vendredi 29 novembre 2013

Sissy!


Sissy!
De Nando Messias
Mise en scène et jeu: Nando Messias et Biño Sauitzvy

Sissy! est une écriture scénique, entre la danse et le théâtre, de concepts basés sur la théorie Queer, sur la construction corporelle des genres, l'abus verbal et la violence physique. Le titre est une tentative d'engagement avec le processus critique appelé "discours inversé" par Foucault. Le point central de la performance est celui de la "sissygraphie" du corps. Sissy! décrit le processus d'écriture physique du concept "sissy" ("tapette" en français) sur le corps du performer. La performance démontre comment le processus d'inscription du genre dans le corps est à la fois social et involontaire et peut être marqué par la douleur ou le plaisir.

Sissy! cherche à rendre visible les plaisirs et les douleurs de "faire mauvais genre".


"Ce Sissy! assume l'excès. Cette pièce sur la construction de l'identité érotique et la transaction amoureuse, topique de études queer dont se revendique ce brésilien travaillant à Londres, possède une efficacité physique convaincante et même la petite touche de trouble sensuel qui, sans renouveler le sujet, l'illustre brillamment." - Danser

du 12 au 21 décembre 2013
jeudi à 19h30
vendredi et samedi à 20h30


Théâtre de la Girandole
4, rue Edouard Vaillant 93100 Montreuil
M° Croix de Chavaux, L9, station Vélib à proximité
Réservation 0148575317 / www.girandole.fr


Lumière: Luigi d'Aria

Photo: Darrel Berry
Production Central School of Speech and Drama, University of London, avec le soutien du CND/Pantin et Théâtre La Loge/Paris.

mercredi 16 octobre 2013

"Le Bal Rêvé" d'Alberto Sorbelli au Frasq #5 - Rencontre de la Performance



5ème édition de FRASQ, rencontre initiée par Le Générateur ▬

Découvrez le programme de la clôture : performance collective et participative "Le Bal Rêvé" d'Alberto SORBELLI le dimanche 27 octobre de 11h à minuit...
Une fête ? Votre fête ? Une œuvre ?
L’histoire de ce bal se déroule du matin au soir avec des personnages, des acteurs, des entrées, des sorties et de nombreux coups de théâtre.
On y danse, on y mange, on y joue.
Le son monte, les échanges se développent, la fête va crescendo.
Venez avec votre enthousiasme et votre envie de faire la fête.
Laissez-vous entraîner dans le tourbillon de la danse, laissez-vous aller dans une expérience physique et collective où les mots ne sont plus nécessaires…

□ Performances avec Caterina BARONE, Bernard BOUSQUET, Aymeric HAINAUX, Aurore LALOY, Biño SAUITZVY et Thomas LAROPPE, Katia MEDICI, Viviana MOIN.

□ Musique avec Accords, Nacre et Soufflet (15 accordéonistes), le groupe NEVERHIDE et les DJ Arthur CHAPS, MO LAUDI, PLANCK.

□ Stands et animations : cinq maisons d’édition, école des Arcades, chaîne de tv Souvenirs from Earth, séances de massage et de thérapie comportementale, espace médium, photo-portrait, commerçants de Gentilly, bijoux Sowat, partie de poker, cours de yoga et danse de salon.

□□□□□□□□□□□□□□□□□□□□□

DÉCOUVREZ LE PROGRAMME DÉTAILLÉ DU BAL RÊVÉ : 
http://www.frasq.com/frasq_2013/programme/BalReve.html

11h > 21h
Découvrez les 5 maisons d’édition Josefffine, Jannink, Courtes et Longues, Cherche Midi, Publications de la Sorbonne, l’école Les Arcades, The Presence d’Y Liver & Fabien Pinaroli, la chaîne de tv Souvenirs from Earth, l’association ACTIG, les bijoux Sowat, l’espace de massage comportemental, le médium du Bal rêvé.
□ 11h :
Cours de YOGA animé par Caroline Boulinguez
□ 13h :
Performance d’Aymeric HAINAUX
□ 14h :
Partie de POKER / HAREM de performeuses / Photo-portrait par Bruno LEVY (mise en ligne Liberation.fr)
□ 15h :
Cours de DANSE DE SALON animé par Fabio Oliveri
□ 16h :
Concert d’Accords, Nacre et Soufflet (15 accordéonistes )
□ 17h :
Vente d’art contemporain de Bernard BOUSQUET
□ 18h :
Concert rock du groupe NEVERHIDE
□ 19h > minuit
DJ PLANCK, Arthur CHAPS, MO LAUDI.
Et performance de Biño SAUITZVY et Thomas LAROPPE

