pdf - L`Association Fragile

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autant vouloir le bleu du ciel et
m’en aller sur un âne.
(2004)
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autant vouloir le bleu du ciel
et m’en aller sur un âne.
2004
proposition by christian rizzo
musician: gerome nox
light installation: caty olive
scenography, performance and objects: christian rizzo
stage manager: jean michel hugo
1 hour
Christian Rizzo developps projects where visual arts, dance, music, light and fashion (clothes /
objects) constitute the various elements of a large experimental field.
autant vouloir le bleu du ciel et m’en aller sur âne., is the first part of a diptych devoted to the relations
between sound, light and performative and danced actions. This work focused on the electronic
manipulations of the sound which constitute for the public an experience of images and sounds
organised in plans and laminated volumes.
Based on a scenic layout close to the architectural installation, the dialogue between the specific field
of the third actors can then be set up : Christian Rizzo (choregraphic performance), Gérome Nox
(sound), Caty Olive (light).
Every performing action produce a sound matter immediately transformed. We can question the light
as a musical presence of the look.
Transformation or metamorphosis and the glidings of the performing body’s status become then
rallying stakes, which let float (as in all Christian Rizzo’s projects) ghostly presences.
Maybe poetes Yukio Mishima and Mario de Sà-Carneiro, maybe the painter Carravagio, maybe....
To conceive an ‘espace-temps’ with different levels, as a space which is not any more a place of
dialogue on the world but a dialogue on the human, the place where the human exchange with
himself, the sound and lighting space appearing as the interface of this dialogue, which specifically
has the mission to give shape to this exhibited moveable intimacy called performance.
Production : l’association fragile
Coproduction : Le Quartz Scène Nationale in Brest, CCN Franche-Comté in Belfort, CCN in
Montpellier - Languedoc Roussillon and Ecole Supérieure des Beaux Arts de Toulouse.
With the support of L’espace des Arts in Colomiers, Chapelle St Jacques in Saint-Gaudens,
Centre de Developement Choregraphique in Toulouse- Midi-Pyrénées.
Special thanks to : David Bernadas, Fiora Marfaing, Thomas Bernardet et Jean-Christophe
Minart
l’Association Fragile received the support of DRAC Ile de France, Ministère de la Culture et de
la Communication.
Since 2007, l’association fragile / Christian Rizzo has been in residence at the Opéra de Lille.
press clips
The Antipodes, head high
“Conjuring up. In residence at Quartz, Christian Rizzo has put on a new show which has to do with
dance, performing and magic tricks all at once. Stuck in a structure that looks like a small flat, moving
is not the dancer’s first priority: he prefers to hold as still as a model. He chisels his dance in the lights
of Caty Olive and echoes the sounds processed by Gerome Nox. At the beginning of the show,
together with the dancer we are feeling uncertain. Then everything makes sense, until Rizzo turns into
some kind of screaming rock musician, his face burnt. After handling specially selected objects, after
bloodily operating on a hideous doll, after fighting to rid himself of an old fox skin (or rabbit skin, who
knows), Rizzo makes a beastly performance. I might as well want the blue of the sky and ride away on
a donkey is a true performance, an action show, a score written for a trio which stands against
everything that would turn the body into a standard image bearer.”
Liberation 03/02/2004 – extract from an article by Marie-Christine Vernay
Pearl and glitter
At the Antipodes of Brest
“… let’s finally come to the brilliant and mad, irritating and captivating first production of Christian
Rizzo, who is a visual artist with an overactive imagination as well as a dancer with fascinating skills.
Rizzo resembles some kind of coloured Nadj, wearing jeans and trainers. Impassively he takes
pleasure in the most delirious surrealism. He handles objects in order to get them to give magic and
deafening sounds which are amplified by Gerome Nox. Lastly, he plunges his face into a bag full of
glittering flakes to play the rock star, wiggling his hips in front of the microphone. A bitter-sweet treat.
Such talent cannot go unnoticed.”
Le Figaro, 02/28-29/2004 – extract from an article by René Sirvin
Open Stage
For the fourth edition Les Antipodes Festival carries on with the desire to choreographically jumble
things together. And Christian Rizzo runs off with all the prizes.
“(…) Christian Rizzo and his siren’s songs follow Bernardo Montet. I might as well want the blue of the
sky and ride away on a donkey is an electro hallucination, something that does not truly exist but is
invented every night, thanks to Caty Olive’s lights and Gerome Nox’s sounds. Alone on the stage,
Rizzo handles powder, marbles, a fox stole and glitter. And above all he ends up mesmerizing the
audience with a fascinating experience, in which nothing is dancing and everything gesture. This
pocket son et lumière show should suit all theatres and art galleries. If Rizzo did not find somewhere to
show it, there would be a good reason to feel desperate.”
Les Inrockuptibles, 03/10/2004 – extract from an article by Philippe Noisette
Christian Rizzo
«autant vouloir le bleu du ciel et m'en aller sur un âne.»
Berlin, Hau 2, 23.03.2004
One of the evenings during the French Festival in Berlin offered a choreography by Christian
Rizzo, an artistic multi-talent involved in fashion design, rock music, dance and plastic arts.
Christian Rizzo's choreography took place in an architectonique installation roughly devided
by wooden walls in two parts. On the right side he created sounds, for instance by means of
a ballon filled with red grains or marbles falling in a metal box. Sound enneiger Gérôme Nox
used the sounds created to build an own composition. He did this in an amazing way and
with extreme accuracy. Screams were repeated, effects were added and different
atmospheres were mixed in a perfect way.
