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The exhibition moving things reunites Violaine Lochu, a French visual, sound and performance artist, and João Fiadeiro, a Portuguese dancer, choreographer and theoretician. The work group 1 that initiated the project suggested they produce an exhibition "gradually indexed on encounters, including the physical environment, space, time and duration, the art center guides as well as the public, an exhibition conceived locally with as little transportation, production and red tape as possible - all of which tends to make the production of exhibitions more and more complex." 2

Inspired by the studios at the Villa Arson but also by gaming tables and Japanese interiors, Violaine Lochu created an installation to be performed, a sort of playground with endless possibilities. It is made of raw materials, chosen for their potential for transformation (fabric, rubber bands, chemicals, eggs, gelatin, modeling clay, aluminum…) and will be activated by performers trained in a specific approach to improvisation 3 transmitted by Joao Fiadeiro according to their specifics (weight, height, matter, color) and their performative potential (sound, choreography, theatrics…).

All these items - folded and put away with a minimalist aesthetic against the walls of the art center’s Galerie Carrée – will be gradually unfolded over the entire space following a precise protocol: the visitor is invited by a guide-performer to answer an administrative looking questionnaire. The answers are coded, forming an “algorithm” which relates to a score listing various types of relations between body and object. The code, indirectly induced by the visitor’s answers, tells the performers which kind of actions to undertake. At the end of the day, the central space of the Galerie carrée is swept clean so that the exhibition can start afresh the next day. The rules of this game provide a setting for improvisation: the protocol was conceived in such a way that none of the actions are written or planned ahead, and that the performers must “compose in real time”.

For João Fiadeiro, composing “in real time” brings on a change of paradigm concerning the notion of time. Instead of using past experiences and future expectations as parameters, his goal is to favor a radical sensitivity towards the present moment. Time is no longer perceived as linear, it is experienced like a Möbius strip – where inside and outside, before and after become mixed up and confused - thus creating conditions for “seeing anew”, as if for the first time. Starting with the invisibility coefficient of bodies capable of adapting to any kind of convention (such as visiting an exhibition for instance), the performers will play with the boundaries between reality and fiction, what is true and what is false, absence and presence. The traces left by these contrary oscillations will contribute to the creation of the exhibition landscape and will be documented by the art center guides. Acting as archives for the exhibition, these documents will be accessible on this website www.movingthings.org, designed by web-designer Christophe Hamery, so that the exhibition will be permanently accessible on line, a sort of visible laboratory where one can glimpse at fragments, leftovers and traces of unfinished actions, found or forgotten objects… This opening onto a perpetually moving exhibition also transforms it into a reflection about the memory of a performance. How can it be documented? What status do the images have? Is a memory a work of art?

The workshops organized by both artists to train the performers to interact, to adapt to their environment, and to answer any kind of improvisation, in line with the annual research program Improvisation/Indetermination 3, will also teach the performers how not to act as interpreters but as independent participants. Rather than an aesthetic dimension, the project takes on an ethical dimension by analyzing the notions of listening, transmission, engagement, individual and collective responsibility. All of which are eminently political issues.


Performers: Camille Brêteau, Bianca Dacosta, Moa Ferreira, Jade Jouvin, Etienne Rabaud, Chloé Saffores
+ Happening * (17 & 18 .10): Marion Arnaboldi, Sara Biglieri, Monica Busacca, Gaspard Charon, Katarina Lanier, Laurence Maillot, Anaëlle Niger, Daniela Tenhamm.
Epilogue: Violaine Lochu & João Fiadeiro

* In collaboration with Master Arts ‘Improvisation en danse' of the EUR CREATES (Université Côte d’Azur)

1. The work group that conceived the exhibition includes coordinator Jérôme Mauche (writer, editor and teacher at the Villa Arson), Joan Ayrton (artist and teacher at the Villa Arson), Ondine Bréaud-Holland (philosopher and teacher at the Pavillon Bosio in Monaco), Alice Godfroy (improvisor and teacher-researcher on dance), Eric Mangion (director of the Villa Arson art center) and Mathilde Roman (art critic and teacher at the Pavillon Bosio in Monaco).
The exhibition is the conclusion of a collective research program conducted between September 2019 and March 2020 by nearly forty visual artists, dancers, theoreticians, performers, authors, and over one hundred students at three schools, the Villa Arson, the Arts Masters in Dance Improvisation of EUR CREATES (Université Côte d’Azur) and the Pavillon Bosio in Monaco, L’École supérieure d’arts plastiques (the Higher School of Visual Arts) in Monaco. Guests were : Asaf Bachrach (IL/FR), Iván Argote (Colombia-FR), Eric Arlix (FR), Ismaïl Bahri (TU/FR), Béatrice Balcou (FR), Romain Bigé (FR), Anne Boissière (FR), Carla Bottiglieri (IT), Antoine Boute (BE), Marjorie Burger-Chassignet (FR), Monster Chetwynd (GB), Jean Clam (LB/FR), Simona Denicolai & Ivo Provoost (BE), João Fiadeiro (PT), Federica Fratagnoli (IT/FR), Gabriel Gauthier & Elsa Michaud (FR), Alice Godfroy (FR), Sylvie Kleiber (CH) & Virginie Yassef (FR), Jurij Konjar (SI), Patricia Kuypers (BE/FR), Galaad Le Goaster (FR), Violaine Lochu (FR), Paul Maheke (FR/GB), Jeanne Moynot (FR), Mathilde Monfreux (FR), Charlemagne Palestine (US/BE), Charles Pennequin (FR), Georgia René-Worms (FR), Stéphane Roger (FR), Marlène Saldana (FR), Daniela Schwartz (AR/FR), Albert Serra (SP), Scott Smith (US/GB).