… et pendant tout Le Bal rêvé de quoi se restaurer et boire

PARTICIPATION DE 5 € POUR TOUTE LA JOURNÉE

□□□□□□□□□□□□□□□□□□□□□

LE GÉNÉRATEUR, UN NOUVEL ART DISTRICT ?
Visionnaire, artiste à 1000 %, complice de longue date de la rencontre FRASQ, l’artiste de l’indiscipline, Alberto SORBELLI opère à nouveau dans le champ de l’art dématérialisé. Avec "Le Bal rêvé", il met l’art et le marché de l’art à l’épreuve en transformant l’espace du Générateur en un lieu de bal…pas celui auquel on s’attendrait… celui qu’il a dans la tête ! Alberto SORBELLI entend ainsi favoriser l’émergence d’une expérience collective physique (populaire) pour expérimenter des échanges sensibles dans la lignée de "L’Esthétique de la folie", présentée lors de FRASQ 2011.
Pour cette dernière journée de FRASQ 2013, Alberto SORBELLI met - avec tout son art - le feu aux poudres et tel un feu d’artifice, il fait s’enchaîner et éclore de multiples propositions en apparence hétéroclites (concerts, performances, jeux, massages, cours de Yoga…) partout dans tous les recoins du Générateur. Une fois de plus, cette performance promeut une approche ancrée dans la société et de facto diamétralement opposée à toute visée introspective d’un « art pour l’art ». Ces rencontres génèrent frictions fécondes ou heureux télescopages. Alberto SORBELLI met l’art en court-circuit et confirme ici sa capacité à interagir dans le système artistique jusqu’à l’altérer.

□ rester alerte □ 
www.legenerateur.com


En partenariat avec l’ESAA, École Supérieure d’Art d’Avignon.
Soutiens : Ville de Gentilly, Conseil générale du Val de Marne, Conseil Régional d'Ile-de-France.
Membre du réseau Actes If.
Merci à nos partenaires médias et tous les partenaires de cette journée :
Le 13 du mois 
http://le13dumois.fr/
L'Officiel 
http://offi.fr/
HorsChampCassandre 
http://horschamp.org/
Paris Art 
http://paris-art.com/
Diapo 
http://revue-diapo.com/
Hotel Paradoxe 
http://hotelparadoxe.com/
Souvenirs from Earth 
http://souvenirsfromearth.tv/
Josefffine, Éditions Jannink, Éditions Courtes et Longues, Éditions Cherche Midi, Publications de la Sorbonne, l’école Les Arcades, l’association ACTIG...

-------------------------------------------
Le Générateur, lieu d'art et de performances
À 100m de Paris 13ème,
16 rue Charles Frérot 94250 Gentilly
01 49 86 99 14

Accès au Générateur :
T3 arrêt Poterne des Peupliers
M° Place d’Italie + Bus 57 arrêt Verdun/Victor Hugo
RER B Gentilly
Vélib’ ( n° 13111, n° 42505) et Autolib’ à proximité

vendredi 27 septembre 2013

Gravediggress - CocoRosie



The video was directed by the group’s Bianca Casady, who describes it thus:
Shot in Southern France, spanning several different seasons, The Gravediggress emerges from the imagination of the clown. Played and danced by Biño Sauitzvy, The Clown oscillates between young and old, innocent and deranged. Our mother plays the masked Gravediggress who’s stuffed hands struggle at menial tasks such as picking wheat and taking laundry from the line. The narrative is a loose journey thru the psyche of a lonely outcast who finds ecstasy and company in nature. The filming was spontaneous though it took much more time than a typical music video and without the pressure of a studio and crew we were able to wander and shoot in this way.
We let the work steep and revisited the project months later for another stage of development. My working relationship with Biño, a Brazilian choreographer based in Paris, who has also trained in circus and clowning, started in 2011 when we developed Nightshift, my first theatrical work. We also started then to discover in dance, the brokenness of the outcast. He played a homeless-drunk, clown called Hummingbird Man. I have worked on many videos over the last 14 years and have shot many of them in this same location but this is my most narrative attempt to date. I prefer to shoot intimately, just me and the other and the force of the elements. Some times our hands got frozen cold, or we got attacked by swarms of mosquitos, spiders crawled out of every hole and we truly marveled over the moon and pink sky.

mardi 24 septembre 2013

Résonance - Variation 1 - Biennale de Lyon 2013




 Dans le cadre de la Biennale de Lyon 2013, UCD Un Certain Détachement invite Alain Quercia et Lika Guillemot (Collectif des Yeux) pour une installation hors-machine. Le performeur Biño Sauitzvy (Collectif des Yeux) réalise la performance "être tricoté" le soir du vernissage.

dimanche 28 juillet 2013

M/F


Biño Sauitzvy
Masculin/Féminin
Mise en scène Julie Duclos
Photo Julien Mesemer

lundi 22 juillet 2013

Gestations

Gestations

Ce diptyque résulte d'un travail avec le danseur Biño Sauitzvy, et est à lier avec la série Echo-Graphies. Cette rencontre avait pour but de prendre en photo le corps dansant et non le danseur. Les mouvements de ce corps apparaissent ainsi détachés d’une signification liée à la problématique d’une chorégraphie.
Ce qui m’intéressait était de saisir la capacité d’un corps à créer sa propre trace, à remplir l’espace noir, à le peindre.
Mais si le corps était initialement considéré comme charge picturale et non pour ce qu’il était, les images m’ont placé devant une forte intensité des mouvements. Comme si la fixité d’un mouvement décuplait l’émotion transmise pour finalement devenir l'outil de la construction ou de la déconstruction d'un corps.

