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WING | Platform for Performance presents two performances by contemporary Swiss artists working in the exciting no-man's-land that is the crossover of performing and visual arts, with works oscillating between poetics and politics, between moving and standing still, exploring this often visited yet still vastly uncharted territory.
永天台十分榮幸為您呈獻兩部瑞士藝術家挑戰這無人之境的跨介作品，將表演藝術與視覺藝術共冶一爐。作品徘徊於詩意與政治、動與靜，與您一起探索這似近還遠的末知領域。
Supported by Swiss Arts Council Pro Helvetia and Consulate General of Switzerland
Curator: Stéphane Noël
Gold | 黄金 (2004)
Alexandra Bachzetsis
20 March 2016, 20:00
2016年3月20日(星期日) 晚上8時
ENG
In her aptly titled solo performance Gold, Alexandra Bachzetsis continues to explore the proverbial gold standard of the libidinal economy that buttresses contemporary visual culture - the eroticised, empowered female body. Propelled, among others, by a riveting dance track courtesy of Missy Elliott, Kelis and Khia—a potent symbol of sex-laden female power in her own right—Gold deftly plays around the ambiguous choreographic vernacular of hiphop and R&B: a black-and-tan tits-and-ass show complete with the obligatory sprinkling of gold dust, Bachzetsis’ solo piece offers a powerful and fully embodied reflection on dance culture, visual pleasure and the commodification of fantasy.
Bio:
Alexandra Bachzetsis is a choreographer and visual artist, based in Basel and Zurich. Her practice unfolds at the intersection of dance, performance, the visual arts and theater, generating a conflation of the spaces in which the body, as an artistic and critical apparatus, can manifest. This fundamentally interdisciplinary approach is reflected in her educational background. She studied and graduated at the Zürcher Kunstgymnasium, the Dimitrischule in Verscio, the Performance Education Program at the STUK arts centre in Leuven, and then continued to post-graduate level at Das Arts, the Advanced Research in Theatre and Dance Studies centre in Amsterdam. During these years of training, Bachzetsis began to work as a dancer in the contemporary dance and performance context, collaborating with Sasha Waltz & Guests and Les Ballets C. de la B. – among others. Collaboration, transference and a plurality of voices and bodies have informed Bachzetsis’ work ever since and is often thematised as a method of developing new work in her practice.
Much of Bachzetsis’s work involves choreographies of the body and, in particular, the way that popular culture provides source material for gesture, expression, identification, and fantasy as we continually create and re-create our bodies and the way we identify. Within this, she scrutinises the mutual influence between the use of gesture and movement in the ‘popular’ or ‘commercial’ genres on the one hand (online media, video-clip and television as a resource) and in the ‘arts’ on the other hand (ballet, modern and contemporary dance and performance). For Bachzetsis, the artificial and often precarious relationship between such genres produce an inquiry into the human body and its potential for transformation, however conceptual or actual. Ultimately, the way we all perform and stage our bodies and ourselves – through stereotypes and archetypes, through choice and cliché, through labor and spectacle – is a question that continues to shape the work of Bachzetsis.
Since Bachzetsis started working independently in 2001, she has created over 23 pieces, often working collaboratively, which have been shown in theatres, festivals and public space venues worldwide. In addition to this, her work has been exhibited in a variety of contemporary art spaces and museums, including Kunsthalle Basel, the Stedelijk Museum in Amsterdam, Tate Modern and the Jumex Museum in Mexico City, as well as a number of international biennials, such as the 5th Berlin Biennial, (d)OCUMENTA 13 in Kassel and the Biennial of Moving Images in Geneva. Bachzetsis is a laureate of the Migros Kulturprozent Jubilee Award (2007), the Swiss Art Award (2011) and Swiss Performance Prize (2012).
