CATHERINE CONTOUR
Contour? teased the critic Gérard Mayen, why, it’s just the opposite ! Someone has rarely passed through an experience that refuses to set its limits, boundaries and landmarks with such joyful obstinacy, porous fantasy and science at one’s finger-tips.

NOTE ON WORK:
With her dual training in visual arts at the Paris Higher Institute of Decorative Arts (scenic arts) and in contemporary dance in very many contexts, throughout her career Catherine has met people who were to have considerable influence: Carolyn Carlson, Lucinda Childs, Jacques Patarozzi, François Verret, Simone Forti, Lisa Nelson, Steve Paxton, Claude Régy, Jean-Paul Thibeau, Laurence Louppe, Zhou Jing Hong, Jean Becchio, François Deck.

An artist with a very original approach, Catherine works closely with other artists in temporary and flexible groups within the association KOB for which she has been the artistic director since 1988. In the image of the emblematic project Chambre – étapes chorégraphiques en chambres d’hôtels (Room – choreographic stages in hotel rooms) –, she has implemented her own special methodology in which she challenges the evidence of the codes governing representation as a means of escaping from them and experimenting.
Her work as artist-explorer can be seen as research in movement, consisting of hypotheses rather than principles.
This artistic research process has been brought before the public eye in specific contexts of the performing arts, situation simulation/game creation, conference-performance, experimentation apparatus, films, photo, installation, publication, radiotelephonic creation, to name but a few.
Her suggestions are invitations to share the experience of moments of cohabitation in places whose use is continually being re-invented: des Hétérotopies (Heterotopias). Each creation includes the presence of a guest and his or her testimony. The visitors-guests, spectators-listeners-witnesses-readers-experimenters-bathers are heartily invited to take their place in order to take part. Catherine Contour defends the idea of the performing arts as a shared responsibility. For the past few years she has developd a particular form of public encounter : Plages (Beaches). The stoller-visitor-spectator-beach attendant, and with the help of swimmers, artists and researchers. They merge together in an esthetic, intimate and group experience : with the venue, as well as for it.

She has developed a conception of improvisation in which wry humour, games and diversions are delicately combined, from excess exultation to the extremely subtle. She instils the taste for freedom of invention with the creation of figures, dances, roles, snatches of fiction, songs, images and worlds.
Her “conceptual burlesque” – Christophe Wavelet has underlined the Rabelaisian dimension of the self-portraits – calls on a far eastern approach to the body based on energy practices and is nourished by the influence of artists from Post-modern Dance, Dadaism and Fluxus.

Living, observing, meeting, foraging and gardening are all activities that cannnot be dissociated from this process.
Her in-situ creations in numerous places, both in and out of doors, have gained added wealth, in recent years, through crossing with sound, design, landscape and gardens.

She has accepted invitations from other artists such as Frédéric Lormeau, Jean-Paul Thibeau, Loïc Touzé and Jennifer Lacey and has invented forms of collaboration with them. Her choice of a committed and responsible art goes hand-in-hand with a questioning of her status as an artist.

She is passionate about the question of pedagogy in art and in particular the question of apparatus and tools. She is involved in many areas of transmission. Her research on the hypnotic tool used in creation has led her to create different means of transmission, including a training course adapted to suit higher art education institutions (Higher Art Schools, thr Tranforme programme at the Royaumont Foundation, the National Center for Contempory Dance in Angers, the National School of Decorative Arts in Paris and the Mediterranean center for oral litterature).
She was awarded a National Center for Contemporary Dance grant for her research on the hypnotic tool used in dance creation, transmission and teaching. At the same time she developed a project for a mobile lab entitled Cultiver l'art du repos (Cultivating the art of rest).

Currently in residence in the Cité de la Céramique in Sèvres, France for a creation on the emblematic breast-bowl in 2015, for which she received the Hors les Murs fellowship in Japan in 2014. She is also associated with the Gaité Lyrique theatre in Paris for a year as part of the Danses augmentées (Augmented Dances) cycle, dealing with the body and performance’s relationship to techniques and technology.

