Ezra Veldhuis & Bosse Provoost

Through com­po­si­ti­ons of light shifts, sound pat­ches, and silen­ces, Ezra Veldhuis and Bosse Provoost cre­a­te ever-chan­ging spa­ces popu­la­ted by semi-human-loo­king figu­res, ener­gi­zing theatre spaces into ‘envi­ron­ments’. Poetry not only lies at the basis of most of their work (Paul Celan, Inger Christensen, Richard Brautigan), they also construct their per­for­man­ces fol­lo­wing poe­tic prin­ci­ples, as sce­nic poems.

They have cre­a­ted the per­for­man­ces Matisklo (2018), SUN-SET (2020) and Indoor Weather (2021) under the umbrella of Toneelhuis Antwerp. Their latest per­for­man­ce All Watched Over by Machines of Loving Grace (2023) premiering in Campo was a staging of the poem of the same name.

In May 2026 they will pre­miere Infrared, Echolocal, a new installation-performance centered around the relationship between animal and human consciousness, at SPRING Performing Arts Festival in Utrecht. Later that same year, they will premiere HIKER, in which the whole world of  the performance (scenography, light, sound, fictions, unsuspected images, shapes and volumes) emerges from a figure packed with hiking gear. In Buda, they will make a first version of HIKER in an open field. 

Ezra Veldhuis (NL, °1991) is active in both performing and visual arts. Her multidisciplinary practice centers around light as both material and subject. She creates performances, installations, paintings, and videos and also works as a lighting designer and scenographer. 

Bosse Provoost (BE, °1993) is a performing artist and director. He created his first performances (Herberg, Moore Bacon!, and The Act of Dying) with Kobe Chielens, with whom he explored the physical language of animated film characters. 

Ezra Veldhuis & Bosse Provoost – HIKER (2025)

• Performance on Sunday June 22 at 5 pm at Field

In HIKER, the boundaries between body, landscape and hiking gear blur by negotiating an 18m² map. Inspired by writer Robert Macfarlanes’ notion of “deep time”, the map shows the landscape as we know it, but also glances at the folds of the past and the belches of the future.