The lunar cycle is one of our most natural rhythms. We are attuned to it either consciously or subconsciously. Its movement in time is cyclical, and it resembles the mediaeval hermetic symbol of the Ouroboros, the snake biting its own tail. In our conception of linear time, the three phases of the Biennale that will be aligned to the lunar cycle – the three public presentations that will be held in 2019 – can be seen as forming a dramaturgical triangle with its peak at the full moon, growth as its prologue and degrowth as its epilogue. It includes an opening onto a future that repeats itself, at least to an extent, time and time again. In one of his recent talks, the choreographer Faustin Linyekula evoked the word lóbí in Lingala, which literally means adjacent day, and can stands for either yesterday or tomorrow, according to the context and verbs in the sentence. In analogy to lóbí, the three phases of the Biennale will place an emphasis on the present moment in which they are actually happening, but in that presence, there is always a certain evocation of the past and the future.
The first of the three phases is aligned with The Waxing Crescent Moon Phase, the moment which follows the New Moon. During two days, lectures, performances, screenings, installation and discussions will address the themes and associations related to a state that comes just before the completion, of a phase that is in progress and in growth. With a special attention to the past and how it carries within it the seeds for any moment in time, particular questions will be situated in contemporary Belgium: who is writing the history of colonisation and migrations, who is struggling for decolonisation, and who is creating the futurity of blackness within Europe.
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