GEOGRAPHY
Paris 15th district birthplace
Bois-d’Arcy (78) proximity to the gardens of Versailles, Marly, désert de Retz (Anglo-Chinese landscape garden), the historical forests of Rambouillet, Marly, Saint-Germain-en-Laye, etc.
Paris 14th/5th district schooling
Paris 4th/11th district installation + nomadism linked to creations with significant stays in Brittany and in Bucarest/Romania
Picardie (between Soissons and Laon – le Chemin des Dames – la Thiérache)/Paris 11th district
Installation between Paris and Picardie: discovery of cultural politics on a territory.
Morocco, Algeria, Nepal walks
New-York an important stay – meetings with improvisation artists and furthering of knowledge of the release technique (dance).
Bordeaux artist associated with the TNT
Grenoble installation (Chartreuse) + nomadism with significant stays in Rennes, Blois, Dijon, Pau, Montpellier, Bourg-en-Bresse, Belfort
Kyoto/Japan important stays – essentially concerning body-space relationships and the relationship with the object and the garden.

India (Gujarat)

Varangeville-sur-mer - amazing gardens and gardening enthusiasts!

Diois, Bretagne, Cévennes, Royaumont, Paris...

CHRONOLOGY
1960 Catherine Contour was born in Paris.
1977 thanks to her philosophy teacher Daniel Soutif, she discovered simultaneously contemporary music, the joys of motorbike racing and the gardens of Versailles.
1983 at ENSAD, Yves Tissier enlightened and fed her passion for dwelling places and gardens.
1985 she founded the association Ecce Voce with Anastase Cook to produce Opéras obtus (Obtuse Operas) and collaborated regularly with stage directors (Marc François, Michel Cerda, Chantal Morel, etc.).
1988 she founded the association KOB and chose to work in temporary and flexible groups of collaborating artists according to projects.
1990 she began her practice of choreographic self-portraits, a body fabrication process that encompasses the scene of its representation, the activities that it generates and the very traces that it produces.
1996 a stay in New-York witnessed a radical change in her approach. On her return, she initiated Chambre – étapes chorégraphiques en chambres d’hôtels - (Room – choreographic stages in hotel rooms), an itinerant work-in-progress with Alain Buffard, Christine Burgos, Véronique Favarel , Olivier Gelpe, Emmanuelle Huynh, Latifa Laâbissi, Benoît Lachambre, Jennifer Lacey, Julie Nioche, Rachid Ouramdane, Christian Rizzo (1997-2001) with a residency in Japan (Kyoto, 1999-2000) with the help of the French Institute of Kyoto, the town of Grenoble and the AFAA (French Association for Artistic Action).
2000-2002 as an artist associated with TNT, Bordeaux, she initiated the très très bien (very very good) project on the relationships between body, sounds, architectures, materials and objects, les plate-formes d’expérimentation (the experimentation platforms) and N° 0, a nomad space of production and diffusion of things in the form of publications.
2002 the victim of a very serious road accident in which she was trapped beneath her vehicle at the bottom of a ravine in the very heart of winter, she experimented with use of Qi-Gong and self-hypnosis as means of survival. She lost all feeling in and movement of her left arm for 5 months but then regained them after a patient and enriching physiotherapy process. Her continuing interest in the notion of horizontality was a source of inspiration for future projects and a short nap method that she taught. She then underwent training in Ericksonian hypnosis (AFHYP).
2003 marked the beginning of the Corps-Jardins-Paysages (Bodies-Gardens-Landscapes) choreographic adventure with numerous episodes including Peut-être (Perhaps), Dijon (03-05), Fabrique 2 (Factory 2), Grenoble (01-05), Autoportrait aux Jardins de Barbirey (Self-portrait in the Barbirey Gardens), 2003, her first creation in a garden followed by Autoportrait à Ajaccio (Self-portrait in Ajaccio) 2003, Autoportrait à Degrés (Self-portrait in Degrees), 2006, Autoportrait à Castries (Self-portrait in Castries), 2006 (installation and performances) and of the Radiotelephonic Creation Workshop on France Culture; Courances – carte du Tendre peut-être (Courances – “carte du Tendre” perhaps) (11-09-05).
2006-07 a turning point when, with Feuilleton – en épisodes – Super Production Chorégraphique à Poils (Serial – in episodes –Hairy Choreographic Super Production) she set herself a triple challenge:
• Provide in a large auditorium (Halle aux Grains, Scène Nationale de Blois) the fruit of her many experiences in the notion of the relationship with the spectator, experienced since Chambre (Room).
• Experiment new working methods with the guest artists and use of the hypnotic tool in direct relation to the improvisation process.
• Challenge the rules of the game of choreographic production (projections, implicit expectations of partners, games of influence, misunderstandings, etc.) and experiment with a diversion strategy by starting from the idea that one project can conceal another. The episodes, understood to be sequels, are in reality what come before. Episode N° 1 at Blois becomes the finishing point of a project that was developed through its Bandes-Annonces (Trailers) and the N° 0 created during residencies in the National Choreographic Centres of Grenoble, Franche-Comté in Belfort, Montpellier, Languedoc-Roussillon, in the Espace Gantner, in Arbecey, Jura with the support of the DRAC Rhône-Alpes, the Isère General Council, the Town of Grenoble and the Adami.
2007 Mushi-Kiki – performance, installation and apparatus– in the Pavilion of the Blois Museum of Objects as part of the “Les Eclectiques” festival on completion of a residency in the Grand Pierre and Vitain Nature Reserve in partnership with the school of art, the school of landscaping and the horticultural school of the territory and Feuilleton-épisode N°1 (Serial – episode no. 1) offer the opportunity of a genuine project on the scale of a town and of a territory, built from the artistic project and closely linked to it.
2008 with Autoportrait en mouvement au Jardin d’Hébert – danses et météores (Self-portrait in the Hébert Garden – dances and meteors), 2008 –choreographic creation and installation in the garden of the Hébert museum at La Tronche for the week-end Rendez-vous aux jardins (Let’s meet up in the gardens) organised by the Department of Cultural Affairs with the support of the Isère General Council, and Une Plage (A Beach) at the castle of La Roche-Guyon as part of the Off Limits 2 Festival, she enriched the palette of her in-situ work. As a beach attendant she welcomed bathers for a day, inviting them on many journeys.
2009/10 extension of her field of artistic activities with the maisoncontour web site, the place project, BOL (BOWL) creation, the training sessions in the hypnotic tool. Having created L'art du repos au bout du plongeoir (The art of rest at the end of the diving board) for the Rennes Biennale of art Ce qui vient (What is coming) 2010 and a solo for Jean-Paul Thibeau at the CAPC in Bordeaux, she continued her series on Sejf-portraits that interact with places with Autoportrait aux Bois des Moutiers (Self-portrait in the Moutiers wood) combining choregraphy, photography and film.

