A children`s choir is singing loudly the Local, punctual

My work is lifted by desire ; the desire stated in choices, moods, convictions
and errors. These statements, wich we could consider private, are possible
spaces (pictorial, video and above all performance) for research, general
studies and detailed observations. Writing is composed in dialogues, theory
or songs, where the act of speech is thought as a practice and drawing as
an analysis.
And, in my work, the word relationship is significant. Whether it is in love,
semantic, sex or politics. The relationship is an engagement in two parts grouped and almost always independent. This “almost always” is a driving
force in my practice : the performances are built with thanks of a collaborative
work. The foundations of my written pieces evolve progressively throughout
rehearsing and the exchanges with the interpreters of the played parts.
The actors are chosen for their body language, their ability and also their
inability, their obedience and also their lack of discipline. The choir is a tool
that explains a complex plot that connects individuals (to be heard and to
listen at the same time). Singing, or refusing to sing with somebody else
appears as a central metaphor of all society.
FANNY TORRES
born in 1983
lives and works at Nevers, France
+33 6 13 36 14 23
[email protected]
www.fanny-torres.com
Education
2008
DNSEP (MFA), École nationale supérieure des Beaux-arts de Lyon, France
2007
Master in Fine art, Escuela Nacional de Pintura, Escultura y Gravado, Mexico.DF.
2006
DNAP (BFA), École nationale supérieure des Beaux-arts de Lyon, France
2011
Cêfêt_Versions des Faits, French Institute of Lisboa, Portugal
2010
Solo Show on line, Le Flac, http://www.leflac.fr
2009
Solo Show, Aristologie, Néon, Lyon.
credits : Cristian Guardia Jacinto (2011)
Shows
54ème Salon de Montrouge.
2008
6x2, Galerie La Rage, Lyon
2007
La poésie/Nuit, Chantier Public, Lyon.
Performances
Production de rencontre, Imergência, French Institute of Lisboa, Portugal
2011
Pénélope s’interroge quant à l’engagement..., Galerie Arko, Nevers.
Her : « I sincerely doubt that the encounter is simply
Commune feat. Fanny Torres, Chez Néon, Lyon
one occasional binomial formed by two entities wich
Unanimement Démarqués, Hors-les-Murs Parc Saint-Léger, Pougues-les-Eaux
Aristologie~Soyons communistes, une bonne fois!, Chez Néon, Lyon
2009
Aristologie, Musée des Moulages, Lyon
Mon Ambassade, c’est toi, Point d’impact, Piano Nobile, Genève
2008
Sur le front, performée par Benjamin Seror, Centre d’Etudes Poétiques, ENS-Lyon
On, de F.Torres et Matthieu Schmittel, Théâtre des Ateliers, Lyon
2007
Ella me ha dicho que ella vendrá a hacer una acción mañana, CENART, Mexico.DF.
would “meet by chance”...
Him : Us two together could grasp the state of meeting.
Her : To grasp the state of meeting ? To remake it at
will ? But the state of meeting is precisely what defies
the wills. How do you want to deliberately put yourself
in a state of meeting ? How can one put himself in a
position to be surprised ?
Him : Well, first of all, put yourself in an available
position...it’s necessary to be available, to be mindful
to the world and to others. You know, a slight attention
with a n upsurge of self-confidence added and a few
smooth and aerial movements. Let’s allow us to be led,
like that, impromptus...
Publications
Her : Thus, you wanna play at being agree ?
Oscillations#1
2012
2011
Sauce Moutarde#1
2010
KazaK n#8 performant-
Him : There we are ! Since the meeting is one big
“Yes !”, since the meeting is a consent, let us manage
to be agree !
Her : Very well, let us discus then [...].»
Elle : « Je doute sincérement que la rencontre ne soit qu’un
binôme occasionnel formé par deux entités se “rencontrant” par
hasard...
Lui : Nous pourrions à nous deux saisir l’état de rencontre.
