11 09 2014
[ICAL]

Stephen O'Malley (solo) / Tempestarii – Video by Gast Bouschet & Nadine Hilbert

The Wall, Taipei, Taiwan


http://vimeo.com/78811877

Tempestarii 
Music by Stephen O’Malley 
Video by Gast Bouschet & Nadine Hilbert.
 
Dawn spreads its luminous rays across the coast of Iceland, to reveal a sorcerer standing between wine-dark sea and mountainous black rock. He is tempestarii, a figure of medieval lore, undertaking a primitive rite manifested to conjure a storm. The tides of the deep ocean breathe heavily rising and falling across the cinema screen with amplifying power, as the weather-maker beats a mysterious sack against the monolithic cliffs with powerful repetition. As a magical tool, this sack contains forceful winds pulled from each corner of world. As an analogy, it is aligned with the revolutionary transformations of nature by water, air, solar radiation, and geological shifts and filled with the vast potential of man’s will in alliance with Nature. As an omen, the tempestarii signals profound change on both physical and metaphysical realms. 
- Amelia Ishmael
24 09 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

Théâtre Joliette-Minoterie dans la cadre d'Actoral, Marseille , France


http://www.actoral.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
25 09 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

Théâtre Joliette-Minoterie dans la cadre d'Actoral, Marseille , France


http://www.actoral.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
28 09 2014
[ICAL]

Stephen O'Malley (solo)

Recon Festival, Leeds, UK

12 10 2014
[ICAL]

Keiji Haino & Stephen O'Malley duo

Avant Art Festival , Wroclaw, Poland

19 10 2014
[ICAL]

SUNN O)))

Southwest Terror Fest / Rialto Theatre, Tuscon, AZ, USA


https://www.facebook.com/southwestterrorfest

W/NEUROSIS, GOATSNAKE, EAGLE TWIN, 16, etc

Tickets: http://goo.gl/aIu2xM

24 10 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

Usine C - Actoral Festival, Montreal, QC, Canada


http://www.usine-c.com

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
25 10 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

Usine C - Actoral Festival, Montreal, QC, Canada


http://www.usine-c.com

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
29 10 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

New York Live Arts, New York, NY, USA


http://www.newyorklivearts.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
30 10 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

New York Live Arts, New York, NY, USA


http://www.newyorklivearts.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
31 10 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

New York Live Arts, New York, NY, USA


http://www.newyorklivearts.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
01 11 2014
[ICAL]

Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL)

New York Live Arts, New York, NY, USA


http://www.newyorklivearts.org

KINDERTOTENLIEDER

Created by Gisèle Vienne 
Texts and dramaturgy by Dennis Cooper 
Music by KTL (Stephen O’Malley & Peter Rehberg) et “The Sinking Belle (Dead Sheep)” par Sunn O))) & Boris (monté par KTL) 
Conception robots: Alexandre Vienne
Creation dolls : Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne, assisted by Manuel Majastre
Creation wood masks : Max Kössler
Lights by Patrick Riou
Make-up by Rebecca Flores
Hairdressing dolls : Yury Smirnov
With the technical team of the Quartz – Scène nationale de Brest : 
Technical direction : Nicolas Minssen
Sound manager : Kenan Trévien
Stage manager : Christophe Le Bris

Performed by and created in collaboration with: Jonathan Capdevielle, Margrét Sara Gudjónsdóttir, Elie Hay, Guillaume Marie, Anja Röttgerkamp ou Anne Mousselet


Kindertotenlieder examine the representation of dread, in relation to the representation of death, and the constant proximity in which it remains with human properties such as the body physical appearance and behaviour. The representation of dread and the horrifying leads to what Sigmund Freud called the “uncanny”: the representation of something both familiar and alien, and consequently disturbing. It therefore constitutes a great trigger of cathartic experiences characterising  ceremonies, rituals and shows, such as the one we are concerned with.

