03.03.18 — 17:00
Off-site
La Ribot and Mathilde Monnier offer joint leadership of a workshop tackling one of the themes of the piece Gustavia, on the visual tools of Burlesque. Participants will be able to experience and progress through the work processes through the creativity between these two artistes.
La Ribot, a dancer, choreographer and visual artist, appropriates the various materials that come within her reach with exuberant energy. The series Pièces Distinguées, begun in 1993, has constantly branched out in all directions, breaking down the rigid boundaries between spaces and disciplines. She has worked in museums like Tate Modern and for the Ballet de Lorraine, as well as with Mathilde Monnier on the work Gustavia. In 2000, she embarked on a video project based on the ‘operating body’, offering a dizzying array of contradictory sensations, exemplified by Mariachi 17.
After coming to dance late, Mathilde Monnier performed in the dance companies of Viola Farber and François Verret before taking up choreography in 1984, creating group works, solos and duos. From one work to the next, she defied expectations by producing work that was endlessly fresh and new. Her work explores the inherent issues of composing movement and are also linked to broader questions like communality and the links to music and memory. Her appointment as director of the Centre Choréographique National de Montpellier Languedoc-Roussillon in 1994 marked the beginning of a period of experimentation with other fields of art, and a reflection on the role of the institution and its outreach. Her dances such as Pour Antigone, Déroutes, Les lieux de là, Surrogate Cities, Soapéra and Twin parado have been performed on the biggest stages, as well as at international festivals. She alternates solo projects and collaborative works with various figures from the art world, such as Katerine, Christine Angot, La Ribot and Heiner Goebbels. Since January 2014, she has been the director of the CN D Centre National de la Danse based in Pantin and Lyon. Thanks to her influence, the CN D is today a dance centre and a place of indiscipline par excellence, continually appropriating other art forms and forging new links with them.