Elle : Saisir l’état de rencontre ? Pour le refaire à volonté ? Mais
l’état de rencontre est justement ce qui échappe aux volontés et
aux projets établis. Comment voulez-vous délibérement vous
mettre en état de rencontre ? Comment peut-on se mettre en
état d’être surpris ?
Lui : Et bien rendez-vous tout d’abord un minimum disponible...
il faut se rendre disponible, se rendre attentif au monde et
aux autres. Une attention légère augmentée, voyez-vous,
d’un regain de confiance en soi... agrémentée de quelques
mouvements souples et aériens. Laissons-nous menés, comme
ça, impromptus.
Elle: Ainsi, vous voulez jouer à être d’accord ?
Lui : C’est ça ! Puisque la rencontre est un “oui!”, puisque la
rencontre est acquiescement, débrouillons-nous pour être
d’accord !
Elle: Alors, très bien, discutons.»
Aristologie~Soyons communistes, une bonne fois!, DVD box.
2008
LAPS n#3, 170 ex.
2007
fanny torres performe à mexico, off- set DVD box, 60 ex.
Participation
2010
Hymne local ponctuel continué, Hors-les-Murs, IAC Villeurbanne
Extras in several Bollywood movie and TV Serial, Mumbai.
2009
Montrouge’s auction.
2008
Poésie, performance by Benjamin Seror and Nicolas Boone, Théâtre des Ateliers,
Lyon.
2007
Marina Bay, performance de B.Seror, Néon, Lyon
Production de rencontre (Production of meeting)
performance 18mn
2011
Production de rencontre is a dialogue written for two interpreters who don’t know each other. This
dialogue reflects in real-time the idea of meeting. What is a meeting? What is an event? Are we now
in a state of Meeting? …
credits : arko (2011)
Pénélope answers that (i stand up, slip a hood on
and seize the loud-hailer) it is the experience of
love that allows the abslolute. I add that the flesh
is a whole thing ! (then I activate the karaoke)
À cela, Pénélope répond que (je me lève, enfile une cagoule
m’empare du mégaphone) c’est l’expèrience d’amour qui permet
l’absolu. J’ajoute que la chair est un tout ! (puis, j’active le
karaoké)
You passionate me
We surpass ourselves :
Erotic is my ambition,
Love is illumination.
Tu me passionnes,
nous nous dépassons :
L’Érotique est mon ambition.
L’amour est illumination.
In that, Erotic is sacred
(sex has never set anyone free )
En cela, l’Érotique est sacrée
(le sexe n’a jamais libéré)
I commit myself and you act myself !
(The choir commits itself and stands up, fist
raised)
The absolute is in the enjoyed !
The abolute is in the enjoyed !
And pornology !
No mecanic ! I am aristocratic !
(The choir commits itself, fist raised )
No mecanic ! I am aristocratic !
(I sit down and I take off the hood ; Thierry leaves
the chorus and joins the pedestal table)
Je m’engage et tu m’agis ! (le chœur s’engage, poing levé)
L’absolu est dans le joui !
L’absolu est dans le joui ! (le chœur s’engage, poing levé) Et la
pornologie !
L’absolu est dans le joui ! Et la pornologie ! (le chœur s’engage,
poing levé) L’absolu est dans le joui ! Et la pornologie !
No mecanic ! Je suis aristocratique ! (le chœur s’engage, poing
levé) No mecanic ! Je suis aristocratique !
Transition Zone : is a corridor allowing the set up.
There one takes off one’s shoes undresses and
equips oneself. It makes the link between outside
and the relation zone.
Relation Zone : is an action space where things are
brought into play. Only the sound of gesture and its
movement is allowed.
Speech Zone : Exclusive place for spoken words,
this area can be occupied by only one person at a
time. It allows to enounce an idea, a question, a
laugh or to express one’s displeasure out loud.
Offside Zone : Inactivity zone. The inactive is the
one that does not want to participate. There can be
3 inactives maximum.
