Hybrid Dance

English
78
2013

Theme:
The hybridization of dance and visual arts has played a significant role in the emergence of today's new artistic practices. Hybrid Dance theme gives centre stage to works emerging from collaborations between artists, choreographers, and dancers that have given rise to new objects, expressive forms, and practices. This issue confirm the long-standing interest of esse in practices whose scope lies beyond that of the visual arts.

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  • ÉDITO

    Hybrid Forms of Dance
    SYLVETTE BABIN

    DANSE HYBRIDE | HYBRID DANCE

    A Cross-poetics of the Body and the Image
    Intoned as a leitmotif, constantly renewed and thus uncertain, the question of categorizing the arts—and along with it, interdisciplinarity—was posed at the very start of modernity, and more radically still in the postmodern period, and continues to haunt artistic production today. Perhaps more acutely still in an age when computer and digital technologies encourage dizzying cross-media disruptions to normative representations of the body and the image. How can dance and the visual arts enter into dialogue and let themselves be transformed by each other?

    ANNE-CLAIRE CAUHAPÉ

    Dance and the Visual Arts in the Digital Era
    While dance has claimed and obtained status as an autonomous discipline, this has not prevented it from continuing to be at the centre of the encounter between the arts, particularly in the work of William Forsythe and Benoît Lachambre. Far from opposing new media arts, they join forces with them to create original new forms in which light and interactivity play a major role. In the course of this scenographic development, however, one witnesses as much as a dematerialization of the work of art as a return to the body and to the elemental, primary, and ultimate laws of matter.

    MARC BOUCHER

    Julie Favreau: Choreographic Performance
    In distancing itself from all forms of representation, dance seemed to move closer to the visual arts. Yet to probe the connections between dance and performance in Julie Favreau's work, it would be more appropriate to think in opposite terms. While the choreographic gesture is a starting point for all of her work, she is interested in movement as much for its expressive potential as for its visual quality. The issues of representation and expressiveness are key to the artist's practice, since she is always seeking to create characters whose psychological complexity is conveyed through the movements of the body as it interacts with objects in a given space.

    ANNE-MARIE ST-JEAN AUBRE

    Art as lore. The Choreographies and Performances of Latifa Laâbissi
    In the current dynamic context of the performing arts, where there are many meeting points between dance and the visual arts in particular, the choreographies and performances of Latifa Laâbissi actively promote the migration of all forms of expression, using whatever is needed to draw the spectator's attention to the heart of the issues at play: persistent racism, prejudice towards the culture of the Other, and the fear of a circulation of people and ideas. To counter this narrow-mindedness, she draws inspiration from the concept of "lore," understood as the various components of minority cultures that circulate from one group to another.

    VANESSA MORISSET

    What's Dance Got to Do With It?
    This essay explores how choreography participates in the particular experience set up by Tino Sehgal in his last two major projects: This variation, presented at dOCUMENTA (13) in Kassel, Germany in the summer 2012, and These associations, the latest commission of the Unilever Series presented in Turbine Hall at Tate Modern last fall. Trained as a dancer, Sehgal repeatedly creates situations in which the viewer is effectively put at the centre of his pieces, at times literally turned into the performer.

    ANAÏS CASTRO

    Fake It Till You Make It!
    This essay reconsiders voguing as an eccentric, performative pageant stemming from the Afro-American gay community. It retraces the history of vogue in Harlem's countercultural underground, examines its popularisation through music videos and the cult-documentary Paris is Burning (1990), and analyzes one of its contemporary manifestations; namely, Paris is Burning at the Judson Church (2012) by the choreographer Trajal Harrell. The author also analyzes the socio-cultural underpinnings of the vogue phenomenon, which, she argues, is a dance of emancipation from racism, homophobia, and ghettoization.

    CATHERINE LAVOIE-MARCUS

    Laying a Hand on a Thigh. And Doing Nothing More.
    Correspondence between Katya Montaignac and Nicolas Cantin
    Born of a correspondance between dramaturge Katya Montaignac and director Nicolas Cantin, this text presents not only an analysis of Cantin's choreographic works but also his reactions, response, and comments on his own creative process. These relections underline the connections between the compositional work of this unclassifiable creator and the realms of performance and visual art, exploring such ideas as presence, the living, and the intimate, as well as absence, failure, grief, and the unnamed.

