LINK THE TRACES (INTRODUCTION)
First publication: Saturday 14th April 2018 at 4:00 pm
With the contribution of Julie Perrin, research dancer
Present at the Sadi-Carnot Stadium from Monday 2nd to Saturday 14th April 2018, Rémy Héritier will direct the first publication of the project with a public restitution on Saturday 14th April 2018 at 4:00 pm.
The dancer and choreographer Rémy Héritier will introduce this in situ research while experimenting with an ancient dance that he will share with four other dancers (Nuno Bizarro, Madeleine Fournier, Sonia Garcia, Anne Lenglet). The dance researcher Julie Perrin, invited by Rémy Héritier to put into perspective his work on the Stadium, will complement this publication with her research work on situated choreography and landscape. She is interested in ways of living as a dancer, provoking poetic, social or sensitive situations which call for a redefinition of urban usage, representations of nature, as much as the place of art today.
«An ancient dance is a search process or an involution towards a primary background, be that historical or genealogical, of our actual dances and our corporal habits. How can we be danced by dances that preceded the invention of the word «dance»? This research gravitates around the idea of the tonic background that we owe to Hubert Godard. If the tonic background is thought of in terms of a postural and emotional gestural
background, an ancient dance would be a means of revealing the dancer's archaic background as coming from his or her own corporal history».
Free entrance, booking requested
at firstname.lastname@example.org or 01 53 56 15 90
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Rémy Héritier, Percée Persée (version site specific) // © Percée Persée, Rémy Héritier, Still video - Tempe Art Museum at Combine Gallery, Phoenix Arizona 2014 - © Guillaume Robert
Rémy Héritier, born in 1977 is a chreographer and a dancer. To this date he has created more than ten pieces: Arnold versus Pablo (duo), Archives (sextet), domestiqué coyote (solo), Atteindre la fin du western (quintet), Dispositions (solo), Chevreuil (quintet), Facing the sculpture (quatuor), une étendue (quartet), Percée Persée (duo), jeux choreographiques (cosigned with Laurent Pichaud) and, cosigned with Marcelline Delbecq, Another Version (duo) and Here, then (quatuor). His work has been shown in France and abroad in museums and art centres, in theatres and the exterior, like the Centre Pompidou – the Spectacles Vivants in Paris, the Cartier Foundation for Contemorary Art, the Plateau Frac Ile-de-France, le Vivat in Armentières, the Latitudes Contemporaines Festival in Lille, the Mettre en Scène Festival in Rennes, Les Laboratoires d'Aubervilliers (of which Rémy Héritier was an associated artist from 2008-2009), Montpellier Danse, the ImpulsTanz Festival in Vienna, the TanzQuartierWien, Cati Dans in Istanbul, PACT Zollverein in Essen, RE-AL in Lisbon, Kaaitheatre in Bruxelles, Tempe Art Museum at Combine Studio – Phoenix (AZ), C.L.U.I. In Wendover (UT), Kadist Art Foundation in San Francisco (CA), etc. http://remyheritier.net/
Julie Perrin is a university lecturer at the Dance Departement at the University Paris 8 Saint-Denis and member of the Laboratory Discourses and Dance Practices (MUSIDANSE-EA 1572). She is at present junior member at the Institut Universitaire de France (2016-2021) and is developing research entitled Choreography and Landscape. From 2016-2019, with Myriam Gourfink and Yvane Chapuis she is conducting a research project supported by La Manufacture – Haute Ecole spécialisée de Suisse Occidentale in Lausanne, called : Choreographic composition today. What tools for what artistic position? Her research involves knowledge relevant to contemporary dance from 1950 in the United States and in France, and in particular on spatiality in dance and situated choreography.