The stage, in this case, and in general, is a place where one can call to and resuscitate the dead. Between dream and reality, performers blend in the play, through their appearance and movements, with other characters represented by artificial or altered bodies - moving or limp - who create this feeling of the uncanny linked to death by mimicking life. 
My work usually centres on the relationship between natural and artificial bodies. On this project, it will be more precisely focused on how the body is represented in traditional Austrian iconography. This will allow me to tackle the issue of the representation of death and the horrifying.

More particularly, Kindertotenlieder works on the custom related to the “Perchten”, creatures who appear mid-winter to offer protection against demons and to punish cursed souls. This custom is still alive today and stirs in us fantasies of cruelty, innocence and expiation.
Through this work, I am keen to examine the meaning of the fantasies expressed through this custom. 
I would also like to explore the confusion that may occur between the official events where this fantasy is expressed - such as ceremonies - and reality.

Dennis Cooper will write a text exploring these issues. If my work so far was dealing with the relationship between truth and fiction in a personal and intimate setting, this new work examines the confusion between fantasy and reality in a collective context.



Production february 2007 / Festival « Les Antipodes » - Le Quartz, Brest – Duration : 1h15

Associate producer: DACM
With the collaboration of the Quartz - Scène nationale de Brest (Gisèle Vienne associate artist from 2007 to 2011)

Coproduction :
Le Quartz - Scène nationale de Brest, Les Subsistances 2007 / Lyon,
Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueil-studio, Centre national de danse contemporaine d’Angers.
With the support of the Drac Rhône-Alpes / Ministère de la culture et de la communication, Conseil général de l’Isère, Ville de Grenoble, DICREAM / Ministère de la culture et de la communication and Étant donnés, the French-American fund for the performing arts, a program of Face.
With the support of the Centre Chorégraphique National de Montpellier Languedoc-Roussillon and of Point Ephémère à Paris.

Thank you to: Les Ateliers de construction du Théâtre de Grenoble, Didier Boucher, Patric Chiha, Etnies, Simone Hoffmann, Antoine Masure, Minijy/Clara Rousseau, Séverine Péan, Sophie Metrich, le Théâtre de l’Odéon – Paris, Jose Enrique Ona Selfa, for the costumes Loewe, Troubleyn/ Jan Fabre et Mark Geurden, Enrique Urrutia, Remy Vidal, Alexandre Vienne, Jean-Paul Vienne et Esther Welger-Barboza

The company DACM is supported by DRAC Alsace/ministère de la Culture et de la Communication, by Région Alsace, ville de Strasbourg and Institut Français- Ministère des Affaires étrangères.

 
photos : © Mathilde Darrel
05 11 2014
[ICAL]

Stephen O'MALLEY (w/ Iancu DUMITRESCU & Anan Maria Avram)

Sonic Trans-fusions / Berghain, Berlin, Germany

06 11 2014
[ICAL]

Stephen O'MALLEY (w/ Iancu DUMITRESCU & Anan Maria Avram)

Sonic Trans-fusions / NK Projekt, Berlin, Germany

08 11 2014
[ICAL]

Stephen O'Malley (solo)

St. Johns at Hackney Church, London, UK


supporting BOHREN UND DER CLUB OF GORE

https://babayaga.ticketabc.com/events/baba-yagas-hut-pr-25/

23 11 2014
[ICAL]

Stephen O'Malley (solo)

Le Guess Who Festival, Utrecht, Netherlands


http://www.leguesswho.nl

with Selda, Einsturzende Neubauten and St. Vincent

 

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[THIS WEEK]


[THIS MONTH]

  • 11/09/2014 — Stephen O'Malley (solo) / Tempestarii – Video by Gast Bouschet & Nadine Hilbert @ The Wall, Taipei, Taiwan
  • 24/09/2014 — Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL) @ Théâtre Joliette-Minoterie dans la cadre d'Actoral, Marseille , France
  • 25/09/2014 — Gisèle Vienne's KINDERTOTENLIEDER (live music by KTL) @ Théâtre Joliette-Minoterie dans la cadre d'Actoral, Marseille , France
  • 28/09/2014 — Stephen O'Malley (solo) @ Recon Festival, Leeds, UK

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