Poison Oracle

Poison_Oracle_10

OPEN ARE ALL WAYS BEYOND THE BOUNDARIES OF THE HEART
Samedi 3 février 2018
Trois C-L

Centre de Création Choréographique Luxembourgeois

Une performance chorégraphique sabbatique, une musique lancinante et une installation immersive se rasssemblent pour un événement envoûtant unique ; une soirée baignée d’une lumière rouge primal.

Open are all ways beyons the boundaries of the heart – dévelopée pour le TroisCL – est une continuation de la collaboration entre les artistes Gast Bouschet et Nadine Hilbert, la chorégraphe et danseuse Alkistis Dimech, les musiciens Kevin Muhlen et Angelo Mangini et la costumière Katie Pollard.

Cette collaboration a débutée à l’occasion de l’exposition Metamorphic Earth au BPS22 de Charleroi où Gast Bouschet et Nadine Hilbert invitaient leur public à une soirée de finissage intitulée Night of Radiant Darkness qui présentait en première des nouvelles vidéos des artistes, accompagnées d’une performance de Alkistis Dimech et d’une bande-son composée et interprétée par Muhlen et Mangini.

Pour le TroisCL les différents éléments composant la performance d’origine se voient – en plus d’être présentés dans leur forme unie – déclinés de manière individuelle.

Alkistis Dimech: Passages through the skin

Dans un environnement vidéo crée par Bouschet et Hilbert, Alkistis Dimech y déploie ses recherches et explorations chorégraphiques inspirées du butō. À travers cette « danse sabbatique » la présence physique (et mentale) du corps en mouvement répond aux images phantômatiques projetées créant ainsi une double présence évoquant une dualité omniprésente et complexe.

Angelo Mangini & Kevin Muhlen: Away from that line, In toward the earth

La musique créée par Mangini et Muhlen pour accompagner les images et la chorégraphie participe à cette immersion de par sa densité et sa capacité à remplir l’espace de manière presque physique. Abstraite et envoûtante, la composition se déploie dans l’espace tel un second corps en mouvement qui viendrait unir tous les éléments présents dans la salle.

Gast Bouschet & Nadine Hilbert: Poison Oracle
Une quarantaine de peintures occupent l’espace invitant à une déambulation initiatique à travers un univers méditatif de processus de métamorphose créa-/destructrice. La confrontation physique aux bandes monumentales accentuée par le noir inhérent aux peintures créent une rencontre intense et dérangeante.

Parmi cette installation, la sculpture The Host de Katie Pollard (créatrice de la robe portée par Alkistis Dimech) vient renforcer ces concepts de métamorphose et de dialogue entre un intérieur et un extérieur, un visible et un invisible, un physique et un mental.

OPEN ARE ALL WAYS BEYOND THE BOUNDARIES OF THE HEART

A sabbatic dance performance, haunting live music and an encompassing art installation collapse into a single, mesmerizing event; a night lighted in primal red.

Alkistis Dimech: Passages through the skin

Dancing fantasmata into flesh, the choreographer and artists explore the interaction of fantasm (image/ghost) with matter in the moving body; the communication that arises through these interactions between insides and outsides, viscera and skin, memory and presence, and the mediums that bind them: sound, light, breath.

Angelo Mangini & Kevin Muhlen: Away from that line, In toward the earth

Music as a vibrational force, an abstract sorcery, unbound and forever moving between immediate and future experience; sonic lifeforms, both physical and spectral, affect and contaminate with an intensity that converts the human body into a space for resonance.

Gast Bouschet & Nadine Hilbert: Poison Oracle

Painting and video installation on metamorphosis and the black art of poisoning; a meditation on the creative-destructive process of personal and suprapersonal change; a poiesis of violation, infection and elemental disturbance.

* The installation includes The Host, a piece produced in association with artist and costume designer Katie Pollard who also created the dress for Alkistis’ performance.

Alkistis Dimech is a dancer, choreographer and writer, whose practice is principally grounded in the ankoku butō of Hijikata Tatsumi. She has trained with numerous dancers including Ko Murobushi and Atsushi Takenouchi, and has been performing as a solo artist since 2002. Alkistis Dimech studied Arabic and the History of Art and Music of Asia and Africa at SOAS, University of London, with a particular interest in the dance and theatre forms of South East Asia and Japan. Since leaving formal education, she has continued her investigations into the body and performance, studying diverse dramatic, dance, martial and healing arts. In 2008 she began to advance a personal interpretation of the ‘dance of darkness’ – sabbatic dance – in which the mythos of the medieval witches’ dance is the central motif in a conception of performance and performer that fuses the original radical and subversive impulse of butō with suppressed and neglected aspects of the culture and history of the West.

Kevin Muhlen and Angelo Mangini have been collaborating for almost 20 years, 13 of which as the guitar duo in the Luxembourg metal band ExInferis. After the disbanding of the latter they went separate ways, each in a quest for new musical and sonic horizons. Muhlen formed the post-metal band soleil noir and on his side Mangini formed Cosmogon. Their respective solo explorations have led them both to venture into drone music.

