Graduated in artistic and academic studies
2018-15 University of Antwerp; Fac. Language & Philosophy
Master in Film, Theatre and Dance studies (great distinction)
Thesis: Dance Practice Studies. A research on the epistemology of modern dance practices. Promotor: Prof. Dr. Timmy De Laet
2017-15 Performing Arts Research and Training Studios (P.A.R.T.S.)
Research Studios #2. Choreography, performance, music, sound
Research project: Intermedial Flirtations. Doing nothing, waiting and flirting in dance and choreography. Mentor: Bojana Cvejic
2012-09 University of Antwerp; Fac. Language & Philosophy
Bachelor in Film, Theatre and Literature Studies
2008-07 Advanced Performance and Scenography Studies (a.pass)
Advanced performance training (Apt)
Research project: Experimental Phenomenology. Sensory deprivation & editing sensations. Mentor: Elke van Campenhout
2007-02 Royal Conservatoire Antwerp, Higher Institute for Dance
Bachelor in Contemporary- and Classical Dance Studies, minor in Choreography.
Internship: Constanza Macras, Dorky Park
Florence Augendre, Badco., Maarten Buyl, Bojana Cvejic, Timmy De Laet, Kattrin Deufert & Thomas Plischke, Alain Franco, Philipp Gehmacher, Thomas Hauert, David Hernandez, Andrea Kleine, André Lepecki, Vera Mantero, Lilia Mestre, Tom Pauwels, Alain Platel, Stefan Prins, Yvonne Rainer, Pierre Rubio, Martin Spangberg, Min Tanaka, Marc Vanrunxt, Elke Van Campenhout,…
Research projects in dance and performing arts
… Through Practices (2018-2019)
A research project that explored the ecology of one’s personal attention and sense for participation. One year of artistic and theoretical collaboration lead up to an event that presents a variety of guided and hosted scores and protocols that make tangible how our mind’s presence is influenced by how we move and take part in things (and vice versa). In collaboration with Heike Langsdorf, Alex Arteaga, Anouk Llaurens, Miriam Rohde, Laetitia Gendre, Fransien van der Putt, Lilia Mestre, Bilal Kamilla Arnout and Irene Lehmann, produced by Radical Hope.
Modern dance epistemology (2018 - 2019)
“Dance Practice Studies. A research on the epistemology of modern dance practices” articulates a conceptual and philosophical framework. Dance Practice Studies, not established as such, is a research in the dance studies that focuses on articulating dance epistemology. The research findings reflect on the social nature of a practice-based dance epistemology through perspectives that root in the practice theory of Theodore Schatzki and Laurent Thévenot; and in the social theoretical approaches of Barry Barnes and Ann Swidler. Masterthesis at the University of Antwerp, promoted by Prof. Dr. Timmy De Laet.
Queer Phenomenologies in Dance Research (2018)
The embodied practices in the studio are only a small facet of how dance and choreography develops. This performative lecture deals with how to verbalize practicing and composing dance and focuses on irregular rhythms, contradictions, and the irrationality in dance practices. Performative Lecture on How Do We Do It?, KASK, Gent.
EXtended REsonances (2016-2017)
An experimentation practice – shared between somatic dance, live electronics, guitar, and piano – that inquires the oscillation between the noisy dictatorship of technology and the thereby silenced organic body. It leads to a radical choreography of sounding bodies in an unstable analog en digital environment. Equipped with speakers and microphones, every research performance develops a web of relations between instruments and a body, every research performance creates extended resonances and shared echoes. In collaboration with C. Siega, C. Prampolini, and Q. Meurisse, supported by Arts Centre Vooruit, Gent, Gent Advanced Music Ensemble, and Ictus Ensemble Studios, Brussels.
Can We Dance Together? (2016)
What happens when we improvise together, and is it possible to imagine together in the same moment? With a group of 10 artists (dancers and musicians) this research project investigated the space in-between simultaneously running solos. We named this relational space flirtatious. It is not about controlling, winning or gaining the other but rather about the pure play of desire without end. The research developed interdisciplinary technics that allow flirtation with the materials and the performance of co-improvisers. In collaboration with Liza Baliasnaja, Stefan Govaart, Patrik Keleman, Azahara Ubera Biedma, Talia de Vries, and Ensemble Fractales, Supported by P.A.R.T.S., Brussels.
Sounds: Like 90 Problems (2015)
An extensive study of music in a somatic practice that focuses on the relation between sounds and the equilibrium of the moving body. Each test case presents an improvisation on a music composition, in total there are 90 music compositions. The experiments unfold in alternating 10 min. performance and 5 min. writing per test case. The research tasks are: 1) Make an instant choreography "getting as close as possible to the music.” 2) Make a continuous writing answering "how have you experienced getting as close as possible to the music?” This project produced a series of 46 transcripts that are published online. Supported by P.A.R.T.S. & Ictus Ensemble, Brussels.
Sensory D. (2009) and ZWART (2012)
Both of these were early inquiries of dance through experimental phenomenology. The first research is a 24h. sensory deprivation of myself and Joke Heylen, analyzed as a dance composition; the second inquiry is an aesthetic experiment on the sensual disappearance of the body in light and darkness. Both researches became video-installations, supported by a.pass, Brussels and Performing Arts Forum Reims.
