FO­CUS PER­FOR­MANCES

Art Press - - FIAC HORS LES MURS - In­grid Lu­quet-Gad

sa re­cons­ti­tu­tion ul­té­rieure ? Pour Von­na-Mi­chell, la per­for­mance, ou plu­tôt la per­for­ma­ti­vi­té, per­met de ré­in­car­ner une ex­pé­rience sen­sible, en re­dou­blant l’oeuvre par l’oeuvre. Since 2005 Bri­tish ar­tist Tris Von­naMi­chell (b. 1982) has been car­rying out re­search on Cho­pin in his ins­tal­la­tions and per­for­mances. Not the com­po­ser Cho­pin, but Hen­ri (1922–2008), a less well-known pro­ponent of ex­pe­ri­men­tal sound poe­try. In 2014, when Von­na-Mi­chell was no­mi­na­ted for the pres­ti­gious Tur­ner Prize, he made a film tit­led Finding Cho­pin, dans l’Es­sex. This piece conti­nues his ex­plo­ra­tion of the no­tions of the ob­so­les­cence and fra­gi­li­ty of the art­work, which al­rea­dy sha­ped his pre­vious pieces about Hen­ri Cho­pin. In the au­di­to­rium of the Grand Pa­lais, Von­naMi­chell will present a new per­for­mance pur­suing some of the di­rec­tions ope­ned up by this, his first film. At­ten­tive to nar­ra­tive stra­te­gies, mixing text and image, the per­for­mance will layer vi­deo se­quences shot in 16 mm and tex­tual ex­cerpts writ­ten by Von­na-Mi­chell, slide pro­jec­tions and ta­bleaux vi­vants, all ex­plo­ring the same place, Es­sex and its marshes, bir­th­place of both ar­tists. The play of layers and dis­cre­pan­cies brings the sto­ry to life, at the same time ques­tio­ning the construc­tion of bio­gra­phy and the genre that is per­for­mance: how do you ba­lance to­ge­ther the fra­gi­li­ty of a life and its ups and downs, and the al­ways pre­ca­rious equi­li­brium of the construc­tion of a work, with its la­ter re­cons­truc­tion? For Von­na-Mi­chell per­for­mance, or ra­ther, per­for­ma­ti­vi­ty, makes it pos­sible to re-em­bo­dy a sen­si­tive ex­pe­rience, by over­laye­ring the work with the work.

Trans­la­tion, C. Pen­war­den

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