In 2012, she continued work undertaken using the National Dance Center grant and created Pièces d'hypnose (Hypnosis plays) at the Gaîté Lyrique theater for "2062, aller-retour vers le futur" (2062, round trip to the future) : a hypnosis booth, an installation, a series of individual and small group encounters, a conference with the art historian Céline Eidenbenz on hypnosis and art, a round table to the various stages of hypnosis, Emu - danses avec hypnose (Moved - dances with hypnosis)

at the National Centre for Choreography in Grenoble, Une plage au Pont-de-Claix (A bridge in Pont-de-Claix) (in collaboration with the  Amphitheatre in Pont-de-Claix  and the Centre for Choreography in Grenoble) and Une Plage à Royaumont (a beach in Royaumont) (in collaboration with the Royaumont Foundation).

In 2013 she has developed the hypnotic tool for creation through varying forms of transmission including specific individual support and has created a new Pièces d'hypnose (hypnosis plays) : Séances - Pièces pour espaces de projection (Plays for projection spaces) (Silencio/Paris projection room), La promenade au jardin (the stroll in the garden) (Louvre Auditorium), Ré-volte pour Laurence Louppe (Re-volt for Laurence Louppe) (Cratère/Alès), Pièces d'hypnose chez Felipe Ribon (hypnosis plays at Felipe Ribon’s) (Designer's Days at the Dutch Institute) : the fruit of a collaboration based on accompaniment and transmission of the hypnotic tool to design household objects relating to hypnosis.

