Dossier de presse Dossier de presse Phase Shifting Index Jeremy Shaw Shaw Jeremy Centre Pompidou Centre Press release MOVE centrepompidou.fr 2020 Vulnerabilities Throwing your body into the fight Dance – performance – moving image October 28th – November 8th, 2020 Centre Pompidou Centre 1 MOVE 2020 Centre Pompidou Centre DossierPress Contents derelease presse Editorial p. 3 Direction de la communication Programme p. 4 etPress du numériquecontacts Exhibition p. 5 centrepompidou.frDirector of Communication and Digital Media Cécile B. Evans p.5 Agnès Benayer Nora Turato p.10 T. 00 33 (0)1 44 78 12 87 [email protected] Rory Pilgrim p.11 Vidéodanse p.12 Press Officer Marine Prévot Performances in the Grande Salle p. 16 T. 00 33 (0)1 44 78 48 56 [email protected] Savušun by Sorour Darabi p.16 La langue brisée by Pauline L. Boulba p.17 Software Garden by Rory Pilgrim p.18 Opus 64 Arnaud Pain et Patricia Gangloff R.I.P APORIA by Christelle Oyiri p.19 [email protected] Je n’avalerai que mon liquide by Ndayé Kouagou p.19 [email protected] + 33 (0)1 40 26 77 94 Screenings and Talks p. 20 Good Boy, histoire d’un solo, Marie-Hélène Rebois p.20 Canzone per Ornella, Raimund Hoghe p.21 Practical information p. 22 2 Press release Press 2020 MOVE Editorial MOVE is a festival which lies at the intersection of dance, performance and moving image, organised every year at Centre Pompidou. It offers a moment of reflection and creation revolving around the presentation and exhibition of performance, on a theme serving as a focus throughout the entire festival. This fourth edition examines the notion of vulnerability, experienced by human beings through their bodies especially, whether it is caused by living and working settings or socio-economic devices, within our contemporary societies. Disabled or ageing bodies which do not fit in with the neoliberal tenet celebrating powerful, productive bodies, bodies that defy binary mode, transgender bodies that are often attacked and despised, threatened racialised bodies… How do we perceive these vulnerable bodies and the people they represent? We will be looking at their capacity for resistance and resilience, their emancipation from norms and stares, and their power of action. By bringing to light these bodies that might be considered as “failing” and whose vulnerability permeates every element of their lives, MOVE questions binary categories such as able-bodied/disabled. It explores different paths and strategies available to those who are confronted with these situations. It is then, according to Raimund Hoghe, quoting Pasolini, a matter of “throwing your body into the fight”*. The German choreographer is the subject of a Vidéodanse focus, presenting a selection of his work. Questioning the notion of vulnerability also leads to wondering about all living bodies. US philosopher Judith Butler discussed the fragility of existence affecting each one of us. She wrote that the «body implies mortality, vulnerability, agency: the skin and the flesh expose us to the gaze of others, but also to touch, and to violence»**. The sombre events of the past months serve as a reminder to us of the sheer fragility of our existence and that we are but a breath away from the tipping point into bodily vulnerability. Yet these same vulnerable bodies are often those on the front line, facing up to these crises with the terrible knowledge that the very validity of their existence is in danger. A highlight of the 2020 edition, artist Cécile B. Evans proposes a powerful re-adaptation of Giselle’s classical ballet, an emblematic work of 19th-century corseted academism. Through the visual force of her graphic creations and performances, Nora Turato evokes the anxiety and agitation of our contemporary lives and reveals our fragility and doubts. In her performances, body and voice are at the forefront, demonstrating inhabitual energy to represent a «strong» female figure who has no qualms about speaking up and saying what she thinks. Rory Pilgrim explores the links between technology, disability and care and uses the image of the garden both as a place of care and as a political framework. Vidéodanse focuses on German choreographer Raimund Hoghe who has often adopted an approach using his own, non-standard, imperfect body that’s light years from the ideal revered in both ballet and contemporary dance. The selection of films also presents choreographerLisa Bufano, as well as Anna Halprin and Alain Buffard’s work on illness and the elderly. A programme of indoor performances features Sorour Darabi, Pauline L. Boulba, Rory Pilgrim, Ndayé Kouagou and Christelle Oyiri, taking the theme further respectively using commemorative Shiite rituals and the representation of emotions, encounters and intimate