View allAll Photos Tagged Unspool
When the sun gutters
and dies down,
and night comes on,
and doves settle
to the honey locust,
when each pink and
violet clematis closes
its shutters
along Vine Street,
and bicycles fall to rest
and nightshades open,
the numinous thread
which holds us
to this world
unspools and let's go,
is it the invisible
lunar tides which flow
through the clouds
and draw us up,
into the spring air?
Is it the wind at vespers?
Or is it the animals
of desire waking
in their warm burrows
and rising that call
softly to us to
come out this night?
--M deO
A dying sun has left
a trail of bloody reds
across the sky as doves
settle to their elms above
bicycles fallen to rest,
as nightshades open
and the numinous thread
which holds us
to this world
unspools and let's go.
Is it invisible lunar tides
which flow through
clouds and draw us up
into the evening air?
Is it the wind at vespers?
Or the animals of desire
waking in their warm
burrows and rising,
flicking tongues
of flame? Or is it
only us as we imagine
ourselves to be?
--M deO
Entre ses mains, le temps se déroule en pellicule.
Autour de son cou, les bobines se font bijou, mémoire d’un monde où chaque image naissait de la lumière et du silence des chambres noires.
Elle porte l’argent du passé comme un éclat d’âme, gardienne de la magie chimique qui transformait l’ombre en souvenir.
Attention, ce collier ne se recharge pas avec du Wi-Fi ! 😉
°°°°°°°°°°°°°°°°°°°°°°°°°
In her hands, time unspools like a film roll.
Around her neck, reels become jewels, reminders of a world where every image was born from light and the hush of the darkroom.
She wears the silver of the past like a spark of soul, guardian of the chemical magic that once turned shadow into memory.
Warning: this necklace is not Wi-Fi rechargeable ! 😉
credit : National Gallery of Art - Kwame Brathwaite
________________________________________________________PdF_______________
Still from the ongoing Existential Production of my life—an unedited reel that unspools like a Faulkner novel gone slightly feral, all run-on sentences and commas scattered like confetti, dashes crowding out the margins, parentheses opening and closing in places where no parentheses should logically be (if logic has anything to do with it), periods appearing late or not at all. One continuous monologue, breathless and unending, with the occasional still-frame—snapped at random intervals—to prove that this whole improbable production is in fact happening.
.
Nikkormat FT
Nikkor 50 mm f1.1,4
Kodak Ektrachrom
Lab processed
Scanned and edited by me
Rollei Infrared 400, 720nm IR filter.
IR works fine on the Xpan provided you retrieve the film within a few days. Unexposed film in camera fogs unacceptably after about a week, supposedly due to an internal IR sensor. Whatever, can certainly confirm it happens. The Xpan completely unspools the loaded film initially then retrieves it into the canister after exposure, so photos are fine within half a frame once exposed.
2020-09-06, Day 2
A deep carpet of red- and golden-tinged dwarf birch and willows lines both sides of the milky blue, glacial waters of Dinwoody Creek as it flows under Ink Wells Bridge, Fitzpatrick Wilderness, Wind River Range, Wyoming.
After saying 'Dinwoody' enough times, I gradually morphed the word into 'Dim Woody', and my hiking partner and I then began to develop the tale of Old Dim Woody whose spirit still roams these parts. Without screens or responsibilities, and with enough time on our hands doing nothing but walking through beautiful country, the mind rapidly unspools into wanton ridiculousness. It seemed likely that Old Dim Woody was a tad fond of his sipping whiskey, and when his spirits were high and besotted, he was prone to bouts of poor decision making. Things only got worse when a neighbor's mare kicked him in the pate one night when the rye was particularly enchanting and he mistook her for a spittoon.
