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Pâquerette

Pâquerette

Pâquerette

Ten years on, it is interesting to reread the reactions to Pâquerette, François Chaignaud and Cecilia Bengolea’s first work, following its premiere. The response to the arrival of this unique duo on the choreography scene was as ambiguous as the work they were presenting. Ultimately, the question is deciding from what perspective to view this challenging work: should it be seen as a ‘contra-sexual manifesto’, a choreographic fantasy, a précis of preciosity or a physical performance? All of these hypotheses are valid. Indeed, with Pâquerette it is not simply a question of what there might be to see, but of reassessing the frameworks that condition our vision. The anus, that violet carnation celebrated by Rimbaud, is by turns principle of (invisible) pleasure, an object of urges, dynamic crux, orifice and generator of movement. Thus the journey that they propose starts out from a concealing – borrowing from the iconography of the trance, of beatitude – enabling an unveiling, and then a paradoxical setting into motion. Along the way, a veritable cartography of the gaze is traced, seeking to expose bodies moved by other principles. Encompassing elementary physics in the form of thrusts, suspensions and penetrations, a choreographic exercise and erotic live show, Pâquerette has lost none of its disturbing ambivalence. Seeing the work again today makes it possible to reinterpret it in the light of subsequent projects, and to understand certain issues more clearly. It’s an enquiry, simultaneously literal and metaphorical, into dance through its orifices, gaps and unexplored zones.


”Ms. Bengolea, from Argentina, and Mr. Chaignaud, from France, have been working together since 2005. They are an inimitable pair, pinpointing an exhilarating place where fear meets  bravery. […] “Pâquerette” is hardly erotic; it’s more about sexual politics and levels of sensation. Ms. Bengolea and Mr. Chaignaud know how to get a viewer’s attention, yet their cheeky style of shock shakes you up in the best sense. You walk through the world a little more aware  of what it means to be alive. The metamorphosis, it seems, works two  ways.”

Gia Kourlas – The New York Times (Source : website of the company http://vlovajobpru.com)

Bengolea, Cecilia

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

More information

vlovajobpru.com

Chaignaud, François

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/

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.).

Pâquerette

Artistic direction / Conception : Cecilia Bengolea et François Chaignaud

Interpretation : Cecilia Bengolea et François Chaignaud

Production / Coproduction of the choreographic work : Spectacle créé en 2008 pour le festival Antipodes au Quartz Scène nationale de Brest

Duration : 28 minutes

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