RÉSIDENCE SAT
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Research and creéation Residency SAT | |
A modular performance project under the artistic direction of Benoît Lachambre
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100 Rencontres is a variable geometry event that transforms itself according to the presentation space and depending on the possibilities for artistic encounter in the host city. The spectator is free to walk around the presentation space, where the various distinct modules have been established, like in a gallery. There, the public will witness – and can even participate in – spectacular or non-spectacular performances, plastic installations and playful events. Each guest artist creates his or her own work. Under the artistic direction of Benoît Lachambre, they (eux) – Martin Bélanger, joe hiscott, Benoît Lachambre, Sheila Ribeiro, Pierre Rubio and visual artists Jorge Leon Alvarez and Julie Andrée T.– are both authors of and often performers in their own modules. Louis-Philippe St-Arnault, as technical director, is responsible for the elaboration and realisation of the modules. Also contributing to the project are the sound designers David Kilburn and Laurent Maslé and lighting designer Jean Jauvin. Together, this technical team creates in the space a complete environment. To this core group is added guest artists who change according to the venue and propose their own modules. In the course of a visit, the spectator may interact with gigantic “maris-honnêtes” characters, venture into a forest of adhesive tape (modules by Pierre Rubio); witness a search by a customs agent who uses only his feet (!) (module by Martin Bélanger); or listen to the sounds he/she produces, thanks to a very special machine (module by Benoît Lachambre and David Kilburn). These are just a few examples of the possible encounters and artistic experiences that 100 Rencontres will offer. Each module for 100 Rencontres brings us back, naturally, to one of the recurring notions in Benoît Lachambre’s work: a constant questioning of the idea of representation, and the deconstruction of the performance space. The project will also provide a real opportunity for artists from different disciplines to come together – visual artists, musicians, lighting designers, choreographers, dancers, performers, etc. – to challenge the creation process in contemporary dance. The coexistence of modules in the same space allow for the creation of sound (David Kilburn and Laurent Maslé) and light (Jean Jauvin) environments that envelop the event as a whole, while the spectator moves freely about the space, from one module to another, almost always certain to be surprised. It takes about two hours to witness the development of all of the actions in 100 Rencontres.
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Artistic Assistant for the creation | Marie-Andrée Gougeon |
Installation Modules | Martin Bélanger, Germana Civera, Laurent Goldring, joe hiscott, Emmanuel Jouthe, David Kilburn, Benoît Lachambre, Jorge Leon, Les Passagers, Sheila Ribeiro, Isabelle Schad, Julie Andrée T. |
Performers |
Jean-Sébastien Baillat, Mathieu Bélanger, Germana Civera, joe hiscott, Emmanuel Jouthe, Benoît Lachambre, Line Nault, Sheila Ribeiro, Isabelle Schad, Julie Andrée T., Chanti Wadge |
Sound Environment | Laurent Maslé |
Lighting |
Jean Jauvin |
Elaboration and Installations Realisation | Louis-Philippe St-Arnault |
Company par b.l.eux | |
Directeur artistique | Benoît Lachambre |
Directeur des projets | Alain Bolduc |
Chargé de diffusion | Dominic Simoneau, Diagramme gestion culturelle |
Administratrice | Claudia St-Georges, Diagramme gestion culturelle |
Directeur technique pour 100 Rencontres | Louis-Philippe St-Arnault |
Coproducers |
par b.l.eux (Montréal) / La Filature – Scène nationale (Mulhouse) / Festival Montpellier Danse 03 (Montpellier) / KunstenFESTIVALdesArts (Bruxelles) / Le Quartz – Scène nationale de Brest / Parc de La Villette – Résidences d’Artistes (Paris).
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Première | Festival Antipodes 2003 (Brest) |
Other presentations : | Festival Latitudes Contemporaines (Lille) / Kunsterhus (Oslo) |
100 Rencontres had receive a creation residency from la Société des arts technologiques [SAT] (Montréal).
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Company par b.l.eux receives support from the Canada Council for the Arts, le Conseil des arts et des lettres du Québec, le Conseil des arts de Montréal, Foreign Affairs Canada, la ville de Montréal and le ministère de la Culture et des Communications du Québec.
