‘Somewhere between Yvonne Rainer and Pina Bausch,’ was how Ian White and Jimmy Robert described their latest performance, which was recently presented in De Brakke Grond. The choreographies of these artists based in Brussels and London seem complex, full of historical references, but ultimately they should be taken surprisingly literally.

Quality encounters: this is how we could describe the art of Dora García (1965). In an intriguing manner, she connects relational aesthetics with an institutional critique of art and society. Her work has a militant, feminist undertone, but happily not at the expense of subtlety or uncertainty.