4x4 is een vierdaags experimentele platform dat
Transcription
4x4 is een vierdaags experimentele platform dat
4x4 1>4 September 2005 & entrelacs (substantif masculin) • Ornement comportant des motifs entrelacés. Ornement composé de motifs dont les courbes s'entrecroisent et s'enchevêtrent : 1. Il [le Charles IX de Clouet] est là tout entier, aussi réel que s'il posait devant vous, dans son justaucorps de velours noir rayé d'entrelacs d'or... GAUTIER, Guide de l'amateur au musée du Louvre, 1872, p. 164. 2. Toute une plastique différente s'élabore de ce fait; elle joue surtout sur le graphisme et la tache (...) elle explique les entrelacs et les sinuosités de la miniature irlandaise et du décor viking, aussi bien que les motifs tourbillonnants de la Polynésie; elle anime encore en notre temps les emportements jaillissants d'un André Masson, ou de peintres abstraits plus récents tels que Hartung, Soulages, Mathieu ou Michaux... HUYGHE, Dialogue avec le visible, 1955, p. 191. B. P. anal. Réseau formé de fils, de branches, se croisant les uns les autres. Frédéric la saisissait [la main], doucement; et il contemplait l'entrelacs de ses veines, les grains de sa peau, la forme de ses doigts (FLAUB., Éduc. sent., t. 2, 1869, p. 91). Le ciel limpide parmi les entrelacs de la vigne et des roses (ROLLAND, J.Chr., Buissonard. 1911, 1343). Au fig. Enchevêtrement, imbrication. Si vous vous donniez la peine d'embrasser cet ensemble, vous tireriez de l'entrelacs de tant de faits grands et petits de bien frappantes conclusions (GOBINEAU, Corresp. [avec Tocqueville], 1850, p. 150). Je connais si bien le réseau nerveux, l'entrelacs de mes défauts et de mes qualités! (DU BOS, Journal, 1926, p. 32) : 3. L'entrelacs des intérêts privés, collectifs et étatiques et la compénétration de la recherche, des études et des réalisations défie toute procédure d'imputations. e PERROUX, L'Écon. du XX s., 1964, p. 272 • syn: entrecroisement, entrelacement, enlacement, natte, tresse, réunion, union, lien, nœud, réseau, bifurcation, carrefour, contexture, croisée, croisement, embranchement, entrecoupement, intersection, jonction, chaîne, contexture, courbure, écheveau, enchevêtrement, entremêlement, mélange, réseau, canalisation, chaîne, lacis, lacs, organisation, piège, résille, réticule, rets, tissu, toile d'araignée, voie. • english • tracery.• knot.• twine. http://atilf.atilf.fr/tlfv3.htm les trésors de la langue française informatisé 4x4 is a project of Les Bains::Connective, a socioartistic laboratory in Brussels, whose concept of “entrelacs” emerged from its philosophy. Its keywords are processes, development, multidisciplinarity, connectivity and laboratory. They include different parameters and values as research, time, space, respect, doubt, individual, collective, autonomy, link, curiosity, risk, openness, interrogation, generosity, humility, sharing and exchange. 4x4 is a fourday multidisciplinary experimental platform which opens up the fragility of the artistic process and its interdisciplinary dialogue by the public encounter of individual artistic proposals in a one specific location, following an entrelacs preparation phase. 4X42005 [M3C] 20/07/2005 1 Its elements are: & 11 artists from 3 different disciplines (visual art, performances and music) presenting one & individual work, Time: JanuarySeptember 2006 with preliminary “Bubble” meetings, twothree weeks of & production, one week of buildingup and 4 public evenings Location: the specific spaces of the renovated former swimmingpool of Les & Bains::Connective Audience: mobile, moving along their own parcours in the evolving works. ________First edition th th The first edition of 4X4 took place in Les Bains::Connective from the 8 to 12 of September 2004. It was the final part of a collaborative process between 11 artists and a curator with a scenography, technical and production team. Each of the artists had two duties: & To propose a finished solo piece to an audience. This piece could be a part of a work in & progress, could be a creation or an existing piece with an insitu value. To get acquainted with the artistic proposals of the 10 other artists. In addition to seeing each other works whenever possible, all of the artists had to meet at least once, but preferably at least twice, during three “bubble” evenings. They took place in April, June and August 2004 in Les Bains::Connective. These Bubble meetings allowed getting familiar with the specific spaces of Les Bains::Connective, getting to know the other participating artists and considering progressively some possible “entrelacs” between the works and the artists. This resulted in a very rich programme of 11 works presented during 4 evenings where audience could get in at 19.00 and leave at 24.00, having experienced all different and very diverse artistic proposals at their own pace. _________Selection of the artists: Mariane Cosserat, the curator, chose the artists as individuals, not according to a piece. It has been made following artistic medium and process, gender and human criteria. Beside the quality and interest of the artistic work and development as first criteria, she looked to get the same number of artists: 4, with preferably a balance between genders in each discipline being Visual arts, Performances & Music. To mix different paces and experiences, she found it important & To choose artists from very different contexts and as a consequence to propose to some & of them to work in a different environment than their usual circuit To choose artists who have an openness towards other artistic disciplines, and search in their work these collaborative processes 4X42005 [M3C] 20/07/2005 2 & & & To include one or two artists leaving abroad when most of the artists are (or partly) living in