20th June – 16th November. Utopias have captured the imagination for centuries. In the Textile Biennale 2025. Interwoven Futures, twenty…
Read more28th June. MESMERICA 360 is a stunning sensory journey bringing together the music of award-winning composer James Hood with visually-hypnotic…
Read more11th to 29th June. Every year, the Holland Festival presents a carefully curated programme with excellent creators of theatre, dance,…
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The piece is unapologetically demanding because of its fragmented nature. The first half is an extended build-up consisting of a sumptuous set, live actors, live footage, and the English/Dutch subtitles. The storyline is delivered largely through dialogue primarily in Polish and Latvian.
Aw’s own biography is a migration narrative in itself: born in Taiwan, raised in Malaysia, educated in the UK, and now residing in Paris. This layered sense of belonging infuses his work and was a throughline in the discussion. For Aw, movement is never just physical. It is entangled with class mobility, linguistic alienation, and the burden of constantly having to translate oneself.
Much of the discussion circled around U.S. President Donald Trump, whom Kaplan portrays as a harbinger of deeper structural upheaval rather than a passing aberration. However, it was Kaplan’s diagnosis of our tightly networked, claustrophobic, anxiety-ridden world that struck the deepest chord.
The talented young artists of the Dutch National Opera Academy, alongside the Residentie Orkest, invited the audience into a space of reflection with two one-act operas that confront the realities of war, power, morality, and the human cost of survival.
The show was a sequence of cameos offering an insight into the ancient Yi culture, mainly through song. The Yi people are the sixth-largest ethnic minority in China, with a population of nearly ten million and a history going back 3,000 years. According to Yi legend, all life originated in water . . .
On Thursday, 26th June, Ma Yansong, architect of the amazing new Fenix Museum, will be the guest of honour at the Nieuwe Instituut in Rotterdam for An Evening With…, the latest in a series of regular evening discussions featuring leading figures from the worlds of architecture, design and digital culture.
How could one not be moved by impassioned masterpieces such as the Piano Concerto No. 1 in D minor, Op. 15, or the Serenade No. 1 in D major, Op. 11 by Johannes Brahms? Time, then, for answers. Answers given to the Concertgebouw audience by the Camerata Salzburg, led by conductor Giovanni Guzzo, and the nuanced pianism of Hélène Grimaud.
After two nights of semi-finals the final seven pairs, whittled down from 415 initial registrations from sixty countries, took to the stage at Theater Rotterdam in a memorable evening which was also live-streamed around the world.
