Review: International Scenography Biennial

Dirimart installation by Peter Kongler, Photo Manuel Gorkiewicz

The International Scenography Biennial – 7 to 10 November – solidified its holistic approach with an eclectic lecture series. Established practitioners traced scenography’s evolution while up-and-coming designers presented the discipline’s increased scope of influence. With much of the same tools used in architecture and design, scenography brings theory to practice like no other creative domain. Speakers – from diverse fields – reflect on their experience at the biennial.

‘There are no boundaries in art, scenography is just one part of this holistic concept,’ designer Li Hongbo expressed. ‘A platform that gathers designers from all kinds of backgrounds is a meaningful project, and for me very educational.’

‘Our architecture is scenography in real life,’ said 3XN principal Kim Herforth Nielsson. ‘The International Scenography Biennial is really about knowledge sharing, I was able to met future collaborators.’

‘Often scenography is better at telling a story than plays themselves,’ Hotel Pro Forma’s Kirsten Dehlholm shared. ‘Let scenography be a hint of material, colour, form, movement, smell, light and darkness on another scale.’

‘Where design remains absolute, due to its focus – the object, scenography is always relative,’ designer Frank den Oudsten explained. ‘The crucial criterion is how close one gets to an event or to what degree of proximity the dramaturgy of narrative space will invite the recipient.’

‘I struggle to imagine a holistic approach to design without a conscious awareness and intentionality to cultivate both the vulnerabilities and strengths inherent to what’s inspires us,’ concluded Cirque du Soleil director of creation Welby Altidor.

Photos Ronny Schoenebaum

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