Nina Garcia chooses the body and physical involvement as a new field of collective experimentation and invites Jennifer Caubet, Romain Simon, Anna Gaïotti and Christophe Cardoen, to create a space of games where bodies, sounds, lights and sculptures mix and clash.
A slow movement, without beginning or end, timeless falls, sand that erodes the forms, a sculptural space that bars any line of flight and streaks a playing surface where bodies strive to sound and advance until exhaustion.
L'épuisement du corps
The starting point is a series of researches carried out by four people around the physical involvement of the musicians and its impact on the sound and musical creation. Gestures are either prevented or pushed to the extreme. Improvisation, repetition, obstinacy, the games of Anna Gaïotti (tap dancing), Romain Simon (drums) and Nina Garcia (electric guitar) already have in them this commitment, this stubbornness to make sound, until exhaustion, at the edge of the inaudible. Making the most of the percussion made by hand, foot, finger, it is a choreographic (dis)articulation led by the sounds that is played.
Jennifer Caubet's sculpture, raw and fragile, opposes its strength to the bodies crossed by the sound. It draws a space of play, as much as it streaks it and diffracts it. It is a source of individualization, of separation but also of links. It appears on the stage as a fourth guest, caught in a fall as slow as certain, and revises at each moment the relations to the stage.
Sound and music remain the primary objects of the meeting of these artists. At the crossroads of experimental, improvised and noise music, De haut en bas, de bas en haut et latéralement is first and foremost a concert, built by three people in the moment for the spectators. If each evening everything will remain to be de-re-constructed, the orientation will be resolutely of high intensity, noisy and percussive, with its batch of tensions and suffocating silences.
The public sits as close as possible to the sculptures and the musicians, preferably in an arc around the performance space. The spectators are immersed in the sound, they can feel the physical involvement of the performers, as well as the energy of the falling sculptures. Artist and audience form a whole caught in the same movement, in the same tension; far from a spectacular time, this movement is always in progress, it knows neither beginning nor end. The time of the concert is arbitrary, following the departure of the performers the installation continues to function.
Artistic production and diffusion
La Muse en Circuit - CNCM
Why Note, Le Générateur, GMEM, La Soufflerie, Espace Multimédia Gantner