Gabriel de Vienne







Echo-Graphies

Echo-Graphies
Cette série résulte d'un travail avec le danseur Biño Sauitzvy, et est à lier avec la série Gestations. Cette rencontre avait pour but de prendre en photo le corps dansant et non le danseur. Les mouvements de ce corps apparaissent ainsi détachés d’une signification liée à la problématique d’une chorégraphie.
Ce qui m’intéressait était de saisir la capacité d’un corps à créer sa propre trace, à remplir l’espace noir, à le peindre.
Tout comme dans la série Gestations, le corps était considéré simplement comme une matière picturale, une peinture de chair faite de mouvements. Au cours de chaque séance, plusieurs mots étaient lancés, désignant chacun une attitude. Le corps devenait donc l'expression du mot lancé, il réagissait à l'impact du sens. Le mouvement fixé devenait le mot, tel un écho visuel.

Gabriel de Vienne














jeudi 11 juillet 2013

Fontaine / Part 1 - O Beijo



Fontaine / Part 1 - O Beijo
Performance
Création: Biño Sauitzvy
Avec: Biño Sauitzvy et Thomas Laroppe
Photo: Calypso Baquey
Still Moving - Jardin d'Alice / Paris, juillet 2013

vendredi 28 juin 2013

The Scarecrow


The Scarecrow
Photo et Vidéo: Bianca Casady
Performance et danse: Biño Sauitzvy


Fontaine / Part 1 - O Beijo



 "Cette performance d’une durée déterminée est une action simple, un baiser. En plus de l'arrêt du temps sur le geste, l'un prolongeant l'autre, il s'agit ici d'une articulation, d'un agencement avec la signification des mots fontaine et bouche en portugais, pour donner à voir d'autres sens en utilisant le médium de la performance."

Concept: Biño Sauitzvy
Avec: Biño Sauitzvy et Thomas Laroppe

dimanche 16 juin 2013

Holy Thursday - The Last Supper




Biño Sauitzvy
Making off "Holy Thursday - The Last Supper", un filme d'Antony Hickling
Costume: Lika Guillemot
Photo: Manuel Blanc


Holy Thursday - The Last Supper




Biño Sauitzvy
making off  "Holy Thursday - The Last Supper", un filme d'Antony Hickling
Photo: Manuel Blanc

jeudi 13 juin 2013

En Mutation - Pool 12 Internationale Tanz Film Plattform / Berlin


Lika Guillemot
En Mutation
France 2011, 08:45 min.

I moult ... he moults, we moult ...
Changing, morphing, to shed your hair,
your skins, stripping...
The mutation is in the making,
at present, here and now.
It is a silent transformation,
silent but irreversible.
It is internal, right there under the skin.
Nothing seems and yet.
A part of ourselves will be amputated.
A new body will become.
En Mutation attempts to upturn that skin,
to put on the outside which is under the skin.

# Director / Regisseur: Lika Guillemot
# Choreography: Biño Sauitzvy
# Dancer / Actor: Biño Sauitzvy
# Camera: Lika Guillemot
# Editing: Collectif des Yeux
# Sound: Magali Gaudou

EX-VIVO / Summer Of Loge N°4



 EX-VIVO / Summer Of Loge N°4

15 Juillet à 20H00 / 16 Juillet à 20H00 / 17 Juillet à 20H00

 EX-VIVO >> par le COLLECTIF DES YEUX
 Création, chorégraphie, performance : Biño Sauitzvy / Collaboration artistique & création des prothèses : Lika Guillemot / Musique : Amragol / Production : le Collectif des Yeux / Photo: Lucile Adam

 Ex-vivo signifie « hors du vivant » ; en biologie, ce sont des tests faits en dehors de l'organisme. Ici les organes sont sans corps, l'individu social n'est plus : les organes sont indépendants et pourtant vivent et donnent vie. Le spectateur est face à des organes créateurs, vitaux, symbolisent par leurs couleurs et leurs formes. C'est ici un étalement, un parcours physique, un questionnement organique suggérant l'idée de la gestation, de la mutation, de l'identité sexuelle, de la monstration corporelle et du voyeurisme. Le strip-tease, jugé niveau zzéro des arts de la danse, est ici utilisé comme outil pour dévoiler un corps dans sa simple humanité, désérotisé, fané. Le corps implose et explose à la fois afin de rendre visible l'envers de la peau. Reconstituer le corps porteur de la vie au lieu de l'entretien du corps malade. La performance se vit comme un événement une traversée pour disparaître et « ré-exister » ailleurs autrement.