One September after this unfortunate event, an autumn snow-storm blew in when Old Dim Woody was camped at Ink Wells. Sometime during the night his pony became infected with a bit of madness and threatened to break its hobble. The hapless man tried to calm his hoofed companion but to no avail: Dim Woody was never too meticulous about maintenance, and the hobble leather was old and rotted. The pony broke free and headed over the bridge and upstream through the forest at an impressive speed for one with such stubby legs. In fact, its diminutive stature may have helped it avoid some of the boughs already pressed low by the accumulating snow as it heedlessly fled upward toward the headwaters. Pondering the situation for perhaps too-brief a time, Old Dim Woody slapped his battered hat onto his dented head, invigorated his mind with another dram of rye, pushed through the flap of his tent, and began to follow the already-filling tracks of his erstwhile steed.
The tracks wound ever higher and the temperature was cold. Not quite cold enough to tingle and freeze the nose hairs upon the inhale, but cold enough that his toes became numb once the snow that kept knocking into the tops of his boots eventually overwhelmed the capacity of his feet to produce heat. The pony's tracks were faint but continually bore upward, past timberline and toward the giant cirque of peaks that held the glacier that fed the creek. If he stopped for too long, he shivered, sometimes violently. It was difficult to move through the rocks once the snow hid the deep cracks between them. He discovered that the coefficient of static friction between his boots and the icy boulders was perilously low. Once, his foot became tightly wedged between two large, immovable stones and it took him several increasingly panicky minutes to extricate it. The sky was filled with snow and then a surprise clap of thunder sobered him up as waves of kettle-drum sound crashed amongst the ice-clad peaks. The lightning followed immediately and was so bright it lit up the atmosphere. It was like being deep underwater beneath a violent falls under the dazzling sun, bright snow bubbles everywhere and impossible to tell which way was up.
Nobody knows exactly what happened to Old Dim Woody on that fateful night. His empty tent was discovered by some trappers seeking late-season beaver a month or so later. There were fresh pony tracks over the bridge and horse dung inside the tent. The small cache of oats that Old Dim Woody kept in a can near the wood-stove had been raided. They say the moaning wind of the first winter storm is the sound of Dim Woody howling amongst the rocks, looking for tracks and pining for another dram.
Strapped in an Alien Cocoon
The air... where is the air? The room is sucking it out. It’s blue. It’s cold. It’s the color of drowning.
No... no, no, no. Don't touch me! Get it off! The linen... it’s shrinking! It’s sewing my skin together! I can’t... I can’t expand my chest!
WAKE UP! MOVE! DAMN IT, MOVE! My hands! They’ve cut off my hands! Why can’t I reach the glass?! SOMEBODY HELP ME!
Can’t breathe. Can’t breathe. Can’t breathe. It’s tight. It’s a snake. It’s crushing my ribs. Tastes like copper... tastes like blood.
BREAK! SHATTER! Why is there no sound?! I’m screaming my throat raw but the silence is eating me alive! BK! KATCHA!
No! Don’t sleep! The needle... the ice! It’s killing the pilot! If I close my eyes, I unspool! I fall apart! Stay awake, you coward! STAY AWAKE!
Spinning. Everything is spinning. The floor is gone. The gravity is wrong. I’m falling up! I’m falling into the black hole!
LIES! That’s not real! That’s a ghost! My mind is snapping! I’m looking at a memory but I’m standing in a grave!
Please... not like this. Not in a box. I don’t want to be a mummy. I don’t want to be nothing. I’m forgetting my name... I’m forgetting...
It’s a tomb. It’s a stone tomb. And the lid is sealed. Nobody is coming. Nobody is coming.
Heart is a bomb. Tick... tick... BOOM. It’s going to burst! My chest is ripping open! MAKE IT STOP!
God... help me.
Blogger:
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www.facebook.com/watch/100063480315046/1020837046583872/
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Tags
#art #Spacestation #scifi #fictionalworld #story #arthouse #futuristic #spaceadventure #Sanctuary #Revitalisation #Retro #art #metaart #videoart #videoartist
I took out my Baby Rolleiflex and shot this one on a ORWO NP22 127 film, expired I believe in the 80's. I got a few of them cheap for their metal spools, which are crucial for a Baby Rollei, if you want to respool fresh film. But then I can't just unspool them, I had to use the film too - without any expectations.
