Christophe Meierhans (CH/BE)
TRIALS OF MONEY
31 March 2019 h. 20.00
Can the money we use on a daily basis be held responsible for the bleak state of the world today? What would it mean to hold it accountable for its actions? Trials of Money challenges the idea that money is just a tool or a means, and treats it as a complex being, a “semi-human” entity that has acquired an autonomous operation and escapes the control of the men who use it.
This new version of the performance is based on the collected testimonies of nine witnesses: an ex-banker, a Suisse National Bank employee, a homeless man, a wealthy philanthropist, a Native American, an economics professor, a kibbutz resident, and a criminologist. It invites the public to take part in the actions of a fictitious court, conducted as a collective exercise where all present freely assume the position of prosecution or defense, based on their beliefs and influenced by the proceedings.
Can money actually be tried before a human tribunal? And if the defendant is ultimately found guilty, what should be the appropriate sentence?
Conference Show – in Italian
A project ZONA K and Stanze
“Show realized within the project Teen Time.”
Concept and direction: Christophe Meierhans Performer: Christophe Meierhans, Luca Mattei Dramaturgy: Bart Capelle With the participation of: Shila Anaraki, Jochen Dehn, Adva Zakai Set design: Decoratelier Jozef Wouters Decor: Giammarco Falcone Light saber microphones: Alexis Pawlak, Gaia Carabillo Costumes: Sofie Durnez, Valerie Le Roy Lighting design: Luc Schaltin Monetary consultant: Olivier Auber Production: HIROS, Elisa Demarré Co-production: AUAwirleben (Bern), BIT Teatergarasjen (Bergen), BUDA (Kortrijk), FAR° (Nyon), Kaaitheater (Brussels), Nouveau Théâtre de Montreuil (Paris), Teatro Maria Matos (Lisbon), Vooruit (Gent), ZONA K (Milan) With the support of: Vlaamse Gemeenschap, ProHelvetia
Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work consists mainly in developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the frame for artistic operations that can redirect banality in order to make it reappear under unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something else.