She is currently running a 3-act project for the Lamelouze site in the Galeizon valley in the Cévennes, along with the graphic designer, Pierre Di Sciullo : a choreography protocol for Danse de la pleine lune (Full moon dance), the installation of Bols à texte (Text bowls) in the site itself and the creation of the plus petit jardin municipal (smallest municipal garden) which is accompanied by a radiophonic creation.

Currently in residence in the Cité de la Céramique in Sèvres, France for a creation on the emblematic bol-sein (breast-bowl) in 2015, for which she received the Hors les Murs fellowship in Japan in 2014.

She has created a Danses augmentées (Enhanced dances) cycle for the Gaîté Lyrique theatre in Paris, a creation in ten movements, as well as Plongées (Dives), which will take place from October 2013 to July 2014 with one performance a month.

ARTIST PARTNERS/PARTNERS:
Catherine Arresteilles, Christophe Batifoulier, Marion Bae, Jean Becchio, Emmanuelle Bloy, Carole Bodin, Frédéric Bonnemaison, Jean-baptiste Bruant, Alain Buffard, Anne Burgeot, Christine Burgos, Solenn Camus, Elodie Carre, Fabrizzio Cassol, Michel Cerda, Eric Chevance, Isabel Claus, Anastase Cook, Gilles Coronado, Jocelyn Cottencin, Manuel Coursin, Matalie Crasset, Agnès Dahan, François Deck, Hélène d’Herve, Jérôme Delormas, Pierre di Sciullo, Bernard Dutheil, Dominique Fabrègue, Gaby Farage, Véronique Favarel, Christophe Fiat, Simone Forti, Marc François, Larys Frogier, Didier Galas, Olivier Gelpe, Pierre Giner, Alain Goulesque, Catherine Grisard, Emmanuelle Huynh, Christine Jouve, Isabelle Kraiser, Latifa Laabissi, Benoît Lachambre, Jennifer Lacey, Marc Laurette, Frédéric Lormeau, Laurence Louppe, Jean-françois Maniglier, Alain Michard, Chantal Morel, Inès Moreno, Seiji Murayama, Patrick Najean, Julie Nioche, Frédéric Nogray, Guillaume Orti, Dominique Orvoine, Rachid Ouramdane, Mickaël Phelippeau, Alexia Philippon, Laurent Pichaud, Patrick Pineau, Mathias Poisson, Marianne Pousseur, Sabine Prokhoris, Philippe Rahm, Christian Rizzo, Marie Roche, Clara Rousseau, Alice Schÿler Mallet, Jean-marc Segalen, Bachir Soussi Chiadmi, Ghédalia Tazartes, Jean-paul Thibeau, Hervé Thoby, Virginie Thomas, Daniel Tosi, Martin Verdet, Laurent Vinauger, Nathalie Viot, David Wampach