Here, in October's embrace, the Río Arazas whispers its way through the Ordesa Valley, a turquoise thread weaving between the rust and gold of autumn's tapestry. The water moves not in haste, but with a purpose known only to rivers — a purpose that blurs the line between journey and destination. Beneath the surface, the rocks lie like forgotten memories, worn smooth by time’s touch, half-hidden beneath a rippling veil of turquoise and jade.
The trees rise along the riverbanks, their branches aflame in shades of copper and amber, a delicate conflagration set against the cool persistence of stone. The leaves, caught between letting go and holding on, shimmer with an urgency that speaks of endings and beginnings. Each one seems to cling to the air for a heartbeat longer, reluctant to descend, yet knowing they must, like whispered promises falling into the river’s keeping.
The air carries the scent of damp earth and distant frost, a reminder that autumn is not merely a season, but a passage — a threshold where warmth and chill, life and decay, blur into a single quiet metamorphosis. The river does not pause to admire the colors; it absorbs them, carrying their essence downstream, as if it knows that beauty, too, must be moved along before it grows stagnant.
In this place, time seems to unspool gently, each second dissolving into the next with the grace of a leaf drifting on water. And if you linger here long enough, the river might tell you something secret — something about the inevitability of change, and the quiet peace found in surrendering to the flow.
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Where the river carries autumn’s hues and the trees whisper their fleeting secrets, there lies a quiet invitation to see the world through eyes that notice — that linger.
To follow more of these journeys through color, water, and time, wander softly into my world at www.coronaviking.com. There, each image offers a pause, a chance to witness the delicate balance between movement and stillness, between the seen and the felt.
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Location: Ordesa & Monte Perdido National Park in Aragon, Spain
When the sun gutters and dies down, and night comes on,
and doves settle to the honey locust, when each pink and
violet clematis closes its shutters along Vine Street, and
bicycles fall to rest and nightshades open, the
numinous thread which holds us to this world unspools
and let's go. Is it the invisible lunar tides which flow
through the clouds and draw us up, into the summer air?
Is it the wind at vespers? Or is it the animals of desire
waking in their warm burrows and rising? Is it desire
In a tongue of flame, desire in the sepia tones drifting
out of memory: the girl's brown skin, the beach, the dark
Gulf superfluous behind him, the boy, who thinks of the stars,
their immensity and solitude, the cold sand under the girl,
her body which has joined his. He thinks of soft air
In a motel room, a girl's black, fragrant hair, the easy gallop
of her hips as they ride toward the dawn. He thinks how
the body fumbles to appease the mind and that no matter how
deep he dives, he will return to himself. He leads her to this
clearing now, her hand more slender than he imagines, the sky
more serene. They lie on the willow bed and begin their journey
to oneness, the boy, the girl, their bodies, the mind, the old man.
--Miguel de O
A small pour-off unspools water like opaque memories into a shallow red rock basin, Kanarra Canyon, Utah.
Walking upstream, the current twists and turns around interwoven ridges and it is not at all clear that sections of slot canyon exist somewhere further up the watershed. Eventually, as one wends further into the hills, cliffs grow higher on either side and the watercourse finds itself hemmed in to the extent that a walker is intermittently forced into the shallow depths. At length, one finds narrow sandstone confines where the sound of water echoes within sculpted chambers. The confines of the slot do not persist for long though, and the canyon opens up again somewhat, revealing pools, slides, small falls, and abundant lush vegetation, colored vibrant green by the hurried water. More sections of slot canyon followed.