(Je m’assois et retire la cagoule ; Thierry sort du chœur et rejoint
le guéridon)
Pénélope s’interroge quant à l’engagement ou, Ou bien... ou bien (Pénélope questions the notion commitment or, Maybe... maybe)
performance 40mn
2011
Pénélope... is a performance appropriating the creation of the myth of love. Confessions, magic
tricks and troubadour songs are added to attempt a debate on love. This attempt is upheld and
denied by a Tristan, a Don Juan and a choir.
Unanimement démarqués (To free us from the marker)
a one-hour group performance
2011
Unaniment démarqués is composed of 4 actions of 1 hour each one. These actions are activated
by 13-years-old pupils. Where the participants ainm to justify their group. Four playing cards equal
four “political exercises”: a choreographic notation on paper, a chromatic gradation, a monologue
with several voices and a dialogue.
article №9/ Renewal: Local initiatives are one-shot. Owndemocracy, direct democracy, or semi-direct democracy deny any stabilization, avoiding in that way any
loss of living contents or the creation of a simplistic
bureaucratic apparatus. Own-democracy is a regime
of exception, it’s local, one-shot and continued. Aristologic oligarchies do not last. Any group needs more
or less regular renewal of its acting class. Only exist
situations.
Thus by renewing the active ones, the, active elite is in
a slow and continuous state of transformation.
article №9 / Renouvellement : Les initiatives
locales ont un caractère ponctuel. La démocratiepropre, démocratie directe, ou semi-directe se
refuse à toute stabilisation, évitant ainsi la perte
de contenu vivant ou la formation d’un simple
appareil bureaucratique. La démocratie-propre est
un régime d’exception, local, ponctuel et continué.
Les oligarchies aristologiques ne durent pas. Tout
regroupement a besoin d’un renouvellement plus
ou moins régulier de la classe agissante. Il n’y a
que des situations.
Par l’effet de la circulation des Réalisants, l’élite
agissante est dans un état de transformation lente
et continue.
Constitution locale, ponctuelle, continuée (Local, one-shot, continued Constitution)
text
2010
Hymne local, ponctuel, continué (Local, punctual, continued Anthem)
video, 3mn
2010
The Constitution locale ponctuelle continuée is a political act without any juridical values. It’s a
fundamental law that manages relationships between people within my performances
The Constitution is divided into three chapters : 1.Locality ; 2.Precariousness; 3.Punctuality.
Inspired by a trip to India (where the national anthem is played at the beginning of every film
screening), this video thanks the audience for standing up and listening the Local, Punctual, Continued Anthem, an emphatic music in MIDI format.
Realizing instantaneously,
without any gesture or word,
what is happening inside me,
there ! this insolates me!
S’apercevoir dans l’immédiat,
sans geste ni parole,
ce qui se joue en moi,
voilà! ceci m’isole!
I am unique, (she is unique)
impenetrable, (impenetrable)
even when I screw,
I remain unscrutable.
Je suis unique, (elle est unique)
impénétrable, (impénétrable)
même quand je nique,
je demeure insondable.
In the secrecy,
no one can replace you. ((a))
Dans le secret,
personne ne peut vous suppléer. (bis)
Chorus, in the dark, divided into several voices:
Le chœur, dans le noir, divisé en plusieurs voix:
You said and you don’t mention,
respectively,
with others or alone. ((a))
Vous dîtes et vous taisez,
respectivement,
communément, solitairement. (bis)
Your interiority is
relatively,
linked to the exteriority,
necessarily,
and your silence with disclosing.
Then neither spoken, nor hushed up,
barely defeated,
a silent man no longer exist.
Hymne local, ponctuel, continué
video, 3mn
2010
A children’s choir is singing loudly the Local, punctual, continued Anthem without any care for the
meaning of words but with a real passion. Each syllable sung shoots up from the screen in a the
shape of tricolored firework.
Votre intériorité est
relativement,
liée à l’extériorité,
nécessairement,
votre silence à l’ébruitement.
Puis ni dit, ni tu,
tout juste vaincu,
un homme tu n’existe plus.
