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  Emilie Salquebre
   
 
Forbach-Luxembourg
Films on the playlist
Forbach-Luxembourg
Lombrics
Yann Murussich - Brisures
Ormone - Elle n est pas coupable
Olivier de Sagazan - Transfiguration

 
Emilie Salquèbre (France, 1981) lives and works in Nancy. Through pictorial perspectives, she seeks the sweet shift from reality towards fantasy. Her work is embodied via video installations and photographs in which the narration of the fictions proposed seems to remain veiled. Depths and Heights are leitmotivs, a matrix of spatial poetry. Choreographs are made out of these pictures, articulation between movement and non-movement, space, frame and bodies. The odd, absurd and fragile faces of the word we perceive are host in the midst of her sceneries. She also develops multiple exchanges with other artists, choreographers, musicians or performers, which she documents on video.

Forbach-Luxembourg & Lombrics (2010) are elements of "Sans Noms", a video installation presented in a hotel room, in the frame of "Eine Nacht", organised by the "Castel Coucou"at Forbach. "Like worms, beyond the reach of any eyes, nude, we slide into intimacy." Sans Noms evokes the movements from intimacy towards distance, "allers-retours", a nameless room like the earth we all sleep on.

Elle n'est pas coupable, mais elle se met à table (2009) documents a performance by the ORMONE Dance Company (Nancy). On the stage we see a square black table, a mast in its center, that becomes a dancing table of contents, a Pandora's box, a circus of monstrous heritage. The piece mixes memories and fragments of the writings by Aurore Gruel with the remains of a collective and intimate history. DANCER Aurore Gruel CAMERA Emilie Salquèbre SCENOGRAPHY Francoise Klein SOUND & MUSIC Herve Birolini LIGHTING Olivier Irthum CHOREOGRAPHY Aurore Gruel & Muriel Corbel PRODUCER Ormone Company & DRAC (Lorraine Area)

Aurore Gruel develops a work implying the body into dancing acts. Linked to a research where the opposites interact, she likes to get to the core of the present, a way to be alive. A dance, simultaneously instinctive and mastered, comes out as a slow progression which is deeply linked to the flow of language. compagnie.ormone@free.fr

Transfiguration (2010) is a documented performance by Olivier de Sagazan. Olivier is blind when modeling clay onto his face, for this sense of touch that is applied to the whole body he uses the term "proprioception". "I become my masks and I am desperately seeking the anime which would unveil my real face. How to comprehend, without seeing a thing, that such fascinating images rise out of the blue when my only tools are chance and proprioception" --Olivier de Sagazan CAMERA Emilie Salquebre PRODUCER, SOUND & PERMORMER Olivier de Sagazan

Olivier de Sagazan (1959) lives and works in St Nazaire. He has been working for 20 years on the concept of the body and its representation through different medias: painting, sculptures and performances. http://nefdesfous.free.fr

Brisures (2001) is a documentation of a performance by Yann Marussich. Here, the challenge is the research of minimal movement, the more organic, the more natural. This is possible through an extreme slowness and through improvisation. The aim is to trace a path not determined. The body precedes the mind. This journey into the infinitesimal also opens up a special time-space to the viewer, call it the present time or forgetting time, that he shares with the other viewers. CAMERA Emilie Salquebre SOUNDTRACK Daniel Zea PERFORMER Yann Marussich PRODUCER Perceuse Productions Scènes

Yann Marussich (Switzerland, 1966) lives and works in Geneva. From 1993 to 2000 Yann was director of the Théâtre de l’Usine (Geneva) where he programmed contemporary dance and new forms of expression. He is the founder of the ADC Studio (Geneva) created in 1993. Since 2001 he has been developing his work in the introspection and the control of immobility, at the same time confronting his body to diverse challenges, or even aggressions. This is where the poetic world of the performer exists, in an often violent contrast between his subjected body and an absolute impassiveness. www.yannmarussich.ch


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