 LE COLLECTIF DES YEUX Fonction et objectif: Créer un espace de production interdisciplinaire, une transversalité entre les arts. Rendre possible la création individuelle dans une optique de l'art contemporain. Ainsi, à partir de l'existence de plusieurs individualités, de leur collaboration, de l'art comme une nécessité, créer un collectif céatif et productif.

 http://www.lalogeparis.fr/programmation/669_ex-vivo-h.php

jeudi 6 juin 2013

Holy Thursday (the last supper), un filme d'Antony Hickling



Holy Thursday (The Last Supper)

un filme d'Antony Hickling

Avec:
Stephen Shagov, Antony Hickling, Stéphanie Michelini, Manuel Blanc, Gaëtan Vettier, Maxime Béhague, Hervé Joseph Lebrun, Sothean Nhieim, François Brunet, Pierre Mirgaine, Gala Besson, Amanda Dawson, Rémi Lange, Christine Mingo, Karl Lakolak, Richard Hadley, Alvaro Lombard, Rachel Gardener Smith, Bino Sauitzvy, Patricia Morejon, Florian David, Julien Presotto.

samedi 1 juin 2013

NightShift

Preview of Nightshift by Bianca Casady presented at Donaufestival 2012

 Bianca Casady of CocoRosie presents her debut theatrical dance production “Nightshift”, in collaboration with choreographer Bino Sauitzvy, a Brazilian-born dancer/director who trained in butoh, circus„ contemporary and classical dance. Nightshift features legendary ”vogue” dancer Leiomy Maldonado from New York City. Equally prone to expressing her thoughts and stories in music, poetry, drawings and video, Bianca Casady explores narrative for the first time in the form of dance. Here, she combines her musical and visual worlds to create a living portrait, following the life of an abandoned child as she degenerates into a harmless monster. In this Cinderella- like dark fairy tale, the piece ultimately recognises the humanity in the untouchable, exploring the myth of the outcast and naming the nameless.

Written and directed by Bianca Casady, Choreography: Biño Sauitzvy, Stage Design & Light: Carlos Veron, Costumes: Gaspard Yurkievich, Accessoires: Bertram Lerche
Dancers: Leiomy Maldonado, Bino Sauitzvy, Rebecca Wright, Sierra Casady, Jean-Marc Ruellan Musicicians: Bianca Casady, Daniel Bensi, Alexander Stenfert Juriaans, Doug Wieselman, Anne Rainwater