PLACE AND INSTITUTION PARTNERS:
Department of Cultural Affairs and Communication-D.M.D.T.S. - A.D.A.M.I. - A.F.A.A. - D.R.A.C. Ile de France, Picardie, Aquitaine, Rhône-Alpes – Regional Councils of Picardie and Aquitaine – General Councils of Isère, Aisne, Gironde – Departmental Committee for the Protection of Nature and the Environment/Grand Pierre and Vitain Nature Reserve - Fondation Beaumarchais/SACD – French Institute of Kansaï in Kyoto – French Institute of Bucarest – Incubators for Young European Artists - UNITER/Bucarest – Towns of Grenoble and Saint-Quentin - Vialuni /Ajaccio association - Ateliers de la Manufacture/Bordeaux - Atelier Synapse/Rueil-Malmaison - - Atheneum/Dijon - Au bout du plongeoir/Tizé - Auditorium/Quimper – Two-yearly celebration Le temps d’une Marée/Dieppe - Les Carnets du Paysage - CAPC/Bordeaux – Kerguéhennec Art Centre La Criée/Rennes Art Centre - National Choreographic Centres of Franche Comté in Belfort / Grenoble / Montpellier-Languedoc Roussillon / Rennes-Bretagne - Centre Georges Pompidou/performing arts - La Salpêtrière chapel/Paris - Les Pénitents Blancs chapel/Avignon - le 102/Grenoble - cie IDA/Mark Tompkins-Arbecey – Fine Arts schools of Blois, Bordeaux, Grenoble, Lyon, Paris, Pau, Rueil-Malmaison, Valence - Ecole du Magasin/Grenoble – School of landscaping and horticultural school of Blois - Gantner/Bourogne multimedia centre - Espace St-Jacques/St-Quentin - Festivals: 1erBal/Blois – Accès/Pau - Les Eclectiques/Blois - Entre Cour et Jardins - Les Hivernales d’Avignon - Les Inaccoutumés/Ménagerie de Verre/Paris - Jardins privés/Jardins publics (Aldebaran) - Les 4 vents de septembre/Bourg-en-Bresse - Mars attaque/Forbach - Nouvelles Scènes/Dijon - Nov’Art/Bordeaux - Off Limits/Paris - Fondation Cartier/Paris - France Culture (A.C.R.) - Halle aux Grains/Scène Nationale de Blois – Botanical garden of Montpellier – Zoological garden of Lunaret/Montpellier - les Laboratoires d’Aubervilliers - MC2:Grenoble/studios – Museum of Objects/Blois – Hébert Museum/La Tronche - Nouvelle Galerie/Grenoble – Le Pacifique/Grenoble - le Pot au Noir/Rivoiranche - Studio du Moulin de la Pointe/Paris – les Subsistances/Lyon - Théatre de la Bastille/Paris - Théatre des Bernardines/Marseille - Théatre l’Ombre qui roule/Paris – Municipal theatres of Bourg-en-Bresse, Clermont-Ferrand, Quimper, Saint-Quentin - TNT/Bordeaux - Daniel Gerber/Degré - famille Mallet/Bois du Moutier – the many hotels that have hosted Chambre.

BURSARIES:

• she received the Hors les Murs (Institut Français) fellowship

2014 in Japan

• She is awarded a National Center for Contemporary Dance grant

2011 for her research on the hypnotic tool used in dance creation, transmission and teaching.

• Rerc (research residency) by the National Choreographic Centre of Montpellier, Languedoc Roussillon
2007 for Feuilleton, en épisodes (Serial, in episodes)
• Research scholarship for choreographic writing (DMDTS, department for Cultural Affairs and Communication)
2005 for Circles of Moving, Speaking and Writing bringing together a group of artists around Simone Forti near Grenoble.
2002 for Fabrique 1 (Factory 1), Bordeaux, an experimentation platform

• Fondation Beaumarchais (Society of Dramatic Songwriters)
1997 for Chambre, étapes chorégraphiques en chambres d’hôtel (Room – choreographic stages in hotel rooms)
1992 for Autoportrait dans la forêt (Self-portrait in the forest)

TRAINING:
1985 Graduate from the Paris Higher Institute of Decorative Arts (Scenic arts)
End of study dissertation: Lieu chorégraphique, Chorégraphie du lieu (Choreographic place, Place choreography).
• Contemporary dance
1993 Accreditation to teach contemporary dance
(department of Cultural Affairs and Francophonie).
• Long courses:
2004 Déplacements dans le paysage (Travel in landscapes) with Simone Forti
2003 Logomotion–improvisation en danse-récit (Logomotion-improvisation in narrative dance) with Simone Forti
1998 La composition instantanée – approches et techniques d’improvisation
(Instantaneous composition – improvisation approaches and techniques) with Simone Forti, Lisa Nelson, Steve Paxton
1988 François Verret, Anne Koren, technique, improvisation, composition
1987 Danse et Eutonie (Dance and Eutony) with J. Patarozzi, Hans Zullig, Françoise Weidmann, Anne Frémy
• Important courses and classes:
Thierrry Bae, Arlet Bon (M.Graham), Carolyn Carlson, Lucinda Childs, Hervé Diasnas,
Catherine Diverrès, Bernardo Montet, Irène Hultman, Anne Koren, Min Tanaka,
Jacques Patarozzi, Mark Tompkins (video/dance), François Verret, Hideyuki Yano…
• Ericksonian hypnosis within the AFHYP (French Hypnosis Association, Paris)
2008 training as 1st cycle clinical hypnosis trainer.
2006 further training in clinical hypnosis.
2004-2005 introductory training in psychodynamic hypnosis
and its application in communication.
2000-2003 self-hypnosis courses.
• Other
2007 Advanced English language training, Greta (Grenoble)
since 1995 Zhineng Qi Gong, Zhou Jing Hong (Paris)
since 1988 Tai Chi Chuan, ITCCA (Paris and Grenoble)
Flamenco, Kathakali, Kabuki.