We passed by the canyon en route to southern California to take our oldest son to his first year of college. As we drove south, dark cumulonimbus clouds pelted distant ridges with concentrated bursts of rain and lightning, and at points it seemed imprudent to stop and explore a slot canyon. However, when we reached the trailhead the cloud cover was thick and complete but it was not raining, and the narrowest sections of the canyon are short enough that we decided to risk the adventure, albeit with some trepidation. Unfurling the legs and walking for a few miles with our young man felt like something of a treasured gift after a long drive and before we left him on campus amidst the downpours of Hurricane Hilary. We were informed by an older gentleman who was helping the first-years unload that this was the first time in the college's history that move-in day was graced by rain. The college was founded in 1946. The unexpected downpour made it impossible to tell if my eyes might have betrayed my emotions and contributed to the drops around me. But there is no fooling the desert pensieve.
Note: For those unfamiliar with the pensieve and its powers, consult the Harry Potter series, which I may or may not have read quite a number of times.
Technical note: Short tripod, 6-stop ND filter.
2024-09-07, Day 1
The low-angle light of early evening fills the sky with hints of gold to match the foliage of the autumn willows (Salix spp). The reds contributed by Dwarf Birch (Betula nana) intermingle to paint the tundra with outrageous beauty, Burwash Uplands, Kluane First Nation, Yukon.
Some months following our multi-day off-trail adventure in the mountains of Alberta in 2022, my friend and I began studying maps of the Kluane Range, which still supports the largest non-polar continuous ice sheet in North America. In Alaska this Range is referred to as the St. Elias Range, but in the Yukon the maps once again bear the name of the First Nation people who have made a life here for millennia.
Specifically, my readings and infatuation with the idea of seeing bears, wolves, and immense ice consistently brought me to the Donjek Route. The Route originates more or less from the First Nation town of Burwash Landing, then climbs through the eastern-most flank of the Kluane Range via a difficult and very steep pass, and then up the Donjek River for a glimpse of one finger of the massive ice and the tallest mountain in Canada, Mount Logan (19,551 ft; 5,959 m). The way back to the Uplands and to return to Burwash Landing requires navigating two more passes with scree descents described as “very steep” by Parks Canada, an organization no doubt known as much for its dry sense of humor as its helpful route descriptions. Once the steep scree-laden passes are negotiated, a river crossing is required, and then a short bushwhack up 500 feet to the next drainage where one ostensibly follows the increasingly voluminous creek back to Burwash Landing. In total, approximately 68 miles (105 km) of trail-less wilderness, and constituting a place on earth where one is likely to encounter Grizzly Bear, wolves, moose, caribou, fox, Dall Sheep, Willow Ptarmigan, Golden Eagle, and other resourceful critters. The thought of seeing these species in their native habitat was thrilling, and where Ursus arctos is considered, also the source of a mild form of anxiety. Early this year during one of our frequent night hikes, we resolved to pay our respects while the body is still able.
The arrival into Whitehorse from Vancouver did not unspool quite as planned, and as a result we found ourselves arriving in Burwash Landing at half past 3 o’clock in the afternoon. The easiest way to begin walking the Donjek Route involves traveling along the Alaska Canada Highway for about 6 miles northwest of Burwash Landing to then begin ascending the Duke River toward the Burwash Uplands where a good campsite is another 8 miles distance. At the other end of the Route, the walker finds oneself meeting the Highway 4 miles southeast of Burwash Landing.
To avoid 10 miles of road walking, we thought to enquire at the local convenience store and fuel station whether any of the staff had a friend interested in some cash in exchange for following us to the trail egress where we would leave our rental vehicle, and then ferrying us and our packs to the Duke River Bridge. After discussing this idea with the cashier, she placed a call to her friend Kevin who was interested. In an ancient Subaru with over 250,000 km on it and a broken speedometer, and after dropping the rental car, Kevin managed to ascend 3 km up the gravel road along the Duke River before it became too deeply flooded for him to proceed. He left us to our devices and we commenced negotiating the water, mud, moss, and willows.