http://cocorosielove.tumblr.com/page/7

mercredi 29 mai 2013

Bianca Casady, Flor Selvagem



  Bianca Casady, flor selvagem 
 Ana Duarte Carmo, em Nova Iorque

 Diego Cortez, lendário curador nova-iorquino, compara o trabalho artístico de Bianca Casady ao da escultora Louise Bourgeois. Intrigante. Fomos à galeria Cheim & Read, em Nova Iorque, onde uma das irmãs CocoRosie expõe Daisy Chain Bianca Casady é mais conhecida pela sua música do que pela sua arte visual, mas a irmã Coco, da dupla CocoRosie (com Sierra Casady), tem cada vez mais presente este caminho, paralelo à música, de colagens, desenhos e vídeos.
Daisy Chain é a primeira grande exposição individual de Bianca em Nova Iorque desde 2007. Explora metáforas de aprisionamento, social e emocional, e de feminização. As flores selvagens são a inspiração, num processo de degeneração e descontrução. "Interessa-me como o mundo está universalmente escravizado e interessa-me explorar uma série de formas de escravidão, até das nossas próprias mentes, sem termos consciência disso", diz-nos Bianca.
 Este universo é partilhado com Jesse Hazelip, artista com base em Oakland, Califórnia, com quem Bianca colabora de forma permanente, trocando desenhos pelo correio. A colaboração mais conhecida entre os dois (dupla denominada Twin Rivers) é a capa do álbum das CocoRosie Tearz for Animals, "um projecto de intercâmbio, com desenhos a partir do interior de uma prisão".
 Solidão e flores selvagens: "Os nomes vulgares das flores selvagens inspiram-me muito. Começa como poesia, uso muitos dos nomes comuns das flores silvestres - quero dizer, as designações não científicas -, muitas das minhas ideias começam por aí. Acho que no fundo sou só fascinada por ervas e flores selvagens, pela forma como conseguem crescer mesmo em áreas urbanas, como rompem pelo cimento ...". Não usa flores consideradas de classe alta, apenas as que têm nomenclatura vulgar. "Existe um sistema de castas e experimento a minha própria romantização desse sistema, usando imagens e elementos linguísticos antiquados, arcaicos e em decadência.".
 Costuma apontar o cinema como inspiração para a sua música, agora fala-nos de um livro com imagens de flores selvagens e de Notre Dame des Fleurs (1943), de Jean Genet, autor que já inspirara o tema Beautiful Boyz (2004) das CocoRosie. Em Notre Dame des Fleurs as personagens, homossexuais, vivem à margem da sociedade parisiense da época. "Este livro inspira-me há anos, e recentemente tem-me atraído mais. Nunca o li do início ao fim, mas estou sempre a usá-lo, por o vocabulário ser perfeito para o meu trabalho: muitas vezes pego numa palavra e escrevo um poema a partir daí, que depois uso como ponto de partida para um desenho."
 Diego Cortez, curador e impulsionador desta exposição, compara Bianca à escultora Louise Bourgeois (1911-2010), também representada pela galeria onde Daisy Chain é exposta. "Algumas das ideias de feminismo de Louise parecem reencarnar no trabalho de Bianca, e também a forma como rompe com tabus. As ideias por trás do trabalho de Louise eram bastante radicais e acho que Bianca está na mesma categoria." Ambas foram influenciadas pelo surrealismo, que Casady abraça nas suas justaposições e colagens. Além das influências literárias, quando está em Nova Iorque Bianca diz que gosta de ir a lojas de produtos de beleza encontrar objectos e imagens que possa usar nas colagens, como o pente vermelho de "Rupert (2011).
 Bianca começou a trabalhar no conjunto de obras que integram Daisy Chain, inaugurada na galeria Cheim & Read em Nova Iorque, em Abril de 2011, continuando a temática de Grasswidow, apresentada em Milão no mesmo ano, na Galleria Patricia Armocida, e de Holy Ghost integrada na 4ª edição da Bienal de Arte Contemporânea de Moscovo, onde explorou a esquizofrenia. "Em Daisy Chain alguns dos trabalhos dão continuidade a essa ideia, com caras cortadas, lágrimas e cicatrizes. Interessava-me a alienação e a perturbação em que vivem estes marginais e prisioneiros", podemos ler numa conversa entre Bianca e Diego Cortez publicada no catálogo da exposição. Cortez é um dos curadores mais influentes no panorama artístico americano, influência que vai além das artes plásticas - actor, músico, performer, director de arte, e manager de bandas new-wave e punk, foi um dos fundadores do Mudd Club, um clube underground do final dos anos 70 que mudou para sempre a cena nocturna de Nova Iorque. Conheceu Bianca pelas CocoRosie, viu a exposição Lil Girl Slim "Cosmic Willingness" Pipe Dreamz a Revelation and the Death of Mad Vicky Lopez na galeria Deitch Projects, em 2007, e só teve de seguir o instinto. Em 1981, organizou New York, New Wave, exposição única que juntou o trabalho de inúmeros artistas, na antiga escola PS1 em Long Island City/Queens, hoje pertencente ao MoMa, entre os quais David Byrne, Keith Haring e Jean-Michel Basquiat (de quem foi agente em 1980). Depois de visitar o estúdio de Bianca há um ano, e "tocado pela profundidade do seu trabalho", seguiu-a de perto e acabou por propor aos amigos John Cheim e Howard Read, que estão à frente da galeria em Chelsea, a exposição agora inaugurada. "Acredito no trabalho de Bianca, na sua instalação, vídeo e em todo o seu trabalho visual, excelente por si só e independente da sua carreira musical ou da fama que possa ter." O curador esteve também ligado às exposições de Devendra Banhart em Modena, Miami e Nova Iorque, e estabelece a diferença: no caso do Devendra, a música e a arte estão ligadas que as artes visuais só se tornam interessantes no contexto global do artista. "No caso de Bianca acho que a sua obra plástica se destaca mesmo no contexto da arte, mesmo que ela seja mais conhecida pela música." "Eu brinco imenso com a feminização de figuras hiper-masculinizadas, como as estrelas do rap, os gangsters, com os seus penteados e lenços, que de alguma forma se relacionam com a servidão feminina e os escravos afro-americanos". É o que vemos na exposição, gangsters, transexuais, como em Prison Faeries 3 (2011), onde Bianca transforma um corpo através de colagens; em The White Gipsy uma burca sobre uma fotografia de um pai torna-o num mendigo feminino. Há ainda uma dimensão erótica: figuras masculinas com os orgãos sexuais substituídos por molhos de flores selvagens. "Mesmo o cliché racista do hiper-sexualizado homem negro, alimentado pelos media, é prejudicado pelas minhas alterações feitas com flores selvagens, que criam uma paisagem mais delicada" - a expressão Daisy Chain, que pode ter uma leitura de engenharia electrónica, designando então um esquema de cabos onde vários dispositivos são ligados em sequência ou em anel, é também usada para se referir a um acto sexual em cadeia. A exposição divide-se em duas partes: a de colagens, onde são criadas as personagens; e os desenhos a maior escala, onde aquelas são desenvolvidas e onde as técnicas de colagem acabam por se dissipar.
Dias antes da inauguração, Bianca dizia-nos que gosta de trabalhar no espaço onde exibe, passar tempo nele, relacionar-se com ele, transformá-lo em algo seu, e foi isso que aconteceu na galeria estabelecida em Chelsea desde o final dos anos 90 onde a exposição está patente até 8 de Setembro. Num vídeo e em muitas das fotografias expostas surge Biño Sauitzvy, bailarino e coreógrafo brasileiro que tem colaborado com Bianca, nomeadamente em Nightshift, peça de teatro-dança apresentada no Kampnagel Arts Centre em Hamburgo. A performance apresentada na inauguração da exposição, uma coreografia de Bianca interpretada por Biño, foi também fruto deste trabalho.
 Apesar da obra visual de Bianca poder ser avaliada de forma independente, a dissociação das CocoRosie é impossível, e ela acaba por assumir que está tudo ligado. "A única diferença entre a minha arte e as CocoRosie é não ter a minha irmã como parceira do meu trabalho visual, não há nenhuma diferença em termos da minha contribuição, pois vêm ambos do mesmo sítio."

http://ipsilon.publico.pt/artes/texto.aspx?id=307381

mardi 28 mai 2013

The Scarecrow in the Tales of a Grass Widow





CocoRosie Tales of a Grass Widow
Scarecrow: Biño Sauitzvy
Photo: Bianca Casady
Layout: Jean-Marc Ruellan

vendredi 17 mai 2013

Grand Genet: Nossa Senhora das Flores

Video from the production of "Grand Genet: Our Lady of the Flowers," directed by Biño Sauitzvy. This video was broadcast on Brazilian television. Nando Messias plays the transvestite Divine.

