Soirée de performances
Billet à 17:00
17:00 - Spectacle de Trickster-p
18:00 - Performance de Dorota Gawęda & Eglė Kulbokaitė
18h30 - Pause (Films d’artistes en continu)
19h - Performance d’Adrian Ganea & Maria Guta
20h - Pause Repas (Films d’artistes en continu)
21h15 - Performance de Marie-Caroline Hominal
Billet à 18:00
18:00 - Performance de Dorota Gawęda & Eglė Kulbokaitė
18h30 - Pause (Films d’artistes en continu)
19h - Performance d’Adrian Ganea & Maria Guta
20h15 - Spectacle de Trickster-p
21h15 - Performance de Marie-Caroline Hominal
Dans le cadre du Tschüüss Festival, le CCS invite Dorota Gawęda & Eglė Kulbokaitė, Adrian Ganea & Maria Guta, le collectif Trickster-p et Marie-Caroline Hominal à performer dans les espaces du centre.
17:00 & 20:15 Trickster-p, Book is a Book is a Book
Toute l’œuvre de Trickster-p se caractérise par un langage théâtral particulier qui convoque différentes disciplines. Des formats inédits sont ainsi créés à chaque nouveau projet, en plaçant toujours l’expérience du public au premier plan. Si le duo -Cristina Galbiati et Ilija Luginbühl- a souvent exploré des dimensions spatiales au travers des arts visuels, de la scénographie ou de l’architecture, avec Book is a Book is a Book, les artistes s’intéressent au texte, au graphisme et à la littérature pour explorer l’univers du livre comme moyen d’expression. Dans cette performance le public, équipé d’écouteurs, tourne les pages d’un ouvrage qui décrit un parcours fait de mots et d’images. Mêlé aux sons et aux variations lumineuses de l’espace environnant, il invite à s’abandonner au plaisir de l’imagination. Book is a Book is a Book est un voyage dans l’esprit et avec l’esprit. – far° Nyon
www.trickster-p.ch
distribution
Concept and realization : Cristina Galbiati & Ilija Luginbühl
Voice : Gabriella Sacco (Italian and English version) / Dorit Ehlers (German version) / Liliane Hodel (French version)
Dramaturg : Simona Gonella
Artistic collaboration : Yves Regenass
Original soundscape : Zeno Gabaglio
Editing and mixing : Lara Persia – Lemura Recording Studio
Graphic design : Studio CCRZ
Assistance and illustrations : Arianna Bianconi
IT implementation : Roberto Mucchiut
Trailer : Giulia Lenzi
Production : Trickster-p / LAC Lugano Arte e Cultura
Co-production : far° Nyon / Theater Chur / ROXY Birsfelden / TAK Theater Liechtenstein / BLICKWECHSEL – Festival am / Puppentheater Magdeburg / FOG Triennale Milano Performing Arts
Supported by Pro Helvetia – Fondazione svizzera per la cultura / DECS Repubblica e Cantone Ticino – Fondo Swisslos
Municipio di Novazzano / Fachausschuss Tanz & Theater BS/BL / Kulturförderung Kanton Graubünden - Swisslos / Percento culturale Migros / Fonds culturel de la Société Suisse des Auteurs (SSA) / Landis & Gyr Stiftung / Stiftung Dr. Valentin Malamoud
Schweizerische Stiftung für den Doron Preis / Boner Stiftung für Kunst und Kultur / Fondazione Winterhalter / Anny Casty-Sprecher Stiftung
éléments biographiques
Trickster-p est né de la rencontre de Cristina Galbiati et Ilija Luginbühl et se veut un projet de recherche artistique qui repousse les limites de différentes formes d’art.
Au départ, leur recherche se concentrait spécifiquement sur la centralité et la physicalité de l’interprète ; au fil du temps, ils ont élargit leur perception du théâtre et transgressent les frontières du genre, tant sur le plan conceptuel que formel, en mélangeant les disciplines artistiques.
