Canned Laughter: Humor in Crisis

Verhalenhuis Belvédère, Rotterdam, 1-8 November, 2015

De Groene Waterman, Antwerp, December 2015 - January 2016

Participating artists: Marijke de Roover, Frank & Robbert, Robbert & Frank, Gorilla, Jeroen Jongeleen, Gyz la Rivière, William Ludwig Lutgens, Niels Post, Lieven Segers, Metahaven, Yuri Veerman, Steye Felix, Joost Halbertsma & CMMC

A fire broke out backstage in a theatre. The clown came out to warn the public; they thought it was a joke and applauded. He repeated it; the acclaim was even greater. I think that’s just how the world will come to an end: to general applause from wits who believe it’s a joke. (Søren Kierkegaard: Either/Or: A Fragment of Life, 1843)

Canned Laughter explores humor in crisis. These are forms of humor that don't make us roar with laughter but rather reveal their uncomfortable, critical side. Irony, satire, sarcasm, and cynicism are human expressions of mockery, doubt, and distrust. The humor is as dark as the times. What makes us laugh is often related to what causes us fear. The tragic and the comical are two sides of the same coin. This is why humor needs to be channelled. "Canned laughter" refers to the prerecorded laugh track often associated with cheap, daily entertainment, such as sitcoms and TV series. It is meant to make the viewer laugh. Although the effect is intended to be contagious, it is often considered annoying — as if it could dictate to viewers what is and isn't funny.

"He who laughs has not yet heard the bad news," wrote Bertolt Brecht. In times of crisis, there seems to be little reason to smile, although smiling may be more important than ever. Humor can serve as a form of therapy during times of daily fear, uncertainty, and stress, as evidenced by the recent surge in popularity of stand-up comedy. However, there are instances when humor turns serious, as with the political success of comedian Beppe Grillo’s Five Star Party in Italy and Jon Gnarr's accidental mayoral victory in Reykjavik, Iceland. What happens when drawings become political vehicles, as with the Danish cartoons of the Prophet Muhammad or the Charlie Hebdo controversy? What about the viral popularity of internet memes and their relationship to those in power?