Choreography and dance improvisation
Don't miss myself anymore (2019)
Dance installation constructed by video projections, original music composition and movement performance. It is a proposal to re-think the dynamic spaces between video-screens, projected self-imagery, and identity. Media dance installation in co-creation with T. Soti, supported by Iportunus European Arts program.
Solo for Nervous System (2018)
The performer is dictated an accumulative series of neurological demands. It is a public exploration of thinking as dancing and vice versa. A generative electronic composition that puts the movement of dance interpretation at stake. Technology-enhanced choreography in collaboration with Q. Meurisse & M. Buyl, supported by Les Ballets C de la B, Gent and BUDA, Kortrijk
A recreation of the 2016 performance, based on waiting, it zooms-in on the unstable moments before interacting with a stranger. This project proposes flirtation, as indirect social practice, a way of relating in ambiguous situations. Choreography in collaboration with N. Fukuoka, production by Ibsen Laboratoria, International Dance and Performance Festival in Havana, supported by the Flemish Government, the Norwegian Government, Festival Espacios Ibsen, Residency Zona Ibsen and Artes Escenicas.
In this performance the dancers and the musicians are challenged to relax when dealing with slowness and sensitivity in fast-paced and loud electronic environments. Video screens organize the music and dance performance, these inform the performers of an algorithmic score that continuously stabilizes and destabilizes their electronic environment. Technology-enhanced choreography in collaboration N. Fukuoka, Ensemble Fractales, Q. Meurisse, supported by P.A.R.T.S.
The Windwalker Series (2015-2016)
The Windwalker Series investigates the effects of meteorological forces on instant choreography. This dance research focuses on aerodynamics and its thrust of energy that guides our movements along its generative sensual choreography. Dance video developed during a month-long residency in rural Ireland, production by Tipperary Dance Platform and Excel Arts and Cultural Centre in Ireland.
In 1916, Italian Futurist Luigi Russolo wrote L’arte dei Rumori (The Art of Noises), a manifesto for a sonic palette that required new instrumentation and a different approach to composition. Muovirumori revises this manifest in order to reinterpret its aesthetics in an improvisation of organic and inorganic bodies. Dance improvisation on location, production by Fondazione Antonio Ratti, Como.
Barely imaginable being (2015)
A saturating solo dance. The project stems from one-year artistic research that looked into the dis/embodiment of movement by using random auditory score that announce movements for the dancer. In situ dance & video in collaboration with Maarten Buyl, supported by Les Ballets C de la B, Gent and TAKT Dommelhof, Neerpelt.
Dancer and performer
Breathcore by Michael Schmid (2016). Supported by Paf, co-production with Ictus Ensemble and Kunstenfestivaldesarts Brussels.
Franken vs. Franken by Patrik Keleman (2016). Supported by P.A.R.T.S., Brussels.
Ieper 1915 by Quan Bui Gnoe (2015). Assistant choreographer, production for 250 dancers, produced by Les Ballets C de la B, Gent.
Enchanting Scores by Julien Bruneau (2013). Dance research, supported by Bains Connective, Brussels.
Experimental Anatomy Part I & II by Ula Sickle (2012-2013). Improvisation dance, supported by Workspace Brussels and Les Brigittinnes, Brussels.
Nr. 10: B & C by Gertjan Biasino (2012). Site-specific media-performance, produced by Oerolfestival and Over T’IJ, Amsterdam.
A Diluted State of Mind, Liesbet Hermans (2019-2020). Interactive performance, supported by TAKT Dommelhof, Neerpelt and Vooruit Arts Center, Gent.
Halfway Days by Juan Duque (2017-2018). Visual arts & performance, supported by a.pass, Brussels and Center for Contemporary Art Ujadowski, Warsaw.
Valies by Naomi Kerkhove (2012). Multimedia performance, production by WPZimmer, Antwerp.
Het Raam by SKaGen Direction J. Scheepers (2011). Site-specific film, co-production SkaGeN and VillaNella, Antwerp.
Articles and publications
K. Devos, “Stories of Somatic Dancing as Research.” in: Choreography as Conditioning 5. A. Arteaga & H. Langsdorf (eds.), APE, Gent, 2020.
K. Devos, Publication XXI CSAV - Artist Research Laboratory. Materials for Performance. Fondazione Antonio Ratti, Mousse Publishing, 2015.
Teaching and sharing practices
Affiliated as teacher with independent organizations (EDC, TDF), secondary art education (MUDA, Conservatory Gent and Bruges), the higher education in arts (School of Arts, KASK, Gent), and mentor for post-gradual research (a.pass, Brussels). Workshops and master classes have found their way to international dance festival: Aperto, Como (It.), Camping Centre National de Dance Contemporains, Paris (Fr.), Tipperary Dance Platform dance, Cork (Ie.), Ibsen Laboratoria, Havana (Cu.).
Digital archivist for Meg Stuart/ Damaged Goods, 2019.
Edits. A Series of relational drawings, 2018-…
Assessor for the Dance Jury on Edinburgh Fringe Festival 2017-…