2. Excerpts from a text sent by the work group to the artists.

3. The students of the Master Arts 'Improvisation en danse' (Arts Masters in Dance Improvisation) of the EUR CREATES (Université Côte d’Azur) will be João Fiadeiro’s main interlocutors during this task of interpretation, appropriation and performative translation of the environment, suggested by the art center guides-interpreters under the guidance of Violaine Lochu.

Our thanks to: Emmanuelle Huynh

–––––––––––––––

Supported by
Fondation Calouste Gulbenkian – Délégation en France

VILLA ARSON
20 avenue Stephen Liégeard, Nice
servicedespublics@villa-arson.org
www.villa-arson.org

#violainelochu #joaofiadeiro #expo_movingthings

THE PROJECT #


Violaine Lochu and João Fiadeiro created a collective, interactive and evolving project which is also the conclusion of a year long research and creation program on improvisational practices at the Villa Arson school of art. The exhibition was conceived as an improvised and indeterminate “gesture”, gradually indexed on encounters, including the physical environment, space, time and duration, the art center guides as well as the public, which will be invited to adapt “in real time” to the variations of this unusual proposition.
The exhibition Moving Things reunites Violaine Lochu, a French visual, sound and performance artist, and Joao Fiadeiro, a Portuguese dancer, choreographer and theoretician. The work group* that initiated the project suggested they produce an exhibition gradually indexed on encounters, including the physical environment, space, time and duration, the art center guides as well as the public, an exhibition conceived locally with as little transportation, production and red tape as possible - all of which tends to make the production of exhibitions more and more complex.**

