In samenwerking met STUK, de Onderzoeksgroep Algemene Literatuurwetenschap en Culturele Studies, Lieven Gevaert Centre & het Hoger Instituut voor Wijsbegeerte (KU Leuven).

Es ist immer Krieg: these haunting words borrowed from poet and writer Ingeborg Bachmann provide the subtitle for Annik Leroy’s latest film, TREMOR. But the sentence also brings to bear a sentiment running through all of this Brussels-based photographer and filmmaker’s work: a sense of non-reconciliation, of refusing to resign oneself to the violence permeating our daily lives. Leroy’s films remind us how histories of oppression and injustice continually haunt the present, how their presence is not only hidden in the scars ingrained into the physical landscapes of contemporary Europe but also reverberates in innumerable instances of violence and destruction that slip by with impunity. It’s those barely perceptible, brooding tremors that continually penetrate the everyday lives and interpersonal relationships felt throughout the films, videos and installations of Leroy’s work since 1980. However, Ingeborg Bachmann and Annik Leroy try to counter the continuing history of war and violence with a utopia Bachmann proclaims as ‘a day will come’.