La poésie de Cristina Galbiati et Ilija Luginbühl est une invitation pour les spectateurs à ouvrir leurs perceptions et à créer leur propre réalité. Leurs œuvres comprennent des performances et des installations traduites dans de nombreuses langues et présentées dans plus de 30 pays d’Europe, d’Asie, d’Australie, d’Amérique du Nord et du Sud, notamment : Book is a Book is a Book (2020), Nettles (2018), Twilight_choreography for the dying light (2016), Sights (2014), B_ Audio walk through a labyrinth of mortality librement adapté de Blanche-Neige (2012), .h.g. (2009), Come una preghiera (2007), La vita : avvertenze e modalità d’uso (2005).
18:00 - Dorota Gawęda & Eglė Kulbokaitė, –lalia
Once upon a time, the demonic Południca haunted field workers at noon, tempting them to engage in deceptive dialogue. This legendary figure borrowed from Slavic folklore poses a metaphor for our contemporary anxieties related to ecological and social unease. The combination of text, video and digital doubling creates a setting that is at once archaic and futuristic. During this piece, a hybrid narrative unfolds that seamlessly blurs presumed polarities, such as Subject—Environment, Nature—Technology, Real—Virtual. The performance is split between two locations: front of house balconies and a theater space, mediated with a CCTV live stream connection. The audience is never able to see it in the totality of locations. –lalia received the Swiss Performance Art Award 2021presented at Lokremise, St. Gallen, Switzerland.
gawedakulbokaite.com
biographies
Dorota Gawęda (PL) and Eglė Kulbokaitė (LT) are an artist duo living and working in Basel. Both graduated from the Royal College of Art in London in 2012. Their work spans performance, sculpture, photography, painting and video. The duo have exhibited internationally including: Kunstverein Hamburg (2021); Istituto Svizzero, Milan (2021); Kunstverein Leipzig (2021); Swiss Institute, New York (2020); Den Frie, Copenhagen (2020); MWW, Wroclaw (2020); Kunstverein Düsseldorf (2020 and 2016); Lafayette Anticipations, Paris (2019); Palais de Tokyo, Paris (2018); 6th Athens Biennale (2018); MMOMA, Moscow (2018); Kunsthalle Basel (2017); ICA, London (2017); MOMA, Warsaw (2016); Berlin Biennale 9 (2016); MaM, Paris (2015) among others. Their solo shows include presentations at: Istituto Svizzero, Palermo (2021); Quote - Unquote, Bucharest (2021); Swimming Pool Projects, Sofia (2021); Lucas Hirsch Gallery, Düsseldorf (2021 and 2019); Julia Stoschek Collection, Düsseldorf (2020); Trafo Gallery, Budapest (2020); Amanda Wilkinson Gallery, London (2020 and 2018); Fri Art – Centre d’Art de Fribourg / Kunsthalle Fribourg (2020); Futura, Prague (2019); Cell Project Space, London (2018). They have also participated in numerous international residencies including: Alserkal Arts Foundation, Dubai (UAE); La Becque, La Tour-de-Peilz (CH); Onassis AiR, Athens (GR); Capacete Residency, Rio de Janeiro (BR); Futura AiR, Prague (CZ); Triangle Residency, Marseille (FR); Art in General, New York (USA); Rupert residency, Vilnius (LT). They are the recipients of the Swiss Performance Art Award 2021 and have been nominated for the Prix Mobilière 2022. They are also the founders of the YOUNG GIRL READING GROUP (2013–2021).
