Une échappée/Blois 2003 (A get-away/Blois 2003)
an invitation as part of …au bord du temps ( at the edge of time),
3 artistic experimentation sessions on a proposal by Jean-Paul Thibeau,
a production of the Blois Art School, a project co-ordinated by Jean-Paul Thibeau, Alain Goulesque and Antonia Birnbaum.
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
photo : Alain Goulesque
Erik Dietman Performance
Modèle, modèle, modèle… (Model, model, model…), the performance by Erik Dietman places two live models in contact with enormous blocks of wet earth in which they imprint the marks of their body by means of ladders and ropes, observed by the artist-spectator. The modelled blocks must be moulded and cast in bronze.
Musée de l'Objet : wwwmuseedelobjet.org
image : Tracey Jackson 1997
image : Tracey Jackson 1997
image : Tracey Jackson 1997
image : Tracey Jackson 1997
Mushi kiki residency
Mushi kiki is a choreographic creation linked to a residency in a nature reserve and to an interactive arrangement for adults and children.
I settled for a week in the nature reserve of Grand Pierre et Vitain, at the confluence of two valleys, in an undulating landscape of box trees, mossy and damp woods, and meadows containing an impressive megalithic necropolis.
Being in residency in the reserve is to live on site and to be completely free to walk around the land at any time, scrutinise it, meet its inhabitants, identify my itineraries, the places and objects or materials that catch my attention, observe the places or actions that gradually become obvious in this way of living in the place.
Being in residency is to collect sounds and images, produce figures from materials in the reserve combined with items from my panoply, completed by some unlikely purchases from the garden centre or other suppliers for local farmers.
Being in residency is to improvise starting from places and situations, to practice, to work on the hybrid body between man and animal, to shift plant life onto the edges, to question how I can become part of nature through notions of protection, camouflage and survival. To invent how to represent oneself. How to play.
Ecole d'art de Blois : www.edab.fr
réserve naturelle de Grand Pierre et Vitain à Marolle : www.cdpne.org/reserve.html
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image : Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
image extraites du film GUY réalisé par Catherine Contour
Mushi kiki performances
Mushi kiki is a choreographic creation in 2 different public meetings linked to a residency in a nature reserve and to an interactive arrangement for adults and children.
On 12 November 2006, while driving to Blois I picked up a radio programme dedicated to the Japanese painter Tamaro. A woman was describing a special time of the year when the Japanese go into the countryside to listen to insects. This is called Mushi-kiki –or something similar-. The perfect title!
A title ideal for this project that takes place in a nature reserve humming with insects and ghosts, works the body in its becoming animal, its insectitude, the way in which it forms part of a landscape, its movements, camouflage and plant life.
Sound plays an essential role. Manuel Coursin directly mixes materials collected beforehand with those produced by the protagonists.
All the senses are called on by the images, sounds, plant perfumes, humus and the decisive presence of honey : honey that is offered for tasting as it leaves the pot then poured out until it forms the floor for a dance whose fluidity and sensuality are progressively transformed into frenzied burlesque. At the end of the performance, the slippery dance floor welcomes those spectators tempted by the experience.
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
images : Alain Goulesque, Isabelle Claus, Catherine Contour
Mushi kiki dispositif
Mushi kiki is a choreographic creation linked to a residency in a nature reserve and to an interactive arrangement for adults and children.
This set-up divides space into several areas:
- Areas for reading and viewing films:
Guy et Grand Pierre produced by Catherine Contour in the nature reserve of Grand Pierre et Vitain and Mushi kiki / Catherine Contour témoignage, fragments (Mushi kiki / Catherine Contour testimony, fragments), a film produced by Isabel Claus on performances in the Museum of Objects and presented in diptych on 2 screens simultaneously
- Rest area with seats distributed in this moving landscape made up of visitors’ paths, films and activities deployed on the “stage” area
- “Stage” area linked to a variety of materials used in the performances (items from the accessories set, objects, materials, plants, lights) and activated according to a protocol exhibited by guides.
Ecole d'art de Blois : www.edab.fr
Musée de l'objet : www.museedelobjet.org
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
photo : Catherine Contour et Alain Goulesque
...au bord de la nuit
…au bord de la nuit (..along the night) is an invitation to share an apparatus, a programme activated throughout one night.
A series of assemblages and constructions: tools, methods, theorems to pierce the night of some of our individual obscurantisms, sensitive and feverish architectural plans to live better in the world.
To believe that it is possible to invent different kinds of look-outs, to watch out for what can no longer be discerned, to search for what, in the twilight, can still be contemplated, measured, described…. felt.
Is to observe that there is an entire biology of perceptions turned towards the study of these “indirect moments” in which consciousness sinks or indeed awakens….
Moments that, whole days and nights long, organise in turn the inventory of what is real and the dreamy wanderings of rapid eye movement sleep.
Alain Goulesque, 25 June 2005 (extracts).
tract