FILMOGRAPHY

Films produced by Catherine Contour
• Nuits (Nights), 2009
• Bois des Moutiers (The Wood of Moutiers), 2009 (on-going)
• Pré-manifeste provisoire (Provisional pre-manifesto), Blois 2008, 2‘40“
• S.O.S., Dieppe, 2007, 8‘15“
• Atelier aux Laboratoires d’Aubervilliers (Workshop at the Aubervilliers Laboratories)/2006 , 2007, 17‘
• Bande-annonces (Trailers) as part of the creation Feuilleton -en épisodes-
Super Production Chorégraphique à Poils (Serial – in episodes –Hairy Choreographic Super Production),2007
# 1 with Jennifer Lacey, 12‘23“
# 2 with Christophe Fiat, 8‘49“
# 3 with Mickaël Phelippeau/Virginie Thomas, 8‘07“
# 4 with Christine Jouve and her bearded tortoises (on-going)
# 5 with Laurent Pichaud (on-going)
# 6 with Benoît Lachambre, 45‘
• B-A BLOIS/2007, 2007, 3‘50“
• CLIP # 1 with Laurent Pichaud, 2007, 8‘14“
• 1er mai 2006 – duos (1 May 2006 – duos), 2006, 1‘50“
• Grand Pierre, 2006, 2‘
• GUI, 2006, 20‘14“
• L’agonie de la mouche (The agony of the fly), Circles, Rivoiranches, 2006, 5‘
• KOB/2006 – Que fabrique Catherine Contour ? (What is Catherine Contour up to?) 2006, 12‘43“
• Poupées chinoises de Rivoiranche (The Chinese dolls of Rivoiranche), 2005, 4’18“
• Poupées japonaises de Rivoiranche (The Japanese dolls of Rivoiranche), 2005, 2’34‘‘
• mouche (fly), 2004, 7’
• Sur autoportrait aux jardins de Barbirey (On a self-portrait in the Barbirey gardens) (Production workshop of the Rueil-Malmaison arts school), 2004, 55’
• Journal chorégraphique C.C. (C.C.’s choreographic journal), 1996-97, 40’

Films produced by guests invited by C.C.:
• Une Plage (A Beach) at the castle of La Roche-Guyon-04/08 by Ramon Diago (invited by Clyde Chabot), 2008, 6’25’’
• Autoportrait en mouvement au jardin d’Hébert (Self-portrait in movement in the Hébert garden)/2008, images by Inès Moreno, 2008
• Meeting at 7H (on-going)
• Meeting at 21H 21, 14’
• Autoportrait en aveugles (Self-portrait without looking)/2008, 2008
• Feuilleton –en épisodes- N°1 (Serial – in episodes – no. 1) by Inès Moreno, 2008, 35’30’’
• Feuilleton –en épisodes- N°0 (Serial – in episodes – no. 0) by Inès Moreno, 2007, 36’20’’
• Mushi Kiki by Isabel Claus on 2 screens: Long shots // Medium close shots, 2007, 21’
• Autoportrait à Castrie (Self-portrait at Castrie)/2006
• Meeting at the Orangerie du château, images by Christine Jouve (on-going)
• Meeting at the Grand bassin, images by a Fines-Arts student (on-going)
• Conference-performance at the Paris Fine Arts Institute with Laurence Louppe, 21 October 2003, images by Nathalie Viot, 2003, 47’46’’
• Très très bien (Very very good)/Pau, produced by Anne Burgeot, 2003, 31’
• Autoportrait au love-hôtel Bel Chateau (Self-portrait in the love-hotel Bel Chateau)/Kyoto, 2000, images by Nathalie Viot, 2001, 26’
• Autoportrait à la Criée (Self-portrait at La Criée)/Rennes (on food), images by Isabel Claus, 2001
• Meeting on 05/12/01 – 18H, 20’
• Meeting on 06/12/01 – 18H, 12’
• Meeting on 07/12/01 – 20H, 11’