At the beginning of the Donjek Route, there is no signage or trail, but one follows clearly defined mining roads that see progressively less use as one ascends to the Burwash Uplands. At length, we found ourselves at tree line on a broad, sloping terrace draped in more moss-rich tundra than I have ever experienced. Oddly enough, neither of us had thought much about autumn color prior to arriving in Whitehorse. However, happenstance delivered peak autumn Yukon hues to the senses along with many hours of low-angle, golden light. The spirit of the place is enchanting. And due to the lateness of the season the risk of snow was counterbalanced by the complete lack of mosquitoes.
far away the sun begins. you see
a lots of stars in the last bench
bluesy carrying good tidings -
ahead and behind, just illusions.
regulated state, ushers in calmness
to call this day a home, once again.
away from all the mind-loop-tango
a malleability, into hidden rooms
unspools a wind-up, but to a window
that illumines if not undermines.
and this shadow work is held
in prosody and possibility,
that transcend, relate, bind and
brings some light. tears to feel this
otherworldly space, the noses touch.
starting again, begin - da capo;
blackbird segues into a songbird
in a space of a illuminating principle.
to see face in palm & rest that chin
on a mission, what i would like
taken in hand, to mold it in shape
of a message that holds my fist:
I WOULD LIKE
BY JANE HIRSHFIELD
I would like
my living to inhabit me
the way
rain, sun, and their wanting
inhabit a fig or apple.
I would like to meet it
also in pieces,
scattered:
a conversation set down
on a long hallway table;
a disappointment
pocketed inside a jacket;
some long-ago longing glimpsed,
half-recognized,
in the corner of a thrift store painting.
To discover my happiness,
walking first
toward
then away from me
down a stairwell,
on two strong legs all its own.
Also,
the uncountable
wheat stalks,
how many times broken,
beaten, sent
between grindstones,
before entering
the marriage
of oven and bread—
Let me find my life in that, too.
In my moments
of clumsiness, solitude;
in days of vertigo and hesitation;
in the many year-ends
that found me
standing on top of a stovetop
to take down a track light.
In my nights’ asked,
sometimes answered, questions.
I would like
to add to my life,
while we are still living,
a little salt and butter,
one more slice of the edible apple,
a teaspoon of jam
from the long-simmered fig.
To taste
as if something tasted for the first time
what we will have become then.
Mission
by A.R. Ammons
The wind went over
me
saying
Why are you so distressed
Oh I said I
can’t seem to make
anything
round enough to last
But why
the wind
said
should you be so distressed
as if anything here belonged to you
as if anything here were your concern
二
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
I believe the red cone at the end of the fuselage unspools a wire antenna - a very long antenna is needed to transmit at frequencies that will reach submerged submarines.
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
Neustrasia's latest dive into the unusual is the F-1 guided air-to-air rocket, which some might call a missile. The Flèche is a proximity-fused warhead powered by a simple rocket motor, controlled by two wires that unspool from the launching aircraft (too thin to see in this action shot) which relay electronic signals to the fins. Thus is the projectile guided! However, as tests with the new jet fighter have proved, the pilot cannot control the F-1 without having his aicraft sit still for as long as 30 seconds as he focuses on guiding the weapon, which is a bad idea at best. There is great promise in the F-1, but it has many kinks that need to be worked out over the coming days.
That's code for "not combat ready." Special thanks to Matt for GIMPing up this render.
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
Dave Fowler and Craig Acres, with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program unspools turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
Dave Fowler and Craig Acres, employees with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program, unspool turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
Craig Acres, a biologist with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program unspools turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
Craig Acres, a biologist with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program unspools turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
Crew members from Coast Guard Station San Francisco replace aging mooring lines at the historic USS Pampanito Aug. 2, 2017 at Fisherman's Wharf in San Francisco. .
