of freedom and questions the meaning of the revolution.

The Tower: A Concrete Utopia
Sammy Baloji & Filip De Boeck
This video offers a guided visit by "Doctor", the owner of an amazing building in the commune of Limete in Kinshasa, Democratic Republic of Congo. The construction of this unfinished tower, designed and created without the help of any architect, began in 2003. In many respects, this post-colonial tower is a response to the 1946 Forescom building, one of the first urban buildings constructed under the Belgian colonial regime and one of the first high-rise buildings in central Africa. The Tower: A Concrete Utopia illustrates the different ways in which colonial heritage continues to be reformulated today.

Sequenza
Manon de Boer & George van Dam
This collaboration with the musician George van Dam is based on the experimental composition Sequenza VIII for solo violin. Sequenza intertwines image, sound and spirit, conveying Manon de Boer's fascination with the abstract details of movement, face and materials. The body and the violin come together as one and dance together in a (sound) space.

Yar bana bir eğlence. Notes on Parrhesia
Eleni Kamma

While living in Istanbul in 2013, the Brussels-based Greek Cypriot artist Eleni Kamma witnessed the civil protests in Gezi Park. She was struck by the parallels between the way in which the public space took on a new form and the shadow plays of the Ottoman Empire, which performed political satire. Half-way between documentary and archive footage, this new work builds original links between two forms of social unrest: a broadranging popular uprising and an ancestral form of folklore.

La collection qui n’existait pas
(The Collection That Did Not Exist)
Joachim Olender
This documentary reflects on the Belgian collector Herman Daled. His collection, acquired by the MoMA in 2011, includes masterpieces from the conceptual art movement which came to the fore in the 1960s. In a journey that takes us from Brussels to New York, the collector looks at his past and that of an aesthetic movement that characterised the second half of the 20th century. In this film, Joachim Olender investigates a new collection practice.

« W.o.w »
Benoît Platéus
The "Wow!" signal was a strong narrowband radio signal detected by the Big Ear radio telescope at Ohio State University on 15 August 1977. This signal, which lasted 72 seconds, was of unexplained origin and has not been detected since. This video, by the artist Benoît Platéus, explores the gap between what we are shown and what we are told, in order to put forward new links between text and image.

Going West
Louise Vanneste
Going West is a road trip on foot, a silent film in which the main characters are the body and the music. Together, they inspire a fictional dramatisation of the images and flirt with intrigue, but still remain non-narrative. Going West is an installation for four screens.

A Certain Amount of Clarity
Emmanuel Van der Auwera
A Certain Amount of Clarity describes a viral video showing a real murder propagating over the Internet, more specifically among teenage Internet users. Caught between morbid passion, terror, challenge and curiosity, each person captures their own emotional reaction and then shows it to everyone on the Internet. In this game, in which the offcamera horror is replicated in the viewer's face, the image seems to ricochet onto another viewer who, in their reactions, tries to decipher their nature and meaning in a sequence that evokes the motif of the mise en abîme.