Aristologie
performance, 11mn
2009
Aristologie questions the post-mortem transmission of who we are. Sung by 2 soloists (two “First
person”) and a male choir (the “We”), this performance is a dual between the lonely man and the
community. So, the “First person” is a creator, a spectator, an heir or a lover. The choir (beween
being an antique choir and a military cadence) is like a solution, a weight and a challenge to our
own transfer.
credits : jean-alain corre
credits : jean-alain corre
Aristologie- dépeuplement (Aristology - depopulation)
video installation
2009
This installation is the resulting depopulation of the performance Aristologie. The video has the
same music as the performance in instrumentals, with the distribution of the lyrics in the form of
a Karaoke.nstallation readjust music, lyrics and casting in a karaoké version. Singers are absent,
but their voices are expected...
Oligarchie aristologique - n°1 L’Une particulière (Aristologic oligarchy - n#1 The Particular One)
series of numerical impressions,
50x50 cm, framing mate black metal
2009
These drawings schematize the relations, the ideas and contradictions evoked in the performance
Aristologie : “ The particular One” , “ The Erotic” , “ A sterile couple = 2 citizens-consumers”, etc.
Let us open the in between
Let us gather without being bound
Let us open the in between
Let us get united without coming to an end.
Ouvrons l’entre-deux
Rassemblons sans unir
Ouvrons l’entre-deux
Unissons sans achever
Relation, relation and separation.
Men do not speak about relations.
Women do not ask for narration.
A minimum of distinction,
and we will not copulate.
Cha-cha-cha
Rapport, rapport et séparation
Rapport, rapport et séparation
Rapport, rapport
Rapport et séparation
Ils ne parlent pas de relations
Elles ne demandent pas de narration
Un minimum de distinction
Et nous ne copulerons
cha-cha-cha
Chorus (wisthling)
Chorus (sifflement)
Mon ambassade, c’est toi (You are my Embassy)
performance
2008
Two coupleshaving talks and singing exchange their point of view concerning the setting in
couple and the friendship. The words and displacements written down on the plate, each singer
watchs out not to erase the partition; this precaution generating of the unbalanced movements.
Mon ambassade, c’est toi - dépeuplement
video installation
2008
This installation is the resulting depopulation of the performance Mon ambassade, c’est toi. The
video has the same music as the performance in instrumentals, with the distribution of the lyrics
in the form of a Karaoke.nstallation readjust music, lyrics and casting in a karaoké version. Singers
are absent, but their voices are expected...
credits : sébastien leseigneur
- “ Well, we are mostly facing melodic moments there when
everyone is expresses itself through one unique voice.
- Mmh… it’s true that it we’d better not staying in a community form which appears to be more or less dubious…
- It is necessary to add a multi voices text
- Yes ! to evoke the idea of a group under way of formation…
- So, this dialogue moment was not assigned (in the
meaning of assigning roles)
- Everything happens in real time : the speaking time being
regulated by a listening principle
- It’s about creating a group, where individualities always
get back on top.
- We are a plain and interdependent group !
- However, we refuse the unanimity or unison…
- Not ! We are not unanimous !
- Or perhaps we are... in inhibition… Yes, our spontaneousness is inhibited here…
- You mean I keep my distances ?
- And that I dont devote myself to my surges ?
- Yes. Each one here is an obstacle in expressing myself
freely. I am wary...
- We all are wary… of ourselves !
- Some of us have already left the group anyway...
- And there is no doubt that they are the ones who currently
make a show out of this performance, make a silent world.
- You’ve just leave a line, did’nt you ?
- Well, I’d say that, expressing myself through the doubt
(the action is each time suspended ! ) my involvement falls
apart...
- All right, but your spontaneousness’failure leads to
reason and theory.
- You wanna talk about politics ?”
5
10
15
20
25
30
— “ Bon, on est surtout devant des instants mélodiques, là ;
où tout le monde s’exprime d’un bloc.