It is concerned with relational aesthetics and is deployed through the analysis of works while questioning perceptive processes, the notion of the work of art, compositional modes, or the work of a dancer in a creative or transmitive situation. This survey on contemporary creation (on the works as well as discourse and artists' choreographic writings) has generated many publications, amongst which are: Projet de la matière – Odile Duboc : Memory of a choreographic work (CND/les Presses du Réel, 2007) ; Stories and readings : Trisha Brown/Emmanuelle Huynh (coedition. E. Huynh and D. Luccioni, Les presses du réel, 2012) ; Odile Duboc, Les mots de la matière. Writings by the choreographer (coedition F. Michel, Les Solitaires Intempestifs, 2012) ; Composition in dance today. Enquiry into 10 choreographers (coedition Y. Chapuis, M. Gourfink, La Manufacture, to be published in 2019). The analysis in spatiality in dance has developped along two complementary axes : the first concerns scenic spatiality and questions theatrical space as a vision system through ways of focusing as proposed by choreography This led to a book entitled Figures of focus. Five essays on dance spatiality (Les Presses du Réel, 2012). In parallel, this research on spatiality is deployed on a second axis through the analysis of choreographic projects accompanied outside theatres. This led to the publication of numerous articles on dancing away from the stage or situated choreography, in other words a choreography conceived with, or for, a particular place. http://www.danse.univ-paris8.fr
Nuno Bizarro, born in 1964 in Lisbon, spent his childhood in Angola. He returned to Lisbon to carry on his education in a military school. In the 1990's he met Joao Fiadeiro and Luciana Fina with whom he founded Re.al et Lab., a presentation space for pluridisiplinary creations. He has also danced for Vera Montero, Francisco Camacho and Clara Andermatt. He pursued his training with Carlos Caldas, Marta Donoso, Dieter Heitkamp, Howard Sonenklar, Mark Tompkins, Lisa Nelson, Lance Gries, Simone Forti and Steve Paxton with who he practised improvisation. Since 1999, he has worked with Boris Charmatz, Emmanuel Huynh, Meg Stuart, Jennifer Lacey, Christine de Smedt, Xavier Le Roy, Mathilde Monnier, Rachid Ouramdane, Fabrice Lambert, Isabelle Schad, Rémy Héritier, Anne Collod and Deborah Hay. He choreographed Revolver with Isabelle Schad, Stand By with Ludger Lamers, Histoire de... with Agnieszka Ryszkiewicz. He is also a Feldenkrais practioner.
Madeleine Fournier, was born in Paris in 1987. As interpreter and choreographer she trained at the Conservatoire National Régional de Paris and at the CNDC Angers under the direction of Emmanuelle Huynh. In 2006 she was a trainee in the company DCA Philippe Decouflé. In 2010, she received the DanceWEB grant in the context of the Impulstanz Festival in Vienna. Since 2007, she has collaborated with diverse choreographers and visual artists in France, Germany, Belguim and Portugal: Odile Duboc, Anna Konjeztky, Laure Bonicel, Emmanuelle Huynh, Fabrice Lambert, Sara Manente, Moser and Schwinger, Boris Achour, Fanny de Chaillé and Philippe Ramette, Loïc Touzé, Yves-Noël Genod, Jocelyn Cottencin, David Marques, Léa Drouet and Rémy Héritier. She created many pieces in collaboration with Jonas Chéreau : Les interprètes ne sont pas à la hauteur (between 2008 and 2012), Sexe symbole (in order to deepen the term's meaning) in 2013, Sous-titre in 2015 and Partout pièce pour l'extérieur in 2016. They are also at the origin of a film, 306 Manon, made by Tamara Seilman. In 2017, she will begin a solo entitled Labourer.
Anne Lenglet studied literature before joining the Dance Departement at the University of Paris 8. Her work for the Masters Degree was on the spectacular, analysing forms of salutation in contemporary dance, and the Degree she obtained in 2004 was on american dance in the XXth century, referencing notably the short film by Ted Shawn, Dance of the Ages. In 2005, she joined the formation Essais du CNDC Angers / Emmanuelle Huynh. In this context, she has cosigned the duo baver précis with Margot Videcoq and participated on the creation of My Country Music by Deborah Hay. Since then, she has danced with Loïc Touzé, Dominique Brun, Xavier Le Roy, l'Agence Touriste and Ivana Müller. She is accompanying the project Femmeuses by Cécile Proust as artistic collaborator, along with the works by Sandrine Roche and Loïc Touzé.
Sonia Garcia, dancer and choreographer, studied at the Conservatoires de Montpellier and Lyon, then at the CNDC Angers (direction Emmanuelle Huynh) where she created the solo Sens in collaboration with the artist Salomé Genès. As performer, she has worked with Olga Dukhovnaya (KOROWOD), Katerina Andreou (SABLE), Julie Nioche (Sensationelle, Les Sisyphes), Cally Spooner (And you were wonderful, on stage), Emmanuelle Huynh (TOZAI!...) and for the theatre with the Compagnie des Limbes (Utopia is the only reality). After obtaining a degree in Arts du Spectacle at the University Paris 8, she moved to Bordeaux to create the association La Tierce with Séverine Lefèvre and Charles Pietri. Between 2014 and 2017, they created performances and pieces, Plateau Extraction, En Creux, Inaugural and ECRITURES. In 2015, they started PRAXIS, which are evenings dedicated to choreographic research. They are now working on a new piece, D'après nature (creation in 2018).