CHI
《黃金》探討慾望經濟作為當代視覺藝術的黃金標準如何慾化女體。透過女唱作音樂人Missy Elliot, Kelis, Khia等引人入「性」的跳舞音樂及性感形象所代表的另類女性力量，作品巧妙地玩弄流行舞蹈語言，强而有地揭示舞蹈文化、視覺快感與慾念幻想商品化之間的關係。
簡歷:
既是編舞，也是視覺藝術家，現居於巴塞爾及蘇黎世。她的跨介作品滙集舞蹈、表演、視覺藝術和戲劇，以身體展現。她的多元素表現方式乃受其教育背景啟發，畢業於蘇黎世藝術高中及瑞士韋爾斯喬的迪米特里戲劇學院，再在比利時魯汶的STUK藝術中心修讀演藝教育。後來，更於荷蘭阿姆斯特丹的Das Arts藝術學院戲劇及舞蹈中心當研究生。
在學期間，Bachzetsis以舞者及表演者身份活躍於當代舞及演藝舞台，曾合作過的藝團包括柏林舞團Sasha Waltz & Guests 及比利時當代舞團Les Ballets C. de la B。
圍繞著協作、無意識的情感轉移和發掘聲音與身體的多元性，Bachzetsis的作品一直沿用這些主題發展出個人風格。
Bachzetsis的大部份作品也喜以流行文化為題材，種種意識形態、幻想如何不斷地將我們的身體和身份創造、再創造。她以此審視流行商品文化中與藝術舞台上動作的相互關係，對人的身體和能夠改變的可能性提出疑問。我們的身體如何展現自己，是原型還是被定型，是個人選擇還是盲目跟風，是切實幹還是定定看 一 也為Bachzetsis的創作帶來靈感不斷。
從2001年起，Bachzetsis開始獨立創作，相繼有23個作品，她與不同藝術家合作，並於世界各地的劇場、藝術節及公共空間演出。她的作品更見於當代藝術空間及博物館，其中包括：瑞士巴塞爾 Kunsthalle Basel藝術博物館、荷蘭阿姆斯特丹市立美術館(Stedelijk Museum)、泰特現代美術館(Tate Modern)、墨西哥城 Jumex 博物館及多個國際藝術雙年展，包括：第五屆柏林雙年展、德國卡塞爾文獻展((d)OCUMENTA 13) 及瑞士日內瓦活動影像雙年展(Biennial of Moving Images)。
Bachzetsis 曾榮獲瑞士米格羅文化百分比基金會紀念獎2007 (Migros Kulturprozent Jubilee Award)、瑞士藝術獎2011 (Swiss Art Award)及瑞士演藝大奬2012 (Swiss Performance Prize)。
Credits | 鳴謝:
Concept | 概念 : Alexandra Bachzetsis
Performance | 演出 : Lenia Kaklea
Artistic advice | 藝術顧問 : Danai Anesiadou, David Blum, Lies van Borm
Text | 文本 : Dieter Roelstraete
Production | 製作 : Danai Anesiadou
Supported by | 支持機構 : Pro Helvetia Arts Council of Switzerland | 瑞士文化基金會
Duchesses | 公爵夫人 (2009)
Marie-Caroline Hominal & François Chaignaud
26 March 2016, 20:00
2016年3月26日(星期六) 晚上8時
ENG
Between arid ecstasy, radiant meditation and cruel hypnosis, Duchesses explores an unlikely dance, sovereign and prisoner from the most ancient game of humanity. The hula-hoop, symbol of sexual liberation, becomes for the Duchess a choreographic device, instantaneous and incessant, without a past or future – a universal two-wheeled vehicle.
Please note that the program contains nudity and adult themes. Parental discretion is advised.
Bio:
Marie-Caroline Hominal did her Dance education at Janet Held Studio in Montreux, the Schweizerische Balletberufschule in Zurich and at the Rambert School of Ballet and Contemporary Dance in London.
During this last period she was a member of the National Youth Dance Company. Her practice includes video, songwriting, music, choreography, and performance. She has collaborated with François Chaignaud, with whom she created Duchesses (2009), Clive Jenkins, Cristian Vogel, and visual artists Kim Boninsegni, David Hominal and Delphine Coindet. Recently, she has developed miniature one-to-one performances such as Hôtel Oloffson (2013) and Le Triomphe de la Renommée (2013), as well as full length performances such as Ballet (2014), Patricia Poses by the Pop Machine (2011) and the live concert performance Silver (2013). As a dancer she has worked with the Tanztheater Basel, Irène Tassembedo, Blanca Li, Gisèle Vienne, Gilles Jobin, La Ribot, and Marco Berrettini. She was a guest performer for Human Writes by William Forsythe and B.O.B. by Dick Wong. Since 2008, she has been showing her work, in both theaters and galleries, among other cities, Basel, Belgrade, Berlin, Beirut, Bilbao, Bogotá, Bruxelles, Chicago, Dresde, Genève, Los Angeles, New York City, Paris, Rome, San Francisco, Santa Cruz, Santiago de Chile, Varsovie, Wroclaw, Zagreb, and Zurich.
François Chaignaud received both a classical and contemporary training at Conservatoire National de Région (Rennes) and graduated from Conservatoire National Supérieur de Musique et de Danse (Paris). After having taken part in Bocal project, lead by Boris Charmatz in association with other artists (Vera Mantero, Steve Paxton, Jean-Luc Moulène, etc.), he dances for Emmanuelle Huynh, Gilles Jobin, Aydin Teker, Mille Plateaux Associés, Tiago Guedes or Frédéric Gies.
He has been creating his own performances since 2004, alone (Dumy Moyi, 2013) or in collaboration with Cecilia Bengolea (Pâquerette, Dub Love, Twerk, to name a few) and has been extensively touring his work around the planet.