Belgium, even if they have different nationalities. To include in each discipline, one artist who never worked in Les Bains::Connective before. To compose an heterogenic group of persons, media and expressions to aim for complementarity and homogeneity as final result It resulted in a choice of the following & 4 musicians: Boris Balstchun – electronic musician and composer Anja Kowalski – singer with a traditional folk songs repertoire Elie Rabinovitch – pop & rock drummer Annelies Van Parys – pianist and composer in contemporary classical music & 4 visuals artists: & Mariane Cosserat – sound and visual installations Christelle Fillod – videos and installations Lawrence Malstaf – optical and mobile installations Els Van Riel – films and videos 3 performers: Gaëtan Bulourde: Performer with video and sound Antonija Livingstone: Dancer, performer and choreographer Yokiko Shinozaki: Dancer and choreographer _________“Entrelacs” concept All the artists have a multidisciplinary approach to their work, even if they choose one specific medium to relate to an audience; they work with musicians, visual artists and performers in developing their own work or other’s creators’ works or they have themselves develop expressions in different media. Gaëtan Bulourde is also a musician, Antonija Livingstone a great singer, Elie Rabinovitch a film director, Mariance Cosserat an actress and a theatre director, Lawrence Malstaf a scenograph, Christelle Fillod a performer…. They all have professional experiences of both being interpreters and creator themselves. This is of most important concerning the preparation phase of the process to develop the entrelacs concept. Each of the artists having an individual proposal is as vulnerable as the others and feedbacks, comments, suggestions: all “entrelacs” proposals are made on respectful and equal basis. This means that by getting familiar with the other’s artistic processes and developments, it makes it possible to have interaction in the elaboration of the other artists’ work, each artist being fully in power to apply them or not. This exchange and sharing are possible because time is one constructive element of the 4X4 concept. All participants meet altogether several time and share their ideas months before the finale public part. They take full part on equal basis in the general development of the 4X4. The role of the curator remains important to maintain a global coherence and a communication flow but is not central after the selection process has been completed. ________Audience 4X42005 [M3C] 20/07/2005 3 Those different interests, educations and experiences help to have a specific concern and approach to audience. The role of the public is one essential element of the 4X4 concept. The former swimmingpool of Les Bains::Connective offers an appropriate setting to allow subtle interactions between the works while preserving the necessary space to present each work individually respecting their own rhythm, breathing, space and needs and also pace and needs of the audience. The public by going from one work to the other, according their own path gets influences and through those various experiences have a different approach of the following works and viceversa. Each spectactor/visitor has a different evening, does not experience all the same works or maybe at different moment, find their own way in the evening schedule to make their own parcours. The presence of works from different disciplines in a collective space, with full respect of their own needs of space, environment and time is the finale entrelacs as such. The curator and the scenographes worked together with the artists to find out the best location for both the work and the audience. The mobility and autonomy of the audience is an essential aspect of the public phase. To reach a balance between the individual/collective relation to the space and works, to respect the various paces of each of the visitor/spectator, different parameters are important to allow the visitor/spectator to get an active role and become himself actor of his/her own evening: & & the possibility to get in at any moment from 19.00 to 23.00 the different settings which are proposed: walking, standing, laying, on a swing, seating on chairs, cushions, sofas, stools, darkness, headphones, silence… have the safety and comfort of the spectator/visitor as main concern especially if he/she is not put in a & conventional passive, frontal, seated position; the discreet presence of the artists in/next to their work and during the complete evening & as host, audience and artist; the important role of the team of scenographes, curator and production assistant to maintain the rhythm of the evening and making the transitions smooth, mobility of the audience easy; & the presence of two additional “guardian angels” on each of the three floors, to inform, & explain, indicate, under the supervision of the scenograph, the curator and the production assistant; The bar always open to drink and eat but mainly to rest, talk, exchange, meet and share in between, audience and artists together; ________2005: Second edition After the evaluation of the first edition and despite of the financial difficulties of this first edition, all the participants agreed to be part of a second edition if the appropriate budget could be raised. On artistic and human values, the 11 artists are now functioning as a group and wishes to remain connected to develop the 4X4 concept further. The concept & the team of the 11 artists will remain identical as well as some elements of the production team with Hege Pålsrud as scenograph, Luea Ritter as production assistant and Ludo Engels as technician: & If sufficient financial support will be gathered, the preparation phase will start in January 2005 by a first bubble meeting to share the first ideas and present the first draft of all individual proposals. 