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The Coast Guard crew donated several months of their time and expertise to unspool, cut, splice eyes in one end and seize the other ends of 12 mooring lines, a total of approximately 1,000 feet of line. (U.S. Coast Guard photo by Petty Officer 2nd Class Cory J. Mendenhall)
Dave Fowler and Craig Acres, employees with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program, unspool turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
Craig Acres, a biologist with the U.S. Department of Agriculture (USDA), Animal and Plant Health Inspection Service's (APHIS), Wildlife Services program unspools turbo fladry for installation on Walton Ranch in Jackson Hole, Wyoming, Thursday, Sept. 29, 2016. Fladry is one of the nonlethal tools that Wildlife Services employees use to prevent livestock depredation. USDA photo by Pamela Manns.
My little wooden Buddha has the best spot in the house, in terms of keeping an eye on me. He rests right above my TV, facing the couch, in the living room.
And it's a good thing, too, because I trust his insight.
Or my insight, as it were. Because my little wooden Buddha reminds me to develop that insight through an on-again, off-again meditation practice I've tried to keep up with since 2006.
When I am practicing, I find it helpful. I can relax, concentrate, and unspool the tangled wires in my mind. But finding the time, as with anything, is hard. And even when I think I'm starting the habit again, it doesn't take long for me to fall out of practice.
I often share the National Geographic story that helped me tinker with meditation as a way of life. I figured, if a Buddhist monk was, on paper, the happiest person alive because of meditation, surely it's worth a try.
There's also something about a philosophy/religion that tackles attachment and confronts desires that appealed to me. It still does.
So my little wooden Buddha sits up there, eyes closed, palm in palm, waiting for me to sit my butt on a cushion and close my eyes for 10, 15, or 20 minutes. And breathe.
I picked him up in a little gift shop on State St. in Madison, Wisconsin, in 2005 -- when the idea of some sort of meditation practiced first took hold. Now, all these years later, he's still sitting there calmly, waiting for me to begin again.
// VSCO Kodak T-MAX 3200+ (switched to color mode)
My grandmother died over 30 years ago, and I inherited an old pine dresser that held her sewing supplies. I'm afraid to unspool these, the threads might fall apart.
Need to unspool toilet paper quickly? You can learn that too as the World Scouting Jamboree continues with over 45000 scouts representing more than 150 countries from around the globe are at the 24th World Scout Jamboree on Wednesday, July 31, 2019. Check out other photos and videos at bit.ly/WSJ2019 (Photography by Chuck Eaton )
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
Part of the parade included people making noises with machines and megaphones.
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
Here, parade participants get ready to begin.
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
Part of the parade consisted of this woman in red, who was at first stared at by another participant as she was touched and pulled at by these two guys...
sometimes the lightleaks happen in all the right places. Even when it's because you drop the unstuck-down-roll of film, and it partly unspools, letting the sunshine spill in.
pinhole, converted Ansco Viking, 120 Foma Action 400 film, 90 seconds-ish exposure, tinted in photoshop
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and others. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
[see previous 3 pictures] ...and then had a bottle of wine poured over her, and a garbage bag emptied out on top of her. the whole thing was pretty upsetting and weird, but at the same time, the most compelling and affecting piece I saw at the parade.
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
In keeping with the movie theme, these paraders held up (and made faces through) those colored light filter dealies.
'PAPER RAIN'
Parade by Arto Lindsay
PArt of Art Basel Hong Kong 2013, Paper Rain is a multi-media parade built around the idea of cinema, that unspools along the Victoria Harbourfront and on the Star Ferry. Contributions from Nadim Abbas, Haegue Yang, Angela Su, João Vasco Paiva, Korakrit Arunanodchai, Alice Ma, Enoch Cheng, Otomo Yoshihide, Cedric Maridet, Kung Chi Shing and Shane Aspegren, and more. More information can be found here: www.artbasel.com/-/media/ArtBasel/Documents/Visitor_Infor...