During these compositions Christian Rizzo performed a rich variety of dance styles and his
showed diversified skills on the left side of the stage. Some movements reminded of fly
exercises, whereas other moments could be described as a traditional Indonesean dance
performance. His slow-motion movements or better said his behavior in general had a
ritualistic character. The way he put some fabric in a nylon stocking around his leg, or holding
a dead animal in front of him; every moment seemed to be performed with utmost care and in
full awareness. Anther aspect that was well thought out was the light. Caty Olive, who was
responsible for the lightdesign, used the colour red and shadows to give the show an extra
dimension.
Sound engineer Gérôme Nox, known from the band Nox and solo releases such as the
album Blood-red Poppies (Moloko+) created an excellent atmosphere, due to which this
choreography became a remarkable highlight. Refined and sophisticated electronic sound
sculptures slowly changed into hurricane-like soundwalls with rhythmic elements. Christian
Rizzo's movements and actions were supported by samples and swelling echoes. The
evening even ended as a sort of rock concert with Rizzo singing. Apart from the end this
French trio did an excellent job.
Phosphor Magazine, 24/03/03
biographies
gerome nox (aka G-Nox)
Gerome Nox is a product of the Beaux Arts school. But he has been moving in a world of “cuttingedge” music since the early 1980s, the decade during which he founded the industrial music group,
NOX.
These days, Nox’s work blends rhythms, electronic and electro-acoustic manipulations, and city
sounds and atmosphere. It is a body of work whose occasionally violent energy evokes the in-yourface edginess of bustling urban life, creating soundscapes that are constantly evolving, and in which
power and excess alternate with minimalism and refinement. As one who considers sound more as
matter, and instruments as so many means for producing and shaping music, Nox is as much a visual
artist as a musician. It is in this perspective that, while not abandoning a traditional instrument such as
the electric guitar, he increasingly turned to electronic instruments – and especially computers – that
allowed him to treat the sound in terms of texture, density, volume, resistance and spatialisation.
Nox has collaborated on numerous new musical and audiovisual works, performances, and
choreographic works. These diverse collaborations have led him to work with the following artists:
Cecile Babiole (multimedia artist), Laure Bonicel (choreographer), Alain Declercq (visual artist),
Christophe Fiat (sound poet), Emmanuelle Huynh (choreographer), P. Nicolas Ledoux (visual artist),
Claude Leveque (visual artist), Barbara Mavro Thalassitis (choreographer), Michèle Murray
(choreographer),
Christian
Rizzo
(visual
artist/choreographer),
Kasper
T.
Toeplitz
(musician/composer).
Nox has performed at the following venues and events: The House of World Cultures (Berlin), The
Cultural Centre of Belem (Lisbon), the Bratislava Dance Festival (Bratislava), the festival Musique
Action (CCAM Nancy/Vandoeuvre), the festival Nouvelles Scènes (Dijon), the Cartier Foundation
(Paris), The Georges Pompidou Centre (Paris), MACBA (Barcelona), Melkweg (Amsterdam), DANCE
(Munich), the Hebbel (Berlin), the Museion (Bolzano, Italy), etc.
Interview excerpts and press reviews can be found on the M-Tronic label’s website: www.m-tronic.com
caty olive
Caty Olive received her degree in stage design from the École Nationale Supérieure des Arts
Décoratifs in Paris.
She divides her activities as a lighting designer among several types of projects:
- Dance: working with Marco Berrettini, Christophe Haleb, Martine Pisani, Myriam Gourfink,
Emmanuelle Huynh, Claudia Triozzi and Christian Rizzo in France; and Vera Mantero and Tiago
Guedes, in Portugal.
- Architecture and exhibitions: Cartier International, Parc de la Villette, the Château de Versailles,
Espace Electra, The Museum of the Cinema, Midi Minuit, The Museum of Fashion
- Fashion: Cartier, de Beers, Rayon Vert/Hermès.
She has also done research on light installations: Portrait de Frans Poelstra, Structure multifonctions,
Cabinet des méduses, une exposition des caustiques.
In all these diverse projects, Olive shows a particular interest in questions arising from the
displacement and instability of light.
schedule
2007
october 26 & 27
Tanzhaus nrw – Düsseldorf – Germany
2006
may 18 - 20
april 8
march 30 - april 4th
Behnke Center for Contempory Performance Mainstage
Theater / On the Boards – Seattle – United States
La Passerelle, scène nationale – Saint Brieuc – France
Théâtre de la Ville « Hors les murs » / Théâtre de la Cité
Internationale – Paris – France
2005
november 6 - 8
july 5
april 5
march 14
february 5
january 25
january 23
Stuk Kunstencentrum / Klapstuk International Dance Festival
– Leuven – Belgium
Bellevue / Julidans Festival – Amsterdam – Netherlands
Le Vivat, scène conventionnée / festival Vivat la Danse ! –
Armentières – France
Auditorium / Art danse Bourgogne – Dijon – France
CDC de Toulouse / Festival C’est de la Danse Contemporaine
– Toulouse – France
Centre culturel André Malraux, scène nationale – Vandoeuvrelès-Nancy – France
La Filature – Mulhouse – France
2004
november 26
october 28
november 8, 9, 10 & 12
july 19
march 23 & 24
february 25 - 28
Le Chai du Terral / festival Montpellier Danse – Montpellier –
France
Theater Muffathalle / festival Dance 2004 – Munich –
Germany
Centre National de la Danse – Pantin – France
Odéon / Impulstanz Vienna International Dance Festival –
Vienne – Autria
Hebbel am Ufer / MARS festival – Berlin – Germany
Le Quartz, scène nationale – Brest – France
2003
december 18
CCN de Montpellier – Montpellier – France
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Contact
catherine meneret
l’association fragile / christian rizzo
9, rue de la pierre levée
75 011 Paris
tel : +33 (0)1 48 00 83 59
[email protected]
www.lassociationfragile.com
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