    PORTFOLIO

    Out of Grace
    LYNDA GAUDREAU

    ARTICLES

    Dissensus as Social Contract in the Art of Ken Lum
    Beyond the irony arising out of Lum's works, there is in them the seeds of dissensus, described by Jacques Rancière as "the demonstration of a certain impropriety," or resistance. Lum's body of work, spanning more than three decades, often personifies the indignation and rebellion of the poor and the disempowered. The vitality of his approach signals long-standing alertness to a global world and the necessity of art to enter into the social.

    ALEXANDRIA PIERCE

    Un rapprochement des pratiques. La biennale d’art performatif de Rouyn-Noranda
    Du 18 au 20 octobre 2012 avait lieu la 6e biennale d’art performatif de Rouyn-Noranda. Le présent article propose un retour sur l’événement, tout en brossant un portrait des dix productions qui y étaient présentées. La performance actuelle se décline selon une variété de démarches parfois fort différentes les unes des autres. De celles qui appartiennent à la sensorialité la plus directe aux autres qui relèvent des approches les plus fines, sans oublier les dansantes ou les musicales, la biennale abitibienne a su transmettre la vitalité des arts performatifs au cours des trois soirées organisées au centre d’artistes L’Écart.

    MYLÈNE JOLY

    Cage’s Satie: Composition of Museum
    Le Musée d’art contemporain de Lyon présente une exposition dans laquelle il est question de la présence récurrente du compositeur et pianiste Erik Satie dans l’œuvre de John Cage. Intitulée « Cage’s Satie: Composition for Museum », l’exposition est envisagée comme un morceau de musique de John Cage rendant hommage à Erik Satie. Le principe même de l’exposition fait écho au procédé de composition qui a intéressé Cage. Ses différents axes de recherche y sont représentés : déconstruire le langage musical, élaborer une recherche autour de l’aléatoire, produire une poésie originale, créer des œuvres collaboratives et opérer une synthèse entre les arts.

    ELSA DELAGE

    L’art de la performance au 2-22 !
    En décembre 2012, sous les traits de Joseph Beuys, Thierry Marceau a présenté sur les passerelles vitrées du 2-22, le premier volet d’une série de cinq performances originales, créées chaque année jusqu’en 2016. La création de ces performances s’inscrit de manière inédite et audacieuse dans le cadre de la Politique d’intégration des arts à l’architecture et à l’environnement. Cet article présente la première performance et les exigences particulières du programme d’intégration qui l’a commandée, avant d’observer comment la proposition de Marceau y répond et éprouve les notions d’intégration et de permanence traditionnellement attachées à ce type de production.

    AMÉLIE GIGUÈRE

    WRITING AUDIO ART RESIDENCY

    Reanimating Audio Art: The Archive as Network and Community
    LEWIS KAYE

    AFFAIRE DE ZOUAVE

    Codes & Coricides
    MICHEL F. CÔTÉ

    COMPTES RENDUS

    Toronto | General Hardware Contemporary, Clint Neufeld, Pipe Dreams of Madame Récamier by Mariam Nader
    Bruxelles | Galerie Xavier Hufkens, David Altmejd by Anne Penders
    Pontault-Combault | Centre Photographique d’Ile-de-France, Arno Gisinger, Topoï by Vanessa Morisset
    Paris | Centre culturel canadien, Au milieu de nulle part by Nathalie Desmet
    Gatineau | AXENÉO7, Dominique Pétrin, #pizzaparty by Dominique Allard
    Montréal | Centre d’exposition Circa, Diane Morin, Imbrication (Machine à réduire le temps) by Aseman Sabet
    New York | MoMA, Martha Rosler, Meta-Monumental Garage Sale, by Ariane Daoust
    New York | lieux divers, Brooklyn-Montréal by Anne Philippon
    New York | Volta, galerie antoine ertaskiran, Dominique Blain by Marie-Ève Charron
    New York | Volta, Galerie Battat Contemporary, Patrick Bernatchez by Nathalie Desmet
    New York | Volta, Galerie Trois Points, Mathieu Lévesque by Enrico Gomez
    New York | Scope, Art Mûr by Enrico Gomez
    Montréal | Leonard & Bina Ellen Art Gallery, Material Traces: Time and the Gesture in Contemporary Art by Joseph Henry
    Montréal | Espace Go, Cinq visages pour Camille Brunelle by Christian Saint-Pierre
    Montréal | Usine C, Le iShow by Christian Saint-Pierre
    Montréal | Théâtre Aux Écuries, Mommy by Jean-Claude Côté

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