Credits
Dorota Gawęda and Eglė Kulbokaitė,
Mouthless Part I, 2020 Video (45:36)
Full credits list:
Film by Dorota Gawęda and Eglė Kulbokaitė
Cinematography : Dorota Gawęda & Eglė Kulbokaitė, Fritz Schiffers
Production : Dorota Gawęda & Eglė Kulbokaitė, Marie Gyger Gruppe
Editing : Robin Brass, Dorota Gawęda & Eglė Kulbokaitė
Animation : Dorota Gawęda & Eglė Kulbokaitė, Sybil Montet, Filip Setmanuk
Music : Bill Kouligas
Sound : Haraldur Thrastarson
Graphics : Dorota Gawęda & Eglė Kulbokaitė
Colour : Susi Dollnig
Kenophobia scene directed by : Fritz Schiffers
Kenophobia scene camera assistant : Lukas Störer
Make-up and Hair : Leana Ardeleanu, Dushan Petrovich, Juliette Ruetz
Styling : Tim Heyduck, Erik Raynal
Styling assistant : Manfred Elias Knorr
Casting : Elisabeth Brandauer, Dorota Gawęda & Eglė Kulbokaitė Gruppe
Ghosts : Katharina Achterkamp, Remko Van Der Auwera, Azza Bashir, Iris Bauer, Kilian Butler, Damien Granier, Robert Hamacher, Malina Heinemann, Britta Heinze, Joseph Kadow, Philisha Kay, Devon Kaylor, Cajus Kesler, Manfred Knorr, Matthias Kraemer, Laurids Köhne, Tibor Köhne, Jana Sophie Lehmann, Drew Lint, Yuan Lu, Angelina Mass, Henry Mcmaster, Dorothy Mour, Josip Novosel, Anna Onorato, Ioannis Papadakis, Georgie Pope, Helena Eleonora Rönnmark, Dirk Schlienz, Rami Shalati, Nataliya Susyak, Eleonora Sutter, Odely Tebul, Camilla Volbert, Emily Volbert, @Izaio: Steve, @Nest: Julius Von Lauser, Bong Kim, Robert Laby, @Smc Models: Athena, Elisabeth Gronen, Zoe Lochmann
Costume : Cottweiler, Ninamounah, Mainline, Cc-Steding, Roni Ilan, Fila, Oculāris, Kara Bag, Adidas, Aileen Klein, American Vintage, Cos, Desigual, Diren Duman, G-Star, Lotte Schönfeld, Lou De Bètoly, Magliano, Manfred Elias Knorr, Mara Danz, Maison Magiela, Marie Louise Vogt, Mcm, Mm6 Via Zalando, Nicomede Perverze, Roeckl, Seraina Büchi, Soup Archive, Trippen, Truongii, United Standard, Uniqlo, Vivienne Westwood.
Supported by : Abteilung Kultur Basel-Stadt, Pro Helvetia - The Swiss Arts Council, Fachausschuss Film Und Medienkunst, Fri Art Kunsthalle Fribourg, Wallriss, Fribourg
Thank you : Nicolas Brulhart, Marie Gyger, Sacha Rappo, Julia Crottet, Emma Berset, Pierre Berset, Fabian Stücheli, Bernhard Zitz, Rita Binz-Wohlhauser And Lionel Dorthe From Fribourg State Archive, Eikon, Anyma (Michael Egger), Ferme De La Faye, Granges-Paccot, International Flavors And Fragrances Inc., Alexis Thiem, Andreas Wetterli, Nefeli Myrodia, Ash Bulayev, Myrto Katsimicha, And All Others Involved.
Casting for the show at CCS :
Performer : Giulia Terminio
Music : Bill Kouligas
Sound Design : Haraldur Thrastarson
Voices : Justyna Chaberek, Niklas Draeger, Thanos Frydas, Leila Hassan, Oskar Pawełko
Hair and make-up : Maylis Louis (2nd Edition), Jasmin Berger (1st Edition)
Costume : Situationist
19:00 - Adrian Ganea & Maria Guta, Cyberia
Cyberia takes place somewhere in a cold distant East, stretching between an endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West.
www.mariaguta.com
www.adrianganea.com
biographies
Maria Guta (1983, Bucharest) is a Romanian artist based in Switzerland. Her work mainly looks into mechanisms of self-representation, production and promotion of the self and persona construction as a strategic form of public identity. Making use of video, performance, as well as immersive and social media, she reenacts these mechanisms by placing herself both behind and in front of the camera and performing in most of her works. In the current context of Digital Transformation, she is intrigued by concepts as beauty, eternal youth and immortality. She is also a passionate researcher on celebrity culture and the new forms of fame and influence created with social media and each new technology. She holds a BFA in Graphic Design from The National University of Arts in Bucharest and a MA in Art Direction from École cantonale d’art de Lausanne (ECAL). Her works were presented, among others, at Istituto Svizzero, Roma (IT), HeK Basel (CH), National Museum of Contemporary Art, Bucharest (RO), MU Hybrid Arthouse, Eindhoven (NL), Sundance Film Festival - New Frontier (USA), Locarno Film Festival (CH), GIFF - Geneva Film Festival (CH), Swissnex San Francisco (USA), Gessnerallee Zürich (CH), Roehrs and Boetsch, Zürich (CH), Istituto Svizzero, Milan (IT), SomoS Art House, Berlin (DE).