4X42005 [M3C] 20/07/2005 4 & In order to followup more closely the artistic development of the artists, a permanent forum will be open on Les Bains::Connective website to circulate information about the ongoing & presentation of pieces and works of all the participating artists. The next Bubble meetings will take place during one full day or weekend (instead of one evening) around a public presentation of a work of one of the participating artist or for a specific workshop, e.g. all the artists from the same discipline have to work together to & propose a workshop of one or two days to the other artists. The individual production period would be spread over July and August in Les & Bains::Connective., Les Bains::Connective would provide a production budget and technical assistance. & All the works have to be ready for the 25th of August, so to give time to develop possible & entrelacs. As finale element and main target, the audience would come in during 4 days : 1st to 4th of September 2005. ________2006: Third edition In addition to the development process of the second edition, and in order to prepare the third edition which would likely take place in Norway in 2006, some Norwegian artists, at least one in each discipline would be invited in the finale week of August 2005 (buildingup and finale entrelacs period) and during the public phase of the 4X4 (1>4 September 2005) as guest and guardian angels. This invitation to attend the second edition is very important so to start to include them in the group of artists. It is presently not possible to know if all the 11 artists will be able to take part in the third edition but the number of participating artists should not exceed 16 to build up links. So a number of five Norwegian artists is a maximum. The balance between gender and discipline will be a criteria of selection as well as the other listed criteria. In 2007, the fourth edition could take place in Belgium with all the Norwegian artists. This idea of doing a third edition of 4X4 in Norway and especially Tromsø came out of different successful collaborations & between the artistic scene of Tromsø and les Bains::Connective since 7 years. After “Too much is not enough” in 2002, “Sauna in Exile” in 2004 or Liquid Quantum” in 1997, strong links have been developed between the Tromsø artistic scene and audience thanks to collaborations and coproductions with Hålogaland Teater, Nordlys Festival and Rådstua teaterhus, & the evident excellence quality of work and commitment in this project of the Norwegian scenograph, Hege Pålsrud, living in Tromsø who would be part of the next edition. & the participation of the artist Lawrence Malstaf living partly in Tromsø making also an evident link between Belgium and Norway. & The good response of the audience in Tromsø for the different performances/installations that have been presented there since 1997 and the demand which now exists make this idea very grounded. In the first half of 2005, Mariane Cosserat in collaboration with Hege Pålsrud and Lawrence Malstaf will select at least three artists, one musician, one visual artist and one performer working in Norway. A Norwegian production team for the 2006 edition will be set up between the different foreseen partners 4X42005 [M3C] 20/07/2005 5 which are Hålogaland Teater, Rådstua teaterhus and The Festival of North Norway. This aspect is under preparation and discussion. As an example of possible collaboration for the 2005 edition, a technician assistant could be sent by the Hålogaland Teater to work together with his Belgian colleague, Ludo Engels. In reciprocity, the Art Centre De Singel would give one month time to a scenograph assistant to work together with the Norwegian scenograph Hege Pålsrud in Brussels. ________Foreseen support & partners The foreseen budget for the 2005 edition is 89.000 euros, including the prospective trips to prepare the 2006 edition. To gather the 89.000 euros, different subsidy applications will be sent to and financial support will be asked to & The Flemish Community Music, Performing Arts and Visual Arts and International departments & The Region BruxellesCapitale & The Commission of the Flemish Community Arts and urban funds departments, to support the production costs & & & & & & & & & & & The Goethe Institut to support the cost of fees, travels & lodging of the artist Boris Baltschun The Canadian Art Council and Embassy in Brussels to support the cost of fees, travels and lodging of the artist Antonija Livingstone Norks Kulturrad – the Norwegian Arts Council Ministry of Foreign Affairs of Norway, The Norwegian Embassy in Brussels The Belgian Embassy in Norway to support the cost of fees, travels and lodging of the scenograph Hege Pålsrud, the prospecting trips of the curator Mariane Cosserat and the costs of travel and lodging of the Norwegian artists. Hålogaland Teater (Tromsø, N) for a technician assistant. De Singel, (Antwerpen, B) for a scenograph assistant OCA Office for Contemporary Art in Norway Dance and Theatre centre in Norway The Frenchspeaking Community WallonieBruxelles – Commissariat Général aux Relations internationales, Performing arts and Music department for financial support. ________Appendix : & & Budget CV’s On demand by post, press reviews and documentation on the first edition. 4X4 is a project of 4X42005 [M3C] 20/07/2005 6 Les Bains::Connective Rue Berthelotstraat 34 BE 1190 Bruxelles/Brussel Belgium/België/Belgique Tel/fax : +32 (0)2 534 48 55 Email : [email protected] / Website : www.bains.be Contact person : Mariane Cosserat GSM : +32 (0)479 530 602 [email protected] / [email protected] 4X42005 [M3C] 20/07/2005 7