Outlandish: The Tables Are Turned by Bernhard Lang

Outlandish is a concert connected to Deleuze and artistic research in many ways, starting with the title, which as a synonym of “deterritorialised” refers to one of the mutual affects of philosophy and artistic practice that DARE 2015 proposes to explore. But more importantly, there are personal and material connections produced by Bernhard Lang’s Belgian premiere of The Tables are Turned (2010), Marc Ngui’s Drawings from A Thousand Plateaus (ongoing since 2004), and Juan Parra C.’s The Egg, which is both the electronic Dogon Egg he built and the new piece he will premiere.

The Difference Engines. Bernhard Lang in conversation with Maarten Quanten

I started reading Deleuze in 1995, starting with Difference and Repetition. As my previous philosophical background was mainly determined by Viennese logical positivism, Deleuze led to a kind of shock for me; when I stated rereading the text in the English translation, it became the starting point for a completely new way of composing and thinking. This reoccurred in 2007 while reading Le Pli and Mille Plateaux and made me delve into the notion of abstract machines and monadologies. In 2014 I finally did write a piece based on “The Exhausted,” wherein the Deleuze text (beside the reference to Beckett) is explicitly sung. During the conversation, I would like to elaborate on the influence of experimental visuals on my composition, and the possible association with Deleuze’s notions of “movement-image” and “perception-image.”