In 2018 he started the search for dance without human bodies, and now works as a choreographer of things: He builds robotic sculptures for Tweetakt Festival (NL), Zomertank (Leuven, BE) and Le Pavillon (Namur, BE). For the stage he creates the show/reading Forced Labora with small organic robots and the show/installation Forced Labor: Arena where the audience helps to train an Artificial Intelligence.
In 2021 he starts a collaboration with the University of Brussels (creativity through computer science) and Axiles Bionics (robotic prosthesis).
Since 2015 Ugo is a member of the Young Academy of Flanders, a meeting of young scientists and artists.
In the meantime Ugo has guided numerous workshops and workshops and has worked for other artists such as Stijn Grupping (Post Uit Hesdalen), Ehsan Hemat, Samah Hijawi, Stéphane Arcas, Sachiyo Takahashi, Emil Hrvatin, Arco Renz, Gisèle Vienne & Etienne Bideau-Rey, Katalin Patkaï, Nada Gambier, Antonin De Bemels, Heine R. Avdal,...
Ugo Dehaes (1977, Belgium) started dancing at the age of 18. He does his professional training at P.A.R.T.S, the school of Anne Teresa De Keersmaeker/Rosas. In 1998, he joined the company Damaged Goods of Meg Stuart, with whom he toured the world for 3 years, and in 2000, he founded his own company, kwaad bloed and constantly creates new choreographies for various dancers (professional, amateur, adults of all ages and children).
In a first phase he is fascinated by the visual and mechanical side of the human body.
The second phase of his work consists of very physical pieces where he combines the virtuosity of the dancers with their personality.
The third phase revolves around the link between art and science. In these pieces Ugo translates scientific concepts into movement.
Pickled Punks is an installation that presents a series of robots contained in methanol jars that appear as machines still to be born. The robots operate with an underdeveloped form of artificial intelligence that makes them move and eventually react to the presence of the viewer. The work questions our relationship to creation and questions our need to humanize other entities such as animals or objects.
The artist questions the part of feelings that we grant to objects and asks the question of their limits. If a robot is dead, what should we do? Should we throw it away, organize a funeral? The Pickles Punks seek to question the visitor on the ambivalence between an objectified human, here embryonic forms that have become objects, and the humanized object, an unborn robot that identifies itself with a fetus.