27 & 29.10.19
Museum of Contemporary Art, University of Wisconsin - Milwaukee
From the archives of the Nouvelle Cinémathèque de la Danse, a selection of videos and excerpts from dance films will bring together works from today and the past in France and Europe.
— Portrait Ana Rita Teodoro: animal body, vegetal body (15 min.)
— Portrait Solitude(s) de Mathilde Monnier (30 min.)
— Portrait Noé Soulier, écriture sur écriture (15 min.)
— Portrait Miet Warlop, la désinstallation (15 min.)
Ana Rita Teodoro: animal body, vegetal body
2018, 15 min.
Ana Rita Teodoro creeps like a worm or a snake through the streets of Lisbon. She picks up papers between her legs like a busy spider. She slowly undulates her arms, like supple seaweed at the bottom of an aquarium. She glides over another body in a strange simulation of love. In the dance of this young Portuguese choreographer there is a feeling of both animality and vegetation, a wilful exploration of the frontiers of the human body; hence the title Orifice, which is often a generic term for her. Ana Rita Teodoro moves along the edges of spaces. The idea of such dancing is to feel what a body can learn by mingling, temporarily, with another nature, or other forms of gesturing, and above all an organicity which is utterly different, which givess the body a strange and appealing way to inhabit space and time.
Solitude(s) de Mathilde Monnier
Mathilde Monnier’s dance is imbued with the theme of solitude. Although there are many dancers on stage in her works, each dancer is detached through his individuality and the way he finds his place in the group or solo. In Tempo 76, a work given rhythm by unison, obeying the metronome of Ligeti’s music, each dancer is both a common body and a single body. In Déroute, the performers follow their paths on the same floor, meeting or passing each other by chance according to their progression. Les Lieux de là, also, in its way, recounts the story of the dispersal of a community that is endlessly reconfiguring itself. Duos and trios—linking figures—are frequent in Mathilde Monnier’s grammar, but what dominates are solitary dancers, true solos or several solos (see the rock wanderings of Publique), where each man or woman allows themselves to be led by their own movement and their own waywardness.
Noé Soulier, écriture sur écriture
2017, 15 min.
Writing is a recurring theme in Noé Soulier’s work, whether he is commenting on and explaining out loud his own dancing while he is doing it, or whether he is writing precise phrases that dancers appropriate in their own way, starting and ending them where they want. Each time he reflects on what writing can contribute to dance. It is no doubt Noé Soulier’s belief in the richness of choreography that makes the avenue he has started to explore so unique.
Miet Warlop, la désinstallation
2019, 16 min.
Plaster and paint, water and plastic, inflatable objects and explosive sculptures, animal bodies and absurd protheses: the world of Miet Warlop, visual-artist performer or performing visual artist, it all depends, often consists in unsettling the world ludically, wildly and often destructively. Paint guns sullying a milky whiteness (Big Bears Cry Too) or exploding chemical solutions, feathers flying everywhere, or a set shattered by blows from a ladder (Mystery Magnet): in any case, the stage space is devoted to attending its own reconfiguration. But this is not a sad apocalypse. On the contrary, it is genuinely creative because the world which has been beaten up by Miet Warlop is actually inviting us into a new balance. In an unsettled world, we can always settle down again.