Grand Genet: Our Lady of the Flowers

Video from the production of "Grand Genet: Our Lady of the Flowers," directed by Biño Sauitzvy. This video was broadcast on Brazilian television. Nando Messias plays the transvestite Divine.

Grand genet: Our lady of the Flowers

Video from the production of "Grand Genet: Our Lady of the Flowers," directed by Biño Sauitzvy. This video was broadcast on Brazilian television. Nando Messias plays the transvestite Divine.

Nando Messias on ‘political dressing’



Nando Messias on ‘political dressing’

A guest post by performance artist, choreographer and academic Nando Messias.
Nando Messias is a longtime friend and collaborator of BST. We asked him for his thoughts on ‘political dressing’ and the other facets of queer theory that his work covers. The post is illustrated with pictures of Nando by BST co-editor Darrell Berry.

I have a PhD in queer theory and dance-theatre performance. Queer theory, in a nutshell, is concerned with anything that might be seen to be going against the so-called ‘normal.’ That is clearly a quite wide ranging field of study as it can encompass sexual behaviour, body image, social, ethnic, racial issues and so forth.
My research is concerned specifically with gender behaviour. To be even more specific, I look at the effeminate body or, in other words, male bodies that act, behave, move, walk in ways that might be described as ‘feminine’. It is, of course, incredibly more complex than it sounds as the words ‘male,’ ‘feminine’ and ‘body’ are all nuanced and, in a way, up for grabs, as it were. That is, what we consider feminine in the West in 2012 might be different than other cultures around the world and across history might have seen as feminine.
My work then involves analysing current understandings of male femininity and the social implications that might derive from a man who wears high heels and make up but who still identifies as a man (rather than as a drag queen or as a transwoman or a transvestite or a cross-dresser…). The choreography, especially of my PhD performance piece Sissy!, comes out of observations of the effeminate body and its social interactions with others.