Gast Bouschet and Nadine Hilbert began collaborating in the 1990s. They have since created a complex body of work that challenges the fundamental principles underlying structure, visibility and power. Their practice spans an extensive range of media including photography, sound, video, painting and text based work. Bouschet and Hilbert’s interventions are put into effect in marginal places and wilderness areas away from the public gaze as well as in contemporary art institutes and music festivals including Serralves Foundation, Porto, Portugal; BPS22, Charleroi, Belgium; Insomnia Festival, Tromsø, Norway; Bozar Brussels, Belgium; Darling Foundry Montreal, Canada; Cube Space Taipei, Taiwan; Philharmonie, Luxembourg; Muzeum Sztuki Lodz, Poland; Casino Forum d’Art Contemporain, Luxembourg; Busan Biennale of Contemporary Art, South-Korea; Camouflage Johannesburg, South Africa; Muhka Antwerp Belgium and CCA Glasgow, United Kingdom among others. In 2009 they represented Luxembourg at the 53rd Venice Biennale.

Katie Pollard is a costume designer and founder of Azimuth Clothing. A Bachelor of Science in Apparel Design and further studies at FIT in Haute Couture and Leather Design helped hone her craft; a background in working with vintage clothing and personal styling combined with ongoing research into folk costume, ritual dress, and costume history continues to inform her aesthetic and perspective. Pollard’s work explores identity creation, transformation, and the conversation between the body, garment, and society. She incorporates found, reclaimed, and vintage materials in her designs, believing that utilizing pre-existing items supports two interlocking aims- promoting sustainability by reducing production, and drawing on the transformative process of regeneration. A belief in the construction process as an essential design element requires that much of her work be done by hand. Science in Apparel Design and further studies at FIT in Haute Couture and Leather Design helped hone her craft; a background in working with vintage clothing and personal styling combined with ongoing research into folk costume, ritual dress, and costume history continues to inform her aesthetic and perspective. Pollard’s work explores identity creation, transformation, and the conversation between the body, garment, and society. She incorporates found, reclaimed, and vintage materials in her designs, believing that utilizing pre-existing items supports two interlocking aims- promoting sustainability by reducing production, and drawing on the transformative process of regeneration. A belief in the construction process as an essential design element requires that much of her work be done by hand.

Passages through the skin (Excerpts)

Making die souls that should not die, and making live souls that should not live

Passages through the skin is the second collaboration with Gast Bouschet and Nadine Hilbert, musicians Kevin Muhlen and Angelo Mangini, and designer Katie Pollard.

Evolving from the Night at BPS22 in Charleroi, I sought in my choreography to evoke a descendant of ‘the sorceress’ who manifested in our previous work. Projections of that work on the walls at Trois C-L made visible the fantasm of the sorceress as a spectral presence, the past cut into and looming over the performance.

For Passages through the skin I retained the structure from the first performance, of two dramatic movements: Towards life and Towards death; yet with the intention to retrieve the knowledge of another woman who is all but lost to us: the munabbiâtu – a diviner by ghosts, or necromancer – who is the focus of the oracle or curse of Ezekiel 13: 17–22:

“Woe to those who sew fetters on all wrists and make shawls for heads of every height, in order to hunt souls. Will you hunt the souls of my people, and make your souls live? You have profaned me to my people for handfuls of barley and pieces of bread, making die souls that should not die, and making live souls that should not live, while you lie to my people, you who listen to lies. Therefore thus says the Lord Yahweh: I will go up against your fetters with which you hunt the souls like birds, and I will tear them from your arms and shoo away the souls that you hunt, the souls like birds. I will tear off your shawls and snatch my people from your hand, and they will no longer be prey in your hands, […] you will no longer see empty visions and practice divination.”

One of the intentions driving my work is the retrieval of ways of knowing, of practices, proper to the bodies of women; knowledge that has been suppressed, forbidden and lost, but which I believe is recoverable through an active inquiry into the body’s mysteries. The figure of the munabbiâtu was a threat to male priestly control; translated into English as ‘witch’ or ‘false prophetess,’ her practice was delegitimised and has only been reconsidered in the light of feminist biblical scholarship. The office of the munabbiâtu intrigued me, holding the power as she did to bring souls into the world or to send them to death. The question I asked myself in the choreography, in performance, was how does one make a soul live, and how does one make it die? The answer I began to sense in my body, and in the dreams that followed the performance. In the process of developing the dance I faced waves of internal and bodily resistance, due to the intensely personal nature of the inquiry I was engaged in. It is by no means over, although through the dance a vision and a divination was given to me. And an understanding that to dance precariously, to dance at the edges of the body, one must surrender oneself to a ‘regime of tenderness':

“The epiphany of the Beloved is but one with her regime of tenderness. The way of the tender consists in an extreme fragility, a vulnerability. It manifests itself at the limit of being and non-being…” – Emmanuel Levinas, Totality and Infinity, 1961.

– Alkistis Dimech

http://www.danse.lu/evenements/3-du-trois/fev-2018/
http://www.bouschet-hilbert.org/
https://sabbaticdance.com/
http://www.azimuthclothing.com/
https://aftl.bandcamp.com/album/away-from-that-line-in-toward-the-earth