Revue-De-Presse-Clara-Cosmic-Love
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COSMIC LOVE CLARA FUREY REVUE DE PRESSE EXTRAITS DE PRESSE: I need a mouth as wide as the sky JANE-ANNE CORMIER | 15 DÉCEMBRE 2017 «La scène était hypnotisante, nous étions amenés dans le monde cosmique de Clara Furey dès la première seconde» Traduit de l’anglais «Être assis à travers cette pièce exigeait un certain effort, la proposition était loin d’être un simple divertissement, mais la richesse de vivre ce lien avec une pièce et ses interprètes pendant une heure entière fut une expérience significatrice. » Traduit de l’anglais Baptême du feu pour la chorégraphe Clara Furey Cosmic Love de Clara Furey CHARLES BRECARD | 9 DÉCEMBRE 2017 «En somme, Cosmic Love jongle entre arts visuels, musique, danse et performance, mêle et entre- mêle ces disciplines rendant l’œuvre étoffée, fascinante, à fleur des sensations des interprètes et des nôtres,» Les échanges énergétiques de Clara Furey ARIANA PIRELA SÁNCHEZ | 9 DÉCEMBRE 2017 «Furey nous fait découvrir des chemins et des énergies inconnues de nos sens, une interconnexion entre tout ce qui existe et qu’on n’apercevait pas. On y retrouve tout sauf le vide, un univers si chargé ne peut être vide.» «Une pièce abstraite qui hypnotise, qui parle d’écoute et d’empathie.» ARTICLES: The loneliness of the long-distance Leonard Cohen dancer SUBSCRIBE SIGN IN AdChoices The loneliness of the long-distance Leonard Cohen dancer ROBERT EVERETT-GREEN TRENDING INCLUDES CORRECTION PUBLISHED NOVEMBER 24, 2017 1 Toronto home prices dip in November as new listings surge It's not easy to shock or even startle people in museums any more, but Clara Furey 2 Trump’s Flynn tweet adds to allies’ does it most days at Montreal's Musée d'art contemporain (MAC). You can see it in worries about legal problems people's bodies as they wander into a gallery that looks like any other, except that there's a half-naked woman moving slowly and intently in a space with no formal 3 LaVar Ball to withdraw son LiAngelo division between dancer and spectator. from UCLA after suspension for shoplifting Furey, a young Montreal dancer and choreographer, is the only living artifact in the MAC's current Leonard Cohen exhibition, and one of the few artists in the show to 4 BMO hikes dividend as profit drops on hurricane claims make no use of Cohen's songs, recorded voice or image. Her points of contact are a little-known Cohen poem called When Even The and his years of silent Zen 5 ‘Quintessentially Canadian’ Grey Cup meditation. sees viewer results "I've always been inspired by Leonard's precision with words, but he chose for big LATEST VIDEOS chunks of time not to speak," Furey said during an interview at her studio. "He knew the limits of language." Air Force pilots run U.S.-South Korea joint drills 1:13 Going beyond the point at which words fail is part of every dancer's job description. Furey was also drawn to the Zen notion of the mind of emptiness, which is ideally B.C. ruling shows ‘no sacred obligation’ to veterans: ex-major 2:04 clear of distraction and focused on the moment. Her 90-minute piece is a kind of meditation in space on the passing of time, and her Paul Manafort caught trying to pen op-ed piece on Ukraine 1:05 concentration is such that if you walk in while she's dancing, you can feel as if you're invading her space, or at least showing up late. But she said that there's no Neil Young to auction model train wrong time to enter or leave. collection 1:08 Tory James Bezan made comments that were 'sexual in nature': Liberal MP "This work is about being here and now," she said. "I didn't feel I needed to work at keeping people there for 90 minutes. They should get something out of it even if they watch for two. But I've been very surprised: Many people stay." She has also been struck by the social aspect of a performance for which no spectator is more than a few paces away. People sometimes arrive in groups and engage in whispered debates about what's going on and whether to stay for more. "It gets more intense the fewer people there are," she said. "When there's only one person watching, the tension is huge. It becomes deep and intimate, even if we don't know each other." The museum gave Furey the option of performing in the presence of a piece from its collection. She chose a lead cast of the prone body of Marc Quinn, which Quinn allowed to crumple and sag, as if to depict his own decomposition – although her choice was made, she said, before Cohen died. Furey