My work as a dancer-actor and choreographer has been hugely influenced by the work of Pina Bausch. I situate what I do within the tradition of dance-theatre and Bausch is the main figure in the world of dance-theatre.
I often work with Biño Sauitzvy, who is someone I admire profoundly artistically speaking. We did Sissy! together and also a stage version of Jean Genet’s novel Our Lady of the Flowers in which I play the transvestite Divine. Our next project is a duet in which we play Kazuo Ohno and Tatsumi Hijikata, the creators of Butoh. In terms of my modelling work, I always try to incorporate some of the queer ideology that guides my other work. I have been featured in W magazine as part of the Theo Adams Company. That job was shot by David Sims, styled by Camilla Nickerson and the make up was done by Linda Cantello. It was one of the most amazing fashion jobs I have ever done. Lorna Luft was photographed with Theo as part of that same story. Having her on set was super special for me considering that her mother was Judy Garland, the high-priestess of gay and queer culture. I have also been featured in Candy magazine (the first ever transgender-focused style magazine), Issue One and POP.
Part of my research and my work is this idea that I am unable to disguise my effeminacy. Not only am I unable to do it but, more to the point, I am unwilling to even try so I am only interested in modelling jobs that reflect that philosophy.
I am interested in make up and garments traditionally associated with the feminine universe as an act of subversion of social norms. The term ‘feminine universe’ sounds really strange and hugely generalising to me as I read the previous sentence back. It makes it sound like there is a completely different universe out there that is totally detached from anything else. But I suppose you know what I mean. I am talking about lipstick, high heels, dresses and so on. Generally speaking, I use these not in order to make me look like a woman. I am not interested in ‘passing’ as a woman, although I have occasionally done that as well. Rather than ‘passing,’ I am more interested in reaching for the things (objects, garments, accessories, perfume, nail varnish, etc.) that have conventionally been denied me. I am interested in blurring the lines.
I would not define myself as a drag queen but would not object to being called a drag queen either. I think there is some contempt for the term ‘drag queen,’ especially within gay/queer circles that I actively want to avoid. It is somewhat analogous to what I identify in mainstream society as the contempt for the feminine. My appropriation of these signifiers is, to me, a political act.
Bette Bourne talks about political dressing. I like that term. I like that idea. I use these signifiers of femininity not only in my work but also in my daily life. I have my nails painted, I wear lipstick, I wear heels when I go out. I enjoy dressing up. I am always a lit bit shocked by how much this can push people’s buttons. Most people like clear lines. They like a man to look like a man and a woman to look like a woman, whatever that might mean. Going back to the contempt for femininity I was talking about earlier, I think it is still more easily accepted in today’s society for a woman to dress in what we traditionally associate with elements belonging to the masculine wardrobe. In other words, a woman with a gamine haircut, wearing a suit, tie and brogues is not that outrageous anymore even though, as we very well know, some suffragettes were arrested for the simple act of wearing trousers. But Yves Saint Laurent made it chic for women to wear a tuxedo back in the 70s. A man wearing a dress or heels or make up, however, is still largely ridiculed.
I wonder what that is all about. Something to do with male and masculinity representing power and the idea of a man wanting to relinquish that power being confounding.
I personally think the increased visibility of transgender and transexual models in fashion is progress even though I think there is still much work to be done. There is a lesson to be learned from history. If we think about the reality of a different minority group, namely models of colour, than we can really see how far from acceptance we still are. The first black model to appear on the cover of Vogue was Beverley Johnson in 1974. I think British Vogue got there first even though there were rumours she was covering most of her face in order to hide her (ethnic-looking) nose and mouth… Britain has always been on the forefront of equality in many aspects, I think. But back to the reality of black models in fashion today… Only this last week there was an article on the Sunday Times that talked about Philip Treacy’s all black model cast for his latest show at London Fashion Week. It relates how non-Caucasian faces in fashion are still exceptions, how there are still very few spaces for ethnic minorities despite the likes of Beverley Johnson, Beverley Peele, Iman, Naomi, Alek Wek, Joan Smalls, Jourdan Dunn, etc. having made it somewhat more acceptable. Why is this still an issue 28 years after the first black model made history by appearing on the cover of a mainstream fashion magazine?
Perhaps things haven’t moved that far forward. The reality for transgender and transsexual models is, realistically speaking, even tougher, I should think. We have Andrej Pejic and Lea T, who are, by the way, both amazing!!! but that is it, really, in terms of recognisable faces (and names) in fashion. And even these two examples are very much confined to a specific niche of the fashion market, which is, itself, already very niche and elitist. It is very few designers who are brave enough to use these transgender and transsexual models. From the top of my head, I can only think of Riccardo Tisci at Givenchy and Jean Paul Gaultier. How long will it be before a transgender or transsexual model makes the cover of Vogue? And then after that, what will be the next taboo to be tackled?
Basically, and really generally speaking, ‘normal’ is a made-up concept. Its invention has been traced back to the 1800s and the Victorian obsession with classifying things. It is a term connected to the birth of statistics, where what the majority of us does becomes accepted as the norm. The problem than becomes what is done to those of us who fall outside the parameters of normal. This is when it starts to get complicated and we, as a society, begin to create categories of abnormality such as mental (and physical) disease and criminality, which are then associated with behaviours that prior to the invention of ‘normality’ were not necessarily seen as such.
There is another important question to be asked here: who determines what is normal and what is not normal? It is all very much associated with white male supremacy, where being white, heterosexual, masculine-looking and masculine-acting (if you’re a man), feminine-looking and feminine-acting (if you’re a woman), thin, healthy, financially-solvent, not too tall but not too short and so on and so forth. Normal changes and evolves as we change and evolve as a society. It is not a fixed concept. Queer theory evolved as a way to challenge this way of thinking, it offers an alternative way to think about these categories. In what regards sexology, for instance, why have ninetheen-century scientists decided to categorise the whole of humankind according to whom they have sex with? If with someone of the same sex as you: homosexual. If with someone of a different sex: heterosexual. Why not classify people according to how often they have sex or where they prefer to have sex or whatever other random category? It has clearly to do with Judeo-Christian values of marriage and family but also with how the state controls its subjects.
No human being falls completely within the boundaries of normal.
We all have our idiosyncracies. Human behaviour is more fluid than normal allows room for.

photo: Darrel Berry

mercredi 15 mai 2013

Carte blanche/Courts métrages d’Antony Hickling



photo: Ophélie Soulier-Bois in Q.J., Biño Sauitzvy in Birth 3, Biño Sauitzvy in Little Gay Boy, Christ is Dead.


Carte blanche/Courts métrages d’Antony Hickling

Birth 1 2009 – 2’43’’
Inspiré par « L’homosexuel ou la difficulté de s’exprimer » de Copi, Birth (1) expose la relation destructrice et incestueuse d’une mère et d’une fille...
Birth 2 2010 – 6’
Cet opus central de la trilogie est une vidéo de performance, un manifeste qui explore la construction intime de l’identité sexuelle.
Birth 3 – La mort d’un Triptyque 2010 – 15’
Fin de la trilogie Birth. Le thème de la sexualité est toujours central. Le film explore l’abus dont devient victime le personnage principal lorsqu’il révèle son orientation sexuelle à une société hostile. Le film est théâtral dans son style et dans sa forme.
L’Annonciation ou The Conception of A Little Gay Boy 2011 – 15’
Rien ne semble pouvoir briser le cycle monotone du quotidien mélancolique de Maria, vivant et travaillant à Paris. Jusqu'au jour où cette prostituée anglaise, esseulée, sera élue et révélée par l'Annonciation. Première partie d'une trilogie sur la conception du « little gay boy ».
Little Gay Boy chrisT Is dead 2012 – 30’
Second volet de la trilogie « Little gay boy ». Jean-Christophe vit avec sa mère, prostituée anglaise installée à Paris. Et il rêve de devenir mannequin… Le temps d’une journée, JC est confronté à une série de rencontres et d’abus qui le transformeront à jamais. De l’innocence, il passe à l’expérience, ses rêves et lui-même se voyant détruits par tous ceux qui l’entourent. La violence des séquences est sublimée par des scènes de bondage, de performances et de danse.
Q.J. 2012 – 5’
Le film, inspiré par « La Passion de Jeanne d'Arc » de Carl Théodor Dreyer (1927), réinterprète des extraits proposant une relecture contemporaine de cette oeuvre, à partir des thèmes de la sexualité et de l’oppression.