ADRIAN GANEA (b.1989) is drawn to the unreal, intrigued by the magic of the intangible and the ethereal, he seeks the sorcery that incarnates the virtual into solid matter. He is fascinated by the ways the bodiless nonmaterial subject can materialize and transpire into the real world. In his work, he aims to enact the production of fiction, often reflecting on its increasing automation. His practice ranges from designing scenography to programing CG simulations and composing videos. He graduated at UDK Berlin, receiving a master’s degree in Set Design with his project “Cyborgia” based on Paul B. Preciado’s essay: “How Pompeii invented Pornography, The “Gabinetto Segreto” and the Sexopolitical Foundations of the Modern European Metropolis”. He is also a founding member of artists group virtuellestheater.
21:15 - Marie-Caroline Hominal, ONE
Performance in 3 chapters, questioning the fall, the art market and the authorship. Through gestures, Marie-Caroline Hominal conjures an absurd auction to reflect and question the commodification of performance. Commenting on cultural consumerism and capitalists systems, ONE incorporates the curator directly into the performance – objectifying and laying bare the role of the artist in relationship to the presenter.
www.mariecarolinehominal.com
éléments biographiques
Marie-Caroline Hominal lives and works in Geneva. She received her dance education at the Schweizerische Ballettberufschule (ZHDK TanzAkademie) in Zurich and at the Rambert School of Ballet and Contemporary Dance in London, where she joined the National Youth Dance Company. Thereafter, she worked among others with Gisèle Vienne, Gilles Jobin, La Ribot and Marco Berrettini (with whom she co-choreographed Ifeel2), Tanztheater Basel. Her personal research begins in 2002 around video work, then shifts more decisively towards choreography from 2008 with the solo Fly Girl. In this solo, the dancer oscillates between representations of sexuality and violence in a game of provocations that undermines and multiplies identities. Her artistic pratice includes text, drawing, dance, video, sculptures, radio. Close to the field of performance, her works have been presented since 2008 in theaters, museums, art galleries as well as in more atypical places, such as a hotel bedroom, dressing room of theaters, semi-trailer truck, construction site, in all Europe, China, North and South America. In 2017, she began research on the notion of authorship where the established collaboration protocol is the object of the work as much as the form; she invited the theater director and video artist Markus Öhrn for the first piece Hominal / Öhrn (2018), then the performing artist and choreographer Nelisiwe Xaba for the second piece of the triptych : Hominal / Xaba (2019). Sugar Dance, created in 2020, follows the choreographic pieces Ballet #1 (2014), Ballet #2 (2017), Ballet #3 (2019), Parad/isiaque (2019) and Le Cirque Astéroïde (2020), which explore behind the scene, the dynamics of entertainment and theatrical artifices. In 2021 she made « Eurêka, c’est presque le titre » commissioned by the museum Tinguely and which was part of a terrific tour in museums of Europe.
Marie-Caroline Hominal is today one of the major figures of the contemporary choreographic scene in Switzerland.
In 2019 she was awarded “Outstanding Female Dancer” by the Swiss Dance Awards / Federal Cultural Office.
Furthermore, she is often invited to give workshops in art school (ECAL-Lausanne, HSLU-Luzern, Hochschule der Künste Bern, HEAD – Geneva). On tour at the moment, Sugar Dance (2020), Le cirque astéroïde (2020), Hominal/Xaba (2018), Duchesses (2009), Eurêka, c’est presque le titre (2021).
Credits
Direction, concept & performance Marie-Caroline Hominal
avec Joseph Ravens dans le rôle du commissaire priseur