Menu
Venues List

VenuesLIST

APA – A performance Affair

 

 

Arsenic

 

 

Berliner Festspiele

 

 

Beursschouwburg

 

 

Biennale Danza

 

 

Centre Pompidou

 

 

CND – Centre nationale de la danse

 

 

Charleroi danse 

 

 

Chisenhale Gallery

 

 

Danspace Project

 

 

Delfina Foundation

 

 

Documenta

 

 

Draf – David Roberts Art Foundation

 

 

Europalia

 

 

Festival d’Automne à Paris

 

 

Festival d’Avignon

 

 

Frieze London

 

 

Fondation Cartier pour l’art contemporaine

 

 

Fondation d’entreprise Hermès

 

 

Fondazione Furla

 

 

Fondazione Prada

 

 

Gessnerallee Zürich

 

 

Greene Naftali

 

 

HAU – Hebbel am Ufer Berlin

 

 

ICI – CCN 

 

 

Kunstenfestivaldesarts

 

 

Lafayette Anticipations

 

 

Les Laboratoires d’Aubervilliers

 

 

La Monnaie / De Munt

 

 

Manifesta

 

 

Maureen Paley

 

 

Ménagerie de verre

 

 

Mercat de les flors – DanceHouse

 

 

Meyer Riegger

 

 

MOCA – The Museum of Contemporary Art

 

 

MoMa

 

 

Musée de la danse

 

 

Nanterre – Amandiers 

 

 

Onassis Foundation

 

 

PACT Zollverein

 

 

Palais de Tokyo

 

 

Parades for FIAC

 

 

Pavilon ADC

 

 

Performa

 

 

Performance Exchange

 

 

Raven Row

 

 

Ruhrtriennale

 

 

Schauspielhaus Zürich

 

 

Southard Reid

 

 

Stedelijk Museum

 

 

Tanz im August

 

 

Tanzhaus Zürich

 

 

T2G Théâtre de Gennevilliers

 

 

TQW – Tanzquartier Wien

 

 

Tate Modern

 

 

The Glass House

 

 

The Kitchen

 

 

Théâtre de la Ville

 

 

Théâtre National de Chaillot

 

 

Triennale – Teatro dell’arte

 

 

Kaaitheater

 

 

KANAL

 

 

Kaserne Basel

 

 

Künstlerhaus Mousonturm

 

 

KVS

 

 

Vleeshal

 

 

Volksbühne Berlin

 

 

Walker Art Center

 

 

Whitney Museum

 

 

 

Guide

July/August 2022


LA FIN DES FORÊTS by Benjamin Karim Bertrand

How to make the horizon sensitive?

 

This piece is set on a cruising beach (a practice of the homosexual community combining flirting and sex in the public space, a practice where sociability is increased by desire); its dramaturgy braids together the abstract lines of the horizon and an erotic imagination; his bodies spread out, rub each other, cross each other, escape from the temptation of the athleticism; in the space, the hands and the arms trace the lines of horizon; on the skin, they figure the fleeting trace of the contacts and those more persistent of the touch; his figures navigate between the world of the dead and the world of the living, of Eros and Thanatos, of the human and the cyborg. Their rhythm combines the heaviness of mythical stories, the drama of Eurydice, Penelope and Ariadne and the suspense of the tactile encounter; their sound universe borrows from the tides and the “secret winds” (Edouard Glissant); its decor and costumes form a veiled case printed with virtual landscapes, their prisms blur, prevent identification; its remedy would allow to learn how to die; its policy is inscribed in the time of braiding of the images, at the same time in their excess and in their patient blooming, in their potential of birth.

 

 

 

The absent person who walks does not exhaust any territory, he only takes root in the sacredness of the air and the evanescence, in the pure refusal that changes nothing in the world. We follow him not in reality, always wanting to change something. But we know in the end that his walk, which is not nomadism, is not rambling either. It traces repeated figures on the earth of here, whose drawing we would surprise if we had means to locate them. This walker is an echo-world which is consumed in itself, which figures the chaos without realizing it. – Édouard Glissant, Poetics of the Relation (1990), p.224-5

 

Skin-beaches: spaces-extensions of dermis and sand on which are exposed salted waters – tears, perspiration, oceans. If the choreographer and dancer Benjamin Karim Bertrand is in love with these territories, it is in their potential of escape that he finds sense. As surfaces, their horizons escape the graspable in spite of the conquering hands that can be affixed to them without consent. In any case, there is the project in movement of the sub-communities of which Fred Moten and Stefano Harney, critical theorists stemming from the Black studies, speak to us. The erased march of the absent described by the poet Édouard Glissant or the wandering cruises summoned by José Esteban Muñoz can remind us of these elusive trajectories.

 

I propose that it is in the historical shadow of this march and these cruises that the drifting dances of The End of the Forests emerge. To extend oneself is first to hear these stories of bodies and spaces, Bertrand’s irrigated thought submits to us. To drift, it is to lose “the Other” to find the others.

 

Thus, to the title of apparently peremptory and eschatological of the piece of Bertrand it is necessary to perceive the muñozian step of disidentification. The end is the promise of the refusal raised by Glissant; it is the idea to undo a bruised and burning world, rather than to repair an essentialized community. It is to prefer the anarchic glitch of unpaid debt to the collection of empathy: wounds are made new with time, it is the chaos of scars that is the issue here. The caress makes its way above all on the tear.

 

For Bertrand, the burning skin-beaches become places of relations-contacts and queer, decolonial experimentations, by the dances. The movements imagined by Bertrand and his collaborators thus question the traces – their origins, subversions, and beyond: what they tell us about the possibilities of a future in common.

 

La Fin des Forêts then offers us the tools to spot the drawing of the steps in the sand.

 

 

 

Madeleine Planeix-Crocquer

 

 

 

 

All images ©Martin Argyroglo

 

 

 

 

La Fin des Forêts

 

31st March –  1st April 2022

 

Première, Festival À Corps, TAP-Théâtre auditorium de Poitiers

 

 

 

 

 

Choreography and concept | Benjamin Karim Bertrand

 

Dance and interpretation | Benjamin Karim Bertrand, Sherwood Chen, Nitsan Margaliot

 

Movement assistant | Léonore Zurflüh

 

Sound | PYUR (Sophie Schnell)

 

Light | Abigaïl Fowler

 

Digital | Mario Mu

 

Costumes | Cédrick Debeuf

 

Scenography | Bigtimestudio – Marion Flament & Jimme Cloo

 

General direction | Hélène Coudrain

 

Artistic administration and coordination | Soline de Warren Conseil au développement | Marion Gauvent Partenaires