Mardi 21 mai 2013, 19h30...

Cinémas STUDIO
2, rue des Ursulines,Tours

Festival Désir Désirs
www.desirdesirs.com


dimanche 12 mai 2013

Bianca Casady - interview



This is a big summer for Bianca Casady, half of the musical duo CocoRosie, who just released a new single and video for their song “We Are On Fire.” In late April, she wrapped up her first experimental dance piece, “Nightshift,” which she performed at the Donaufestival in Krems, Austria. And this evening she will unveil her first solo show of artwork (drawings, collages, photographs and audio and video pieces) in New York City since her debut at Deitch Projects in 2007. Even as she spreads herself across numerous formats, Casady is a prolific artist, consistent in her voice.
Where have you been recently?
I just got back from a short tour in California, traveled in an RV — reminds me of the old days, wind in the hair, speeding down the highway. Most of our childhood seems like this. Besides that road trip I have been working in NYC on my art show. And before that I was in Germany and Austria directing and performing a new theatrical dance piece that I wrote called “Nightshift.” The choreographer Bino Sauitzvy, with whom I worked, will be performing at my opening.
What are you working on right now?
This morning I am working on the video component to my art show, “Daisy Chain.” It’s mostly large drawings and works on paper. Also starting to compose for a movie score.
Where can I see it — and when?
“Daisy Chain” opens at Cheim & Read in Chelsea on June 28. It will be up all summer.
Seen anything amazing lately — not your own?
Just lots of weeds and wildflowers taking over the neighborhood, breaking through the sidewalk, occupying vacant lots.
Where are you headed?
I’m headed to Europe early July to tour for a month or so with a very large band. We will be 10 people on stage at least. Some strays will trickle in along the way, I’m sure. Five of the musicians are from India, playing traditional instruments. Should be a wild ride.
What’s next on the agenda?
Movies, plays, a collaboration with Robert Wilson.

vendredi 10 mai 2013

The Art World of CocoRosie


THE ART WORLD OF COCOROSIE


SINGERS, ARTISTS AND PERFORMERS: THE DUO COCOROSIE, WITH AMERICAN SISTERS SIERRA AND BIANCA CASADY, ARE ONCE AGAIN ATTRACTING A LOT OF ATTENTION WITH THE RECENT RELEASE OF THEIR SECOND SINGLE “GRAVEDIGRESS”, WHICH, TOGETHER WITH “WE ARE ON FIRE”, PRECEDES THE RELEASE OF THEIR NEW ALBUM, “TALES OF A GRASS WIDOW”, DUE OUT ON THE 27TH OF MAY.
However, it is now generally known that the world of CocoRosie is not limited to the musical sphere. In fact, the two sisters are deeply involved in other projects, too.
In the last few days (but there will be other dates in May and July) the new theatrical production of Peter Pan premiered at the Berliner Ensemble. The work is by the American playwright Robert Wilson, who asked to work with CocoRosie. This is a dark, cruel story, utterly different to the one recounted by Disney, and much closer to the atmosphere of the original version created by James Mathew Barrie in 1902.
Initially, the director had asked Antony Hegarty – with whom he had collaborated on the extraordinary work, “The Life and Death of Marina Abramovic” – to write the music for this new work. Following Hegarty’s refusal, he chose CocoRosie, attracted not only by their outstanding ability to make music but also, and above all, by their strong visual sense. It seems self-evident that Wilson – who had worked with people like Rufus Wainwright and Lou Reed – did not choose them by chance. Bianca Casady, in fact, is not new to the world of art. A few months ago she was involved in choreographing and staging the ballet “Nightshift”, the fruit of her collaboration with the choreographer Biño Sauitzvy and the dancer Leiomy Maldonado fromNew York. In this work, for the first time, Bianca explored narrative in the form of dance, incarnating it into a sort of dark Cinderella fairy tale, in order to discover the humanity in the untouchable and to explore the world of life on the margins of society.
Also a few months ago, Bianca’s solo exhibition, “Daisy Chain”, was held at the Cheim & Reid Gallery, New York, and included drawings, collages, photographs, audio and video works, in which the artist explored the portrayal of male prisoners playing feminine roles. Then, later this year there will be the launch, with artist Anne Sherwood, of a literary and arts publication: “Girls Against God”. Linked to this project, is the movement, “Future Feminists”, with Antony Hegarty, of Antonyand the Johnsons, and the performers Kembra Pfahler and Johanna Constantine.
The aim of the group is, as they put it, to “free society and protect the planet from the corrosive effects of patriarchal belief systems”. It seems that all the songs from “Tales of a Grass Widow” will be in line with the group’s mission. And it doesn’t end there. If you want to hear them live, CocoRosie will be back in Italy in June with their unmistakeable mix of folk, electronics, hip hop and opera, stopping off at the Magazzini Generali in Milan on the 14th of June; in Rome, at Villa Ada, on the 15th and on the following day; and at the Soliera Festival of Visual Arts in the province of Modena.