revelations, caring, the reception of queer and minority theory and the question of rest that is essential to the vulnerable. Caroline Ferreira, Artistic direction * Pier Paolo Pasolini, « Qui je suis », Arléa, 2015 (1980, The Pasolini Estate pour le texte original) ** Judith Butler, « Vie précaire, Les pouvoirs du deuil et de la violence », Editions Amsterdam, 2005 (2004 or the american version) 3 Press release Press 2020 MOVE Agenda MOVE 2020 Continuous programming from October 28th to November 8th 2020 at Forum -1, from 11am to 21:30pm Installations by Cécile B. Evans, and Nora Turato, projection by Rory Pilgrim and Vidéodanse. Wednesday, October 28th Wednesday, November 4th 6 pm: Opening MOVE 6:30 pm: Performance, Cécile B. Evans Forum-1 Forum -1 6:30 pm: Performance, Cécile B. Evans Forum -1 Thursday, November 5th 7 pm: Performance, Nora Turato 6:30 pm: Performance, Cécile B. Evans Forum -1 Forum -1 8 pm: Savušun, Sorour Darabi 7:30 pm: Screening of Good Boy, Histoire d’un solo Grande salle by Marie-Hélène Rebois, followed by a talk Cinéma 2 Thursday, October 29th 6:30 pm: Performance, Cécile B. Evans Friday, November 6th Forum -1 6:30 pm: Performance, Cécile B. Evans 7 pm: Performance, Nora Turato Forum -1 Forum -1 8 pm: Screening of Canzone per Ornella 8 pm: La langue brisée, Pauline L. Boulba by Raimund Hoghe followed by a talk Grande salle Cinéma 2 Friday, October 30th Saturday, November 7th 6:30 pm: Performance, Cécile B. Evans 5 pm: Round Table: Forum -1 «Vulnerabilities: the body in question» 7 pm: Performance, Nora Turato At Lafayette Anticipations Forum -1 6:30 pm: Performance, Cécile B. Evans 8 pm: Software Garden, Rory Pilgrim Forum -1 Grande salle Saturday, October 31th 6:30 pm: Performance, Cécile B. Evans Forum -1 7 pm: Performance, Nora Turato Forum -1 8 pm: Je n’avalerai que mon liquide, Ndayé Kouagou followed by R.I.P APORIA, Christelle Oyiri Grande Salle 4 Dossier de presse Dossier de presse 2020 MOVE Cécile B. Evans Exhibition Forum -1 Cécile B. Evans, A Screen Test for an Adaptation of Giselle, 2019, 8:49 min, HD video, still. Courtesy the artist and galerie Emanuel Layr, Vienna Notations for an Adaptation of Giselle (welcome to whatever forever) is a polymorphic performance installation and the second phase of a long term adaptation of the ballet Giselle as an eco-feminist thriller. The project encompasses several temporalities in parallel, each phase contributing to a fluid and evolving narrative. The story takes place in a distant future, where climate change and failed cities have compelled many people to migrate to rural areas. Giselle and her friends have moved to the forest to live with her mother and run a distillery that uses a wild microbe indigenous to the area: a «super- bacterium» that has tranformative properties capable of generating electricity for their village. Giselle falls in love with a young man from the city named Albrecht, who presents himself as a philosopher. It is revealed that he is the scion to a very powerful family at the head of a technofascist state sent to the village to gather information on their way of life and the energetic properties of the super-bacteria. Filled with remorse for endangering her community, Giselle dies. After her death, she transfers to another realm and is met by Myrthe, Queen of the Wilis and a manifestation of the bacteria’s radical transformation. Where in the original, the Wilis are a gang of scorned women, they now represent indeterminate beings in a state of perpetual mutation. Giselle’s death is now reimagined to conjure mutability and multiplicity as a strategies for survival. Notations (from the term «choreographic notations») is a narrative in constant process of mutation and rewriting. Its starting point is the crucial transition at the heart of the story: Giselle’s death and her subsequent encounter with the Wilis, developing into a performance that blends script drafts, dance, video, security camera footage, deep AI, human and synthesised voices, music and sound. These live experiments, or «notations», interact with a series of «living» sculptural stations, and incorporate a multitude of dramaturgical references to intersect the broader themes of the project. 5 Press release Press 2020 MOVE The film Performance daily at 6:30 pm Cécile B. Evans except November 1st, 2nd and 8th. A Screen Test for an Adaptation of Giselle, 2019 HD Video, 8:49 min The performance Courtesy of the artist and Galerie Emanuel Layr, Vienna Cécile B. Evans Supported by Balmain, Paris Notations for an Adaptation of Giselle (welcome with the additional support of Forma Arts to whatever forever), 2020 Production, Rachel C. Clark, Bill Bellingham Polymorphous installation Director of Photography Deepa Keshvala Courtesy the artist, Galerie Emanuel