Co-produced with Anastase Cook:
• Lisbonne (Lisbon), super-8 film, 1994, 14’
• Danses roumaines (Romanian dances), super-8 film, 1994, 15’
• Les épouvantails (The scarecrows)/Saint Quentin, super-8 film, 1994, 6’
• Big Edredon Rouge (The Big Red Eiderdown), super-8 film, 1994, 7’
• Les épouvantails (The scarecrows), super-8 film, 1993, 43’
• La nonne sanglante (The bloody nun), 16 mm film, 1989, 26’

ÉDITIONS – PUBLICATIONS
• Radiotelephonic Creation Workshop (France Culture, 1st broadcast on 11-09-2005) Courances – Carte du Tendre peut-être (Courances – Carte du Tendre perhaps)

• Catalogue Autoportrait à la Criée (Self-portrait at La Criée), Rennes produced with Jocelyn Cottencin (La Criée 2001)
N° 0 – 2 éditions (No. 0 – 2 editions) with the commercial artists Martin Verdet (TNT 2001) and Jocelyn Cottencin (TNT, La Criée, Rennes contemporary art centre, 2002)
• Mon corps égal (My body = ?) a book-object by Agnès Dahan, a guest on Fabrique 3, 2004 (on agnesdahan.net)
• Horizontal Project, 5 image and material boxes created by Agnès Dahan, guest for Autoportrait à la Criée, Rennes, for horizontality, 2002 (on agnesdahan.net)
• Polaroid – le 22 mai (Polaroid – 22 May) by Marie Roche (CCN documentation Grenoble 2000)

• In the exhibition catalogue Ne pas jouer avec des choses mortes (Do not play with dead things) by Patricia Brignone (Villa Arson, Les Presses du réel, 2008)
• In Poétique de la danse contemporaine – la suite (Poetics of contemporary dance – the sequel) – by Laurence Louppe (Contredanse 2007)
• In Les Carnets du Paysage (The Landscape Books) no. 13 and 14 (Actes Sud, 2007)
• In Danse(S) Performative(S), Enjeux et développements dans le champ chorégraphique français 1993-2003 (Performing Dance(s), Challenges and developments in the field of French choreography 1993-2003) by Céline Roux (L’Harmattan, 2007)
• In Ménagerie de Verre - Nouvelles pratiques du corps scénique (The Glass Menagerie – New practices of the scenic body) – by Patricia Brignone (Al Dante 2006)