[see previous picture] ... she was then assaulted by this guy (as part of the act), who tore at her clothes...
INVISIBLE - Aurélie Pedron - Montréal Danse / Recto-Verso / Maison pour la danse de Québec
lilithetcie.com
lilithetcie.com/index.php/fr/compagnie
Présenté en collaboration avec la Maison pour la danse
Pendant 3 nuits et 4 jours consécutifs, la spirale sera le moteur du mouvement de 7 danseurs en situation de performance ininterrompue. Les corps, suspendus entre les mouvements circulaires des infinis (du cosmos aux électrons), incarneront un continuum temporel.
L’expérienceur/spectateur/participant est convié à ponctuer ce continuum temporel en faisant jouer dans l’espace une source sonore qui est importante pour lui. Cette source sonore, dont le contenu peut être très divers, devient une brèche temporelle, un retour à un autre temps, personnel ou collectif. Les sources sonores possibles : votre téléphone (accès à internet possible) ou des vinyles.
Cet espace de recherche est à la fois sacré et ludique, c’est, en quelque sorte, un « jeu de société poétique ». Une occasion d’être ensemble, observateur de notre interdépendance.
Arriver et partir sans horaire précis. Revenir. Dormir. Poser des actions, prendre position. Être en retrait, observer. Rêver. Lire.
Beaucoup de possibles, ensemble.
Durée : en continu
Création : Aurélie Pedron
Performance : Ariane Boulet, Rachel Harris, Ève Rousseau Cyr, Georges-Nicolas Tremblay, Zoe Vos, Arielle Warnke
Assistance : Kathy Casey
L’équipe tient à remercier le Haricot Magique.
Biographie
Loin des sentiers battus, Aurélie Pedron s’affranchit des conventions associées au spectacle pour nous inviter à appréhender le réel autrement. À la lisière de l’installation, de la chorégraphie et de la performance, les œuvres hors-normes qu’elle présente dans des lieux atypiques invitent le spectateur-participant à perdre ses repères pour s’abandonner à l’expérience transformatrice qui lui est offerte. Son travail lui a valu le Prix de la danse de Montréal, catégorie DÉCOUVERTE, en 2015. Appuyée par plusieurs partenaires de choix, sa compagnie, Lilith & Cie, a récemment présenté LA LOBA (Danse Cité 2016) ANTICHAMBRE (Agora de la Danse 2019).
INVISIBLE is a work exploring the dissolution of the ego and questioning the boundaries of the body. How can bodies become bodies? What is the choreography and the space that lets our identities and personalities unspool and become ties, relationships and vectors? This project seeks to make the visible invisible.
Aurélie Pedron started her career by giving birth to two children and 11 video art pieces, which have been shown in more than 17 countries. She went on to focus on space and the living body in several solo pieces and two staged works, CHAIR (French for “ flesh,” her 2011 Master’s project), and CORPS CAVERNEUX(Danse-CIté, 2013). After founding the company Lilith & Cie in 2013, she fine-tuned her work as a choreographer with installation-based works presented in public spaces. ENTRE(at Tangente in 2014) earned her the prestigious Découverte prize from the Prix de la Danse de Montréal in 2016. With the support of Danse-Cité, she presented LA LOBA in 2016.
A concern for social ethics and inclusion led her to develop projects with and for youth who are marginalized or who self-identify as such: RÛEand MARGE(Dare-Dare, 2014-2015) and INDEEP(2016).
FÔVE Diffusion - Diagramme Gestion culturelle - Montréal Danse - RQD - Regroupement québécois de la danse - CCOV - La danse sur les routes du Québec
Canada Council for the Arts | Conseil des arts du Canada - Conseil des arts de Montréal - Conseil des arts et des lettres du Québec
#bringingtheartstolife #lartaucoeurdenosvies #ReimagineTheArts
Photo Credit: David Wong - Vanessa Fortin Photographie
===