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200 pour 100 Rencontres à Montréal Les modules d’installation et d’intervention et leurs auteurs |
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L’œuf | Martin Bélanger |
Entretiens avec par b.l.eux | Germana Civera |
Figure | Laurent Goldring Germana Civera |
Æchylos | Emmanuel Jouthe |
Un drap | joe hiscott |
Big B une petite boîte ou le complexe du magicien d’Oz | Benoît Lachambre |
La table réseau | Benoît Lachambre, David Kilburn |
Le set-up de Maasmechelen | Benoît Lachambre, Meg Stuart*, Boris Charmatz* |
Backrooms | Jorge Leon |
ouvert/fermé | Les Passagers |
Pay Here | Sheila Ribeiro |
Le premier VRAI clone humain | |
Put Your Head Off | Isabelle Schad |
Le Corridor | Julie Andrée T. |
Chambre froide | |
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* créateurs initiaux |
This module is a contraption that re-structures the physical proximity of the encounter between two people. The process is rudimentary, childish even; the contraption itself is a person whose legs are protruding from an egg. The contacts and movements we normally associate with the hands are relocated to the legs, for the one inside the egg. Private verbal communication is made possible through a tube. Anonymity is guaranteed, as the two parties are never face-to-face. This module has a register that is somewhat baroque. It calls up elements of “kitschy” science fiction as well as elements of the symbolism of the egg: the origin, the soul, and isolation. The egg is housed in a tent, which is in fact an extension of the egg. This tent is part of the environment’s whole. It can be a crossroads, a waiting room, and a boudoir… Those who linger there are witnesses to the individual encounters between the spectators and the egg’s inhabitant. However, cut off from the conversation, their experience cannot be the same – the exchange remains mysterious and the experience of observation a living tableau, an intimate dance. The one who occupies the egg is, of course, in a particular position. As a result, he exchanges with the other from another state, another point of view, almost as an oracle would…
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These interviews were born from a necessity for questioning and encounter, a different kind of encounter than I had already experienced in my practice of physicality and over my twenty years of experience as a choreographic artist. It is something very simple, very direct: asking questions, to the Other, to the others… questions about the body, about being, about dance. The variety of definitions we have for dance says a lot about our absence of ‘definition’ for being, and the desire to find one that fits a bit better before we change our minds. The dance of definitions… These discussions – for now – are also an excuse to confront the Other, to get closer, to share these questions which are also my preoccupations, and which I consider important to raise today. Through the process of these questionings I met Benoît Lachambre and, well, here I am. Germana Civera. That’s all.
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For me, Figures is a sculpture-conference on the subject of the face of Germana Civera. Her face is in the horizontal alignment of six heterogeneous configurations: four films, a table, a voice. The six facets featured contradict each other, speaking of the “becoming” of a face that magnifies the story being told. If dance exists to short-circuit the way bodies are expected to behave and react, the portrait allows us to detach ourselves from language, and the face, a virtual black hole, can spread itself over the blank slate of its own flesh. The piece demonstrates once more that we cannot push expectation and convention aside without questioning our ideas about representation.
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In a reserved space, The sheet ( Un drap) invites us to witness private moments, be it biological, psychological or metaphysical, through sensory, visual, auditory and kinesthetic experiences. A supine, anonymous body limited in movement, voice and creative capacity provides the rare opportunity to meet the body in its most vulnerable, innocent state, where there is no distinction between race, belief, gender, talent or language. Virtuality, reality and interpretation of invisible happenings mix in this meeting between the ‘self’ of the spectator and the translation of the ‘selves’ created through the bodies of the performers, imaginary spaces, subliminal references to the play between life and death and the interconnections that lie within. Simultaneously, the performative body meets itself through the listening of its own breath and the witnessing of its own mind-body oscillations, which ride through states of continual transformation and surprise. With the intimacy of listening to a lover’s heartbeat and the stark and clinical aesthetic of a morgue, The sheet provides an experience that is so simple it’s practically forbidden.
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How can I say who I am ? Who am I beyond the determinations and gaze of the Other ? For 50 minutes, Emmanuel Jouthe travels on a path of initiation to freedom. He explores his deepest intimacy in the complete exposure of a shop window. Emotive matrix exposed to the gaze of passers by. The paradox of interiority bared in full view. In a work full of contrasts, the choreography unfolds to the degree that the choreographer unveils. He humbly shares the emotional truth so dear to him in his work. By opening himself to the core of city activity and to a well-designed installation, he poses questions of our relationship to time, to space, to the dancer and to dance itself. |
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Depending on its use, this module either connects or disconnects the eternal to/from the external. It isolates or brings together the approaches of its participants according to their degree of participation. It can, with a slight change in perspective, veil or unveil the identity of the person in the external zone. It can subsequently distort the perception of the silhouette of the performer inside the module. The performer observes and assimilates the information coming from outside. He is permeable, and creates vocally the sound environment. Sound meets performance at the core of this module. Simultaneously, cyclical lighting varying in colour and intensity (but independent of the performance) colour one’s reading of the elements presented. Of course, the object exists. However, the work is born from the interventions that inhabit it. Who becomes a spectator? And when? The spectator outside, in choosing a position in relation to the object, drastically modifies his/her experience, and the relation and accessibility to the inside. From inside the module, it is difficult to see all. The “performer” carries an intriguing array of elements for sound interfacing, and hides behind this handicap the ability to reach his goal through the modulation of textures of his voice. The difficulty to distinguish the spoken word allows for flexibility in the interpretive role of each spectator. The process may seem strictly intellectual; but the basic elements are emotional, and will vary in intensity depending on the form of the relationship established. I want to reach the human being, in the peaceful, noble and archaic sense of the term. From Big B to the performer “out of the box”, this module is addictive, one with an ambiguous “rein” attached. The physical connection is a technological one, the object a poetic prosthesis. This system impels exchange into multiple impromptu dynamics.