Inspired by the studios at the Villa Arson but also by gaming tables and Japanese interiors, Violaine Lochu created an installation to be performed, a sort of playground with endless possibilities. It is made of raw materials, chosen for their potential for transformation (fabric, rubber bands, chemicals, eggs, gelatin, modeling clay, aluminum…) and will be activated by performers trained in a specific approach to improvisation*** transmitted by Joao Fiadeiro according to their specifics (weight, height, matter, color) and their performative potential (sound, choreography, theatrics…).
All these items - folded and put away with a minimalist aesthetic against the walls of the art center’s Galerie Carrée – will be gradually unfolded over the entire space following a precise protocol: the visitor is invited by a guide-performer to answer an administrative looking questionnaire. The answers are coded, forming an “algorithm” which relates to a score listing various types of relations between body and object. The code, indirectly induced by the visitor’s answers, tells the performers which kind of actions to undertake. At the end of the day, the central space of the Galerie carrée is swept clean so that the exhibition can start afresh the next day. The rules of this game provide a setting for improvisation: the protocol was conceived in such a way that none of the actions are written or planned ahead, and that the performers must “compose in real time”.
For João Fiadeiro, composing “in real time” brings on a change of paradigm concerning the notion of time. Instead of using past experiences and future expectations as parameters, his goal is to favor a radical sensitivity towards the present moment. Time is no longer perceived as linear, it is experienced like a Möbius strip – where inside and outside, before and after become mixed up and confused - thus creating conditions for “seeing anew”, as if for the first time. Starting with the invisibility coefficient of bodies capable of adapting to any kind of convention (such as visiting an exhibition for instance), the performers will play with the boundaries between reality and fiction, what is true and what is false, absence and presence. The traces left by these contrary oscillations will contribute to the creation of the exhibition landscape and will be documented by the art center guides. Acting as archives for the exhibition, these documents will be accessible on this website www.movingthings.org, designed by web-designer Christophe Hamery, so that the exhibition will be permanently accessible on line, a sort of visible laboratory where one can glimpse at fragments, leftovers and traces of unfinished actions, found or forgotten objects… This opening onto a perpetually moving exhibition also transforms it into a reflection about the memory of a performance. How can it be documented? What status do the images have? Is a memory a work of art?
The workshops organized by both artists to train the performers to interact, to adapt to their environment, and to answer any kind of improvisation, in line with the annual research program Improvisation/Indetermination***, will also teach the performers how not to act as interpreters but as independent participants. Rather than an aesthetic dimension, the project takes on an ethical dimension by analyzing the notions of listening, transmission, engagement, individual and collective responsibility. All of which are eminently political issues.
…………..*The work group that conceived the exhibition includes coordinator Jérôme Mauche (writer, editor and teacher at the Villa Arson), Joan Ayrton (artist and teacher at the Villa Arson), Ondine Bréaud-Holland (philosopher and teacher at the Pavillon Bosio in Monaco), Alice Godfroy (improvisor and teacher-researcher on dance), Eric Mangion (director of the Villa Arson art center) and Mathilde Roman (art critic and teacher at the Pavillon Bosio in Monaco).
The exhibition is the conclusion of a collective research program conducted between September 2019 and March 2020 by nearly forty visual artists, dancers, theoreticians, performers, authors, and over one hundred students at three schools, the Villa Arson, the Arts Masters in Dance Improvisation of EUR CREATES (Université Côte d’Azur) and the Pavillon Bosio in Monaco, L’École supérieure d’arts plastiques (the Higher School of Visual Arts) in Monaco. Guests were : Asaf Bachrach (IL/FR), Iván Argote (Colombia-FR), Eric Arlix (FR), Ismaïl Bahri (TU/FR), Béatrice Balcou (FR), Romain Bigé (FR), Anne Boissière (FR), Carla Bottiglieri (IT), Antoine Boute (BE), Marjorie Burger-Chassignet (FR), Monster Chetwynd (GB), Jean Clam (LB/FR), Simona Denicolai & Ivo Provoost (BE), João Fiadeiro (PT), Federica Fratagnoli (IT/FR), Gabriel Gauthier & Elsa Michaud (FR), Alice Godfroy (FR), Sylvie Kleiber (CH) & Virginie Yassef (FR), Jurij Konjar (SI), Patricia Kuypers (BE/FR), Galaad Le Goaster (FR), Violaine Lochu (FR), Paul Maheke (FR/GB), Jeanne Moynot (FR), Mathilde Monfreux (FR), Charlemagne Palestine (US/BE), Charles Pennequin (FR), Georgia René-Worms (FR), Stéphane Roger (FR), Marlène Saldana (FR), Daniela Schwartz (AR/FR), Albert Serra (SP), Scott Smith (US/GB).
** Excerpts from a text sent by the work group to the artists.
***The students of the “Master Arts « Improvisation en danse »” (Arts Masters in Dance Improvisation) of the EUR CREATES (Université Côte d’Azur) will be João Fiadeiro’s main interlocutors during this task of interpretation, appropriation and performative translation of the environment, suggested by the art center guides-interpreters under the guidance of Violaine Lochu.
Our thanks to: Emmanuelle Huynh


Violaine Lochu, João Fiadeiro

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Violaine Lochu

Violaine Lochu's work is an exploration of the voice as a vector of encounter and metamorphosis. During long periods of immersion in specific environments in France or abroad, she collects different sound and visual materials from which she creates individual or collective performances, sound installations, videos, editions.
Winner of the 2018 Aware Prize and the 2017 Performance Prize at the Salon de la Jeune Création, nominated for the Bernard Heidsieck - Centre Pompidou 2019 prize, Violaine Lochu has performed at the Centre Pompidou, Palais de Tokyo, among other venues, at the Parade for FIAC 2017, at the Jeu de Paume, at the Centre d'Art Contemporain de Genève in Switzerland, at the Kunstverein in Munich in Germany, at the theater le 4e art in Tunis, etc. His installations have been shown in many museums and art centers: MAC Lyon, MAC VAL, Ferenczi museumi centrum (Hungary), Le Centre (Cotonou, Benin), Galerie Gamu (Prague, Czech Republic), Justina M. Barnicke Gallery (Toronto, Canada), etc. In 2021, she was invited in residence at the Centre (Cotonou, Benin), and received support from the DRAC Île-de-France to develop a research project in Japan.

Read the interview between Violaine Lochu et Éric Mangion

João Fiadeiro

João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator. He belongs to the generation of artists who emerged in the late 80’ in Portugal and gave rise to the New Portuguese Dance movement. Between 1990 and 2019 he was the artistic director of ATELIER RE.AL, a structure that plays a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal by supporting the creation and promotion of several choreographers and their works, presented throughout Europe, the United States, Canada, Australia and South America. In the 90’ João Fiadeiro studied and practiced intensively Contact-Improvisation which led him to pursue and systematize his own research under the designation of Real Time Composition. If at first he conceived it as a tool to support its own creative practices, it has since been widely used by researchers in art and science (in fields as diverse as anthropology, science, complex systems and economics) as a theoretical-practical platform to study decision, representation and collaboration. This research has led him to coordinate workshops in Masters and PhDs programs in several schools and universities throughout the world.

Read the interview between João Fiadeiro et Éric Mangion