Twenty Looks or Paris is Burning at the Judson Church (M)
In the (M) size show, Trajal Harrell embarks on a widening of the voguing perimeter by inviting three performers from different choreographic backgrounds to come and explore new territories with him. Symptomatic of the strategy of displacement and porosity which characterizes the series as a whole, (M)imosa is a multi-layered affair which is as delicate as it is untamed : a slap in the face of convention and conventions, which transforms the stage into a seismometer of contradictory states, taking in all possible forms of intensity en route. Together or separately, Trajal Harrell, François Chaignaud, Cecilia Bengolea and Marlene Monteiro Freitas take up their places onstage as if it were a free-zone, situated far away from the framework of social conventions. On this projection-based surface which reacts to all operations involving condensing, collage and cross-over, they saturate the space with bodily movement of variable geometry, in a state of perpetual transformation. In this resolutely trans-genre, trans-gender piece, everything – voice, body, gender, style - is turned upside-down, subverted, accentuated, and accelerated. We are witness to baroque singing, fantastical creatures, out-of-synch pop stars, and crazed models. Thus, Voguing becomes a means by which all values are shaken up and turned on their head.
Updating: June 2016
Born in Buenos-Aires, Cecilia Bengolea studied urban dance forms, before to pursue studies in anthropological dances with Eugenio Barba, as well as Philosophy and Art History at the University of Buenos Aires. In 2001, she moved to Paris and followed the training Ex.e.r.c.e. directed by Mathilde Monnier in Montpellier.
In dialogue with Levi Strauss’s œuvre Tristes tropiques, Cecilia Bengolea co-directed two videos in 2011: La Beauté (tôt) vouée à se défaire with Donatien Veisman and Cri de Pilaga with Juliette Bineau. As a dancer, choreographer and performance artist, Cecilia Bengolea perceives dance and performance as ‘animated sculpture’ and welcomes the fact that these forms allow her to become both ‘object and subject at the same time’.
In 2016, Bengolea was commissioned by the ICA for London Art Night 2016 to present a video installation into holographic mirrors at Covent Garden Market and perform an outdoor participatory dancehall practice in the historical West Piazza of Covent Garden with ballerina Erika Miyauichi and dancehall artist Damion BG Dancerz. Bengolea also works with artists Dominique Gonzalez-Foerster, Monika Gintersdorfer, Knut Klassen as well as Jamaican Dancehall artists such as Joan Mendy and Damion BG dancerz. In collaboration with Jeremy Deller (UK), she co-directed the film RythmAssPoetry (rap) commissioned by the Biennale de Lyon 2015. Their second film, Bombom’s Dream, shot in Jamaica in 2016, commissioned by Hayward Gallery London and Sao Paulo Biennial 2016.
Source: The company Vlovajob Pru 's website
New-York based choreographer Trajal Harrell often works overseas. He is famous for his series of pieces called Twenty Looks or Paris is Burning at the Judson Church where post-modern dance meets Voguing. His series Antigone Sr., with its various sizes, won the 2012 Bessie Award for best production. During the fall of the same year he presented the last part of the series Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at the Judson Church. Trajal Harrell is currently preparing a shorter piece for Cullberg Ballet and a new project for 8 performers – The Ghost of Montpellier Meets Samurai, which premiered during Montpellier Dance Festival 2015. He also created the first piece of a new series on Butoh based on Voguing. This creation called Used, Abused and Hung Out to Dry was shown in February 2013 in the MOMA.
Born in Rennes, François Chaignaud studied dance from the age of 6. In 2003 he earned his degree at the Conservatoire National Supérieur de Danse in Paris, working with, among others, the choreographers Boris Charmatz, Emmanuelle Huynh, Alain Buffard and Dominique Brun. Ranging from He's One that Goes to Sea for Nothing but to Make him sick (2004) to Думи мої (2013), he has created many performance pieces, using different forms of dance and voice, in a variety of venues, showing inspiration from many different inspirations. We see in his work the possibility of a body stretched between sensual demand and the power of the voice, as well as a convergence of multiple, heterogenous historical references – from erotic literature (Aussi Bien Que Ton Cœur Ouvre Moi Les Genoux, 2008) to the more sacred arts.
He is also a historian and has published at PUR L’Affaire Berger- Levrault : le féminisme à l’épreuve (1898-1905). His historical curiosity has led him to initiate a number of interesting artistic collaborations, notably with the legendary drag queen Rumi Missabu, of the Cockettes, with the cabaret artist Jérôme Marin (Sous l'ombrelle, 2011, which resurrected some forgotten melodies from the early 20th century), with the artist Marie Caroline Hominal (Duchesses, 2009), with the fashion designers Romain Brau and Charlie Le Mindu, the plastician Theo Mercier, and the photographer Donatien Veismann …
He is currently doing research on polyphonic repertory (Georgian, pre-Christian, and medieval).
Source : CCN - Ballet de Lorraine
More information : http://vlovajobpru.com/
Monteiro Freitas, Marlene
Marlene Monteiro Freitas, dancer for numerous choreographers, such as Boris Charmatz and Emmanuelle Huynh has, since 2006, been creating works peopled with fantastical creatures and animals. Examples include her solo work, Guintche, or the Paraiso project, a unique collection of her hybrid imaginings.
Centre national de la danse, Réalisation
Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).
Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides, written for vacuumed bodies in latex fetish envelopes won the Award de la Critique de Paris in 2009 and the Young Artist Prize at Gwangju Biennial, Korea in 2014. Over the past few years, they have presented work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris, Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro de la Ribera in Buenos Aires, at the Panorama Festival of Rio de Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo and most recently at Kyoto Experiment, the Kyoto International Performing Arts Festival in October 2018.
Source: Company's website
En savoir plus : vlovajobpru.com
Artistic direction / Conception
Cecilia Bengolea, François Chaignaud, Marlene Monteiro Freitas, Trajal Harrell
Cecilia Bengolea, François Chaignaud, Marlene Monteiro Freitas, Trajal Harrell