— Mmh… c’est vrai qu’il serait souhaitable de ne pas rester
sur une forme communautaire, comme ça, plus ou moins douteuse…
— Il est nécessaire d’ajouter un texte énoncé à plusieurs !
— Oui ! pour évoquer l’idée d’un groupe en formation…
— Alors, cet instant dialogique n’a pas été distribué…
distribué dans le sens ‘casting’.
—Tout se distribue en temps réel : la parole se prenant
sur un principe d’écoute.
— Il est ici question de la création d’un collectif, où les singularités
reprennent toujours le dessus.
— Nous sommes un groupe uni et solidaire !
—Toutefois, nous refusons l’unanimité ou l’unisson…
— Non ! Nous ne sommes pas unanimes !
— Ou peut-être si, dans l’inhibition… Oui, notre spontanéité
est ici inhibée…
— Tu veux dire par là que je garde mes distances ?
— Et que, moi, je ne me livre pas à mes élans ?
— Oui. Chacun ici est un obstacle à ma liberté d’expresssion,
ou plutôt… je me méfie.
— Nous nous méfions tous… de nous !
— Il y en a d’ailleurs qui ne participent déjà plus…
— Et c’est sans aucun doute ceux-là qui font actuellement
de cette pièce un spectacle, un monde silencieux.
—Tu as sauté une ligne là, non ?
— Bein… c’est-à-dire que, me manifestant par le doute – l’acte
est à chaque fois suspendu tout de même ! – ma participation
est rompue…
— D’accord, mais l’échec de ta spontanéité éveille la raison
et la théorie.
— Tu veux parler politique ?”
Nous ne sommes pas unanimes (We are not unanimous)
performance, 40mn
2008
On (Us)
performance /Matthieu Schmittel et Fanny Torres
2008
We are not unanimous is a written performance for a group: we are trying to create a being-together, with dialogue, song and silence. Thirty chorus-singers, a rock oldies group , a duet… and
yet, each participant are found solitary withinin the group, because of the group.
A rock’n’roll song in duet where the battery’s elements are progressively moved, scattered ; rhythm
is very quickly exploded while voice is stretched little by little. The construction of the rhythm is
preserved but the rhythm itself is not any more.
Four minutes is the average duration
for a popular song. And,
a melody is popular :
which is what brings us back to it’s vocal essence.
It takes longer to articulate words than affects.
mélodie
informative
Hum… the affect tells what it is
as soon as it appears, but
but the sentence and words take longer
to unfold.
It is about reproducing what is
at the same time the most banal in phonation
and the less common
in the music repertoire.
mélodie
injonctive
We are talking about intonation’s tics voice.
The specific and well defined place of their tastes
allows to build a discrete set of levels,
an inside scale of their wills, and thus
a combinatorial law in order to organize the memory.
mélodie
descriptive
{
{
{
Quatre minutes / représentent / la durée moyenne-----d’une chanson / populaire / et-----et une mé / lodie est / populaire----ce qui nous / ramène à / son essence vocale-----
euh...
les mots sont / plus longs à / s’articuler que----les affetcs /
hum l’affect / dit ce qu’il est dès---la première / apparition / mais---mais la phrase / les mots prennent / plus de temps /
pour se déployer----Il - s’a - git - de - repro - duire - ce qui - est /
à la - fois - le plus - banal - dans - la - phona - tion /
et_ _ _ _ le - moins - courant /
dans - le - ré - per - toire - mu - si - cal /
Nous - par - lons - des - tics - in - tona - tifs
de - la - voix_ _ _ _ /
La - place - bien - dé - ter - mi - née
et - a - pré - hen - dée /
de - leurs - de - grés_ - per -met
d’é - cha_ - ffau - der /
un - en - semble - dis - cret de - hau - teur,
une - graduation -in -té - rieur /
et - donc - une - com - bi - na - toire
qui - ordonne - la - mé - moire /
Quasi une chanson (Almost a song)
performance, 7mn
2007
Quasi une chanson is a sung performance questioning the loss of the intonation, and thus the
difficulty for interpreting the meaning of a sentence when this one is sung.