PRESS ARTICLES (selection)
• Mouvement site 15-05-2007, Propositions pour habiter un espace, Du sexe des tortues
(Suggestions for living in a space, About the gender of tortoises) (Gérard Mayen)
• Les spectacles vivants site at the Centre Pompidou, a pedagogical file. La danse contemporaine, Pour une chorégraphie des regards (Contemporary dance, For a choreography of expressions)
Interview with Serge Laurent – Un bouleversement des codes (Overturning codes)
• Les Carnets du Paysage (The Landscape Books) n°13 and 14, Jan. 2007, Autoportrait aux jardins de Barbirey (Self-portrait in the Barbirey gardens), testimony.
• L’Hérault du jour 16-12-2006, Épisode zéro au zoo (Episode zero at the zoo) (Anne Leray)
• Repères, March 2005, Incursions hors scènes (Incursions outside scenes) (Marie Roche) and Partir à la campagne (Leaving for the country) (Marie Glon)
• Les Subsistances site, Lyon 2004, C.C.-Chorégraphe hétérotopique (C.C.-Heterotopic choreographer) (Emmanuelle Bibard)
• Newspaper of the Paris Higher Institute of Fine Arts # 95, Fabrique 3, Ensba, 2004, mon corps = ? (my body = ?) (Agnès Dahan)
• Libération, 01-09-2003, Autoportraits grandeur nature (Life size self-portraits) (Maïa Bouteillet)
• Le Monde, 26-07-2003, Séduits par le plein air, des chorégraphes sèment leur danse dans les jardins (Seduced by the open air, choreographers sow their dances in gardens) (Catarina Mercuri)
• Art Press no. 281, July-August 2002, Danse-photographie, pour une théorie des usages (Dance-photography, for a theory of uses) (L.Louppe)
• Art Press no. 276, Feb. 2002, Autoportrait à la Criée (Self-portrait at La Criée), Rennes (Laurence Louppe)
• Mouvement no. 19, Nov.-Dec. 2002, Perpétuelle transformation (Perpetual transformation) (Carole Bodin)
• Novart, 2002, Belle du désir (Beautiful through desire) (David Kanner)
• Kinem, CND no. 2, 2000-01, État des lieux (Inventory) (Virginie Dupray)
• Funambule no. 3, March 2001, Chambre (Room)
• Sud-Ouest, 14-02-2001, Chorégraphie en chambre (Choreography in a room) (Joël Raffier)
• Mouvement no. 7, Feb.-March 2000, Chambre, l’expérience intérieure (Room, the inside experience) (Carole Bodin)
• Art Press no. 21 (special), 2000, Des habitants de l’exposition (Exhibition inhabitants) (L. Louppe)
• Art Press, April 1999, Chambres, sites, etc. (Rooms, sites, etc.) (L. Louppe)
• Télérama, 20-02-1999, Le dîner de contemporains (The contemporaries’ dinner) (Rosita Boisseau)
• Art Press, Sept. 1997, Où ça se passe et comment c’est ? (Where’s it happening and what’s it like?) (L. Louppe)

RESEARCH PAPERS (main)
2007 Gestuelle du déséquilibre. Danse, hypnose et pathologie autour de 1900 (The gestures of imbalance. Dance, hypnosis and pathology around 1900).
Colloquium: À la rencontre de la danse contemporaine : Porosities et résistances (Searching for contemporary dance: Porosities and resistances), Paris X Nanterre, CREart-PHI, Art Research Centre, 12-07, Céline Eidenbenz
2005 Aux confins d’une relation à l’autre (At the boundaries between relationships), a doctoral thesis.
Université Paris 1 Panthéon-Sorbonne, UFR in Plastic Arts and Sciences of art, Mélanie Perrier
2005 De l’espace corporel à l’espace public (From body space to public space), a doctoral thesis.
Université Paris 8, DEA in Aesthetics, Sciences and Technologies of art, specialising in theatre and dance.
2003 Autoportraits (Self-portraits) and Très très bien (Very very good), two nomadic artistic and choreographic projects, initiated by Catherine Contour.
Université Rennes 2 Haute Bretagne, master in Sciences and Techniques with option in Contemporary Art, Maïwenn Grall
2001 A joint study by Carole Bodin and Marie Roche around Chambre by Catherine Contour.
Université Paris 8, DEA in artistic Aesthetics, Technologies and Creations, Dance Department, The critical discourses in dance, Carole Bodin and Marie Roche
2000 Polaroïd : déconstruction d’un attendu chorégraphique (Polaroid: deconstruction of a choreographic expectation).
Université Paris 8 - DEA in artistic Aesthetics, Technologies and Creations, option in Theatre and choreography studies. Marie Roche
1999 La danse hors la scène : enjeux et études croisées de deux expériences contemporaines
(Off-stage dance: challenges and cross studies of two contemporary experiences)
Université Paris 8, DEA in artistic Aesthetics, Technologies and Creations, option in Theatre and choreography studies. Carole Bodin