CHI
當權者與囚奴上演一場最古老的人性遊戲。《公爵夫人》在狂喜、冥想與催眠之間，利用象徵性解放的呼啦圈，跳出一部非比尋常的舞蹈作品。
本節目非親子節目，內容含裸露與成人議題，敬請斟酌入場。
簡歷:
Marie-Caroline Hominal曾受訓於瑞士蒙特勒Janet Held舞蹈學校、蘇黎世Schweizerische Balletberufschule 芭蕾舞學院及英國倫敦蘭伯特芭蕾與當代舞學院 (Rambert School of Ballet and Contemporary Dance)。
她曾是國家青年舞蹈團的成員。她涉獵的藝術範疇包括錄像、作曲、音樂、編舞及演出。2009年，她與 François Chaignaud聯合創作《公爵夫人》, 亦曾與Clive Jenkins、Cristian Vogel 及視覺藝術家 Kim Boninsegni、David Hominal 及 Delphine Coindet合作。
最近，她積極發展單對單的迷你演出，作品包括《奧洛弗森酒店》 (2013) 、《名聲的勝利》 (2013)，還有足本演出，如《芭蕾舞》(2014)、《在汽水機前擺姿勢的帕小姐》 (2011) 及現場音樂會演出《銀》(2013)。
Marie-Caroline以舞者身份曾與巴塞爾舞蹈劇場、Irène Tassembedo、Blanca Li、Gisèle Vienne、Gilles Jobin、La Ribot及 Marco Berrettini合作。她亦曾為William Forsythe 的《Human Writes》 及黃大徽的《B.O.B.》作客席演出。自2008年，她的作品於世界多個劇場及藝廊發表，包括巴塞爾、貝爾格萊德、柏林、貝魯特、畢爾巴鄂、波哥大、布魯塞爾、芝加哥、德累斯頓、日內瓦、洛杉磯、紐約、巴黎、羅馬、三藩市、聖克魯斯、智利聖地亞哥、華莎 、弗羅茨瓦夫、薩格勒布和蘇黎世等。
François Chaignaud 於雷恩國立音樂學院接受傳統及當代藝術訓練，並畢業於巴黎國立高等音樂舞蹈學院。
他曾參與由法國編舞Boris Charmatz帶領的《保鮮瓶》計劃(Bocal Project)，其它主導藝術家包括Vera Mantero、Steve Paxton及 Jean-Luc Moulène等。及後，他更為Emmanuelle Huynh、Gilles Jobin、Aydin Teker、Mille Plateaux Associés藝團、Tiago Guedes及 Frédéric Gies擔任舞者。
自2004年起，François開始編作自己的作品，包括獨立編作的《Dumy Moyi》 (2013)及與 Cecilia Bengolea 合編的 《雛菊》(Pâquerette)、《Dub Love》及《Twerk》，他的作品更經常巡迴世界。
Credits | 鳴謝:
Concept & Performance | 概念及演出 : Marie-Caroline Hominal & François Chaignaud
Production | 製作 : MadMoiselleMCH (Genève) & Vlovajob Pru (Paris)
Management | 經理人 : Tutu Production (Geneva)
Stéphane Noël (advisor & curator | 顧問及策展人)
Born in Switzerland, currently resident in Berlin, Stéphane Noël has worked mostly as a producer of contemporary dance, music and theatre. He was also the director of Les Urbaines festival in Lausanne (1997-1998), and the co-director of Belluard festival in Fribourg (2004– 2007).
His editorial activity revolves around urbanism, art and new technologies, and led him to join the artistic and editorial board of Gaîté lyrique in Paris (2009–2011) and act as an advisor for European.Lab, the platform for cultural innovation organised by Arty Farty in Lyons during the Nuits sonores festival (2010–...).
Having spent twenty years in cultural management, Stéphane Noël now works as a screenwriter (both for feature and documentary films) and as an artist.
生於瑞士，現居柏林，Stéphane Noël主要為當代舞、音樂及戲劇節目擔任製作人。他曾為 洛桑城市藝術節(Les Urbaines festival)總監 (1997-1998)及弗里堡Belluard藝術節之聯合總監(2004-2007)。
他亦從事寫作，探討有關城市化、藝術及創新科技的議題，因此被邀加入巴黎Gaîté lyrique藝術及編輯委員會(2009-2011)，並自2010年起至今，當上歐洲實驗室 (European.Lab) 的顧問，該活動乃Arty Farty舉辦的里昂Nuits Sonores藝術節中的一個文化創意平台。
經歷二十多年的文化管理生涯， Stéphane Noël 現以編劇(戲情片和紀錄片)及藝術家身份活躍於藝壇。