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The photographs that I showed Benoît when he invited me to participate in the project were produced in backrooms/dark rooms. These rooms are designed so that, in the dark, bodies can come together for anonymous sexual encounters. 100 Rencontres, a place for encounter. What kinds of encounter? These slides will perhaps evoke something about the body in question.
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A two parts cubic installation where the visitors are arms open and eyes close welcoming.
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Pay Here and The First REAL Human Clone, propose the encounter of relativity by using Principle as an essential source. Pay Here Pay Here plays with allowance, with the forbidden and with conditions. Marketing slogans expose the relationship between belief and the way in which that belief is manifested through advertising. This module embraces both advertisements that instigate consummation, as well as the circulation of ideas and their conscious or unconscious adoption. The public knowledge is deformed until its entropy. Without the guarantee of success, but rather the tendency to fool both the performer and the spectator, this pseudo-venerable place invites us to believe, to wait, to wish, to be surveyed or to be a VIP. Pay Here encapsulates a heated boardroom debate into one aphorism, then subverts it into one gesture. In a pop context, paradoxically impure and aseptic, illusion is really the only object of worship. right wrong |
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In this exploration I take on the role of my own clone. Low tech diagrams of the phases of the clone’s biological development as well as the evolution of its mentality are displayed as a clue into the process of the clone’s creation. While the clone’s mitochondrion and DNA grow, different sources of thinking and of world visions are integrated in the clone’s development. Juxtaposing the pros and cons through statements belonging to defined value systems such as artists, intellectuals, esoterics, religious fanatics and what have you, in this half-playful, half-melancholic context, constitute a REAL human clone. My participation in the 100 rencontres project I understand that encounter takes place in chance, in the unspoken, in confrontation or in transformation. Once we have it, it is no longer an encounter. I feel privileged to be able to share intimate moments, artistic or otherwise, with other artists hand-picked by Benoît Lachambre. I think that my work brings a pop, sarcastic and melancholic influence to the group.
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By definition the repeated step is never the same as the one you want to repeat, the same goes that to re-present an image does not lead to the repetition of its original presentation. Drawing these two notions together onto and into my ‘female’ body, this project explores the relationships operating between perception, reception and the body and how they come to be defined in each and the ‘other’. This work moves to define the gaps in the hidden and the seen scenes of the projected and real body, interrogating along the way the imagined and the real, the real and the identified. The work of this piece performed in the gap between presentation and re-presentation of a body representing both subject and object whilst simultaneously splits body from person, seeks to redefine through this process the dialectic between inside/outside, publicity and privacy. The work appropriates certain notions of voyeuristic spectatorship on the body, ‘takes-out’ their known perception and instead installs that which is not seen and therefore blind to vision for an altogether new and relevant distinction between reality and appearance, true and false, acting and not acting, seeing and not seeing others/oneself. The notion of joining a blind vision to the construction of ‘images’ for this performance is further extracted and augmented in the authorities of vision operating between spectator/performer. To do this a continuous ‘rear-vision’ is employed generating a forward/backward rotation elicited through a live dialogue between spectators and the performer. Drawing on a number of references and quotations from various media, film, photography and text, a series of serial patterns, looping systems and live actions will be generated towards their performative possibilities juxta-positioned via different soundtracks. The conversations held between spectators and the performer, perceiveand receive each other through the generation of questions and descriptions that test new possibilities/ impossibilities in communication.
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Some thoughts on the corridor: Narrow space. Passageway, space for immediate and spontaneous meetings. Rapid exchanges, exchanges of looks, of greetings, short messages, information. A hallway is a space for movement and transition. Its primary function is leading the person in question to another place. The corridor is like a river in architecture, the only possible escape. An impersonal space where strangers and acquaintances meet. Le corridor is, in this case, a stop on a trip, one that has no possible exits. A space for encounter shared by sound, image, stories and daily life. An encounter, not with a performer, but between the individual members of the public and the contents of the sound and visual interventions. Le corridor, with its sterile plastic material and its almost aggressive lighting, is hardly inviting. Those who pass are nonetheless invited to linger, to create their own reading, their own experience. It is from this simple duality that comes our discomfort. We want to explore, discover, stay a little longer; and we are pushed away, assailed. We want to escape. But in order to leave, we must retrace our steps, our journey, our own little story. |
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