is one of the few artists in the exhibition who knew Cohen, through her parents. Her father, the musician and actor Lewis Furey, worked with Cohen on a film score in the 1980s; her mother is the actress Carole Laure. Furey's godmother is Dominique Issermann, who was involved with Cohen during the 1980s. She signed on for 90 solo performances over the five-month life of the exhibition, and thinks of her work as that entire span of hours. Dancing the same piece alone over and over is similar to a monk showing up for meditation each day, she said, and although there is a set choreography, it is already evolving. The piece has also affected Cosmic Love, a work for seven performers commissioned from Furey by Danse Danse, which will present the piece at Place des Arts starting Dec. 6. It's her first group piece, and it too is focused on emptiness, albeit in a more physical and cosmic sense. Furey describes the work as "an intuitive and poetic" representation of phenomena identified by advanced physics, which are often hard to picture or describe in words. There's also a line of poetry attached, by Rumi: "I need a mouth as wide as the sky." She had committed to both projects before realizing they would overlap, but found that the themes and processes of each fed the other. There was also continuity in personnel: her brother Thomas did the music for both, and lighting in each case is by Alexandre Pilon-Guay (video for When Even the is by Kaveh Nabatian). "The more Cosmic Love grew, the more it became obvious to me that the piece is about empathy, and about listening to the space, to the void and to one another," she said. Those words could also be used to describe the art of Cohen. Furey committed herself to dance relatively recently, after a performing life that included singing and acting, notably in Guy Maddin's 2015 film The Forbidden Room. That same year, she and her life partner Peter Jasko created a duet called Untied Tales (The Vanished Power of the Usual Reign), which has had a life far beyond its Montreal premiere, and confirmed her as a full-time dancer- choreographer. She is an associate artist with Montreal company Par B.L.eux. The performers in Cosmic Love come from a variety of backgrounds, mirroring Furey's eclectic history in the performing arts. Her next project will be a duet with Quebec actress Céline Bonnier, set to composer Steve Reich's piece Different Trains. Furey in performance is an electrifying presence, even when she's hardly moving. For a few days in December, Montrealers who time things right will be able to treat themselves to a rare double-bill of her art. Photos by Sebastien Roy EDITOR’S NOTE An earlier version of this story said that Furey's show opens on Dec. 5. In fact, it opens on Dec. 6. PLAY VIDEO 1:45 Fans at tribute concert share Leonard Cohen memories (THE CANADIAN PRESS) FOLLOW ROBERT EVERETT-GREEN ON TWITTER @ROBERTEG_ REPORT AN ERROR LICENSING OPTIONS 1 COMMENTS RECEVEZ LE MAGAZINE VOIR CHEZ VOUS ABONNEZ2VOUS! 4/ABONNEMENT/7 SCÈNE COSMIC LOVE* L’INVISIBLE QUI NOUS UNIT En tant qu’interprète, «il ne faut pas être en résistance dans un processus de création, il faut être généreux». Il y a eu ce déclic; Clara Furey a réalisé qu’elle devait miser sur sa vision artistique. En décembre, elle présente sa première pièce de groupe à la 5e Salle de la Place des Arts. Alessandra Rigano (https://voir.ca/auteur/arigano/) Photo : Antoine Bordeleau 15 décembre 2017 Clara Furey est arrivée à la danse un peu par hasard, d’abord motivée par l’envie d’être en contact avec son corps et celle de dépenser le trop-plein d’énergie qui l’habitait à la fin de ses études au Conservatoire de musique de Paris. Une fois diplômée de l’École de danse contemporaine de Montréal à l’âge de 20 ans, elle a côtoyé les chorégraphes George Stamos et Benoît Lachambre, qui ont joué un rôle important dans son approche de la création. Ces dernières années, le public est tombé sous son charme alors qu’elle interprétait le rôle d’une Juliette contemporaine, décomplexée et fougueuse aux côtés de Francis Ducharme, dans La très excellente et lamentable tragédie de Romeo et Juliette, mise en scène par Jérémie Niel et chorégraphiée par Catherine Gaudet. Bref, sa carrière d’interprète se portait bien. Elle a pourtant refusé des contrats pour se consacrer aux pièces qu’elle présente cette année et à un nouveau projet de cocréation qu’elle entamera sous peu avec Céline Bonnier. Pourquoi cette décision radicale de s’investir en création? «Ça me rend heureuse tout simplement.