 X-Event process Annie Vigier and Franck Apertet initiated the cycle X-Event in partnership with Brétigny Center for Contemporary Art (CAC Brétigny), France. This cycle inaugurated the link and the sharing of questions the artists developed thereafter between the field of dance and that of visual arts. |
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In January 2005, the creation of X-Event 1 at Théâtre L’Echangeur, Bagnolet, France, was immediately followed by the deconstruction of its seven units. The artists claimed them as embodied forms, built in autonomous cells and exploited as objects, which interfere with a space, a setting or an exhibition display that are not proper for performing art. Gathered under the generic X-Event 2, the activation of those gestural protocols depends on duration and modes of public’s reception that belong to each specific institution and its particular circumstances. After the creation and presentation of all X-Event 2 protocols at the Lyon Biennale 2007, the artists closed the cycle X-Event by creating X-Event 0 at micadanses, Paris in January 2008. To download the file X-Event, please click >here< X-Event 1 Creation: January 12th & 13th 2005, L’Echangeur, Festival Faits d’hiver, Bagnolet, France Specific partners: CAC Brétigny, CCN Ballet de Lorraine, ADAMI, micadanses, Centre national de la danse for the use of the studio Sound concept and realization: Nicolas Martz, after the voice of baritone Victor Torres Scheduler : Christophe Martin Annie Vigier and Franck Apertet premiered their X-Event 1 at the Faits d’Hiver festival 2005 in Paris. In a theatre rearranged by the choreographers, a raised, X-shaped space reminiscent of a Minimalist sculpture serves as a stage around which the spectators are quite literally installed. This use of the stage-object distinguishes it from sculpture, however, pointing rather to a convergence with the post-Minimal current that plays on the interdependence between bodies and the functional and spatial coordinates of a given venue. Pushed to their limits, the striving bodies give rise to involuntary and residual shapes, and to respiration, sweating and physical marks that are laid bare to the public along with the movements carried out. The confined, homelike space of the conventional theatre, with its back/front organisation of the performance, is opened out and deconstructed. The X-shaped stage space takes on real volume, transforming into visual and physical continuity the technical and illusionist separation of the frontal division between the show and the spectators. The generic character of the X-Event 1 protocols in relation to the history of the dance, and of postmodern dance in particular, makes the work of the choreographers part of a return to the deconstructive strategies of the 70s; and of a transcendence of those strategies via an updated critique of the theatre industry, its standardisation and the role assigned to the spectator. Pierre Bal Blanc, Director CAC Brétigny Translation-Extract of the catalogue Lyon Biennial of Contemporary Art 2007  January 12th & 13th 2005, L’Échangeur, Bagnolet, France Photos: Sabrina Mathoux Courtesy: les gens d'Uterpan X-Event 2 With X-Event 2, premiered simultaneously with X-Event 1 at the Brétigny Contemporary Art Centre in 2005, Annie Vigier and Franck Apertet apply their strategy at a different level by formulating an external critique of the standardisation of the performing arts. With its seven protocols, X-Event 1 is described by the choreographers as the matrix generating the seven performances brought together under the generic title of X-Event 2: Les courses, Les corps morts, Le goût, La vague, Les Kama Sutra, Les chutes and Salives. Constructed as autonomous units and utilised as individual objects, these embodied forms can enter into a duality with other venues as part of a framework or an exhibition agenda, distinct from the ordered theatre space. Determined by an expenditure of energy taken to its limits, what the performers do confronts the specific characteristics of the site and its intended use. The spectator's body, too, is put to work and becomes an agent of movement. The time limit set for the performance is sometimes overrun by several hours or replaced by a calendar extending over several days, with the spectator totally free in terms of his perceptual rhythms and the movements involved. In brief, what the choreographers propose as an alternative to the strategy of deconstruction is that of reversibility, a tactic which, via the imposing of constraints and extreme limitations on contexts and performers, ineluctably gives rise to the reverse situation: the liberation of individualities and an acute awareness of place. Pierre Bal Blanc, Director CAC Brétigny Translation-Extract of the catalogue Lyon Biennial of Contemporary Art 2007 Creation: X-Event 2.7 (according to the protocol Salives) - Lyon Biennial of Contemporary Art 2007,
France X-Event 2.6 (according to the protocol Le goût) - Lyon Biennial of Contemporary Art 2007,
France X-Event 2.5 (according to the protocol Les Kama Sutra) - Lyon Biennial of Contemporary Art
2007, France X-Event 2.4 (according to the protocol Les courses) - Centre
international d’art et du paysage de Vassivière, France, juin 2007 X-Event 2.3 (according to the protocol Les chutes) - Domaine départemental de Chamarande, France,
juillet 2007 X-Event 2.2 (according to the protocol Les corps morts) -
Centre d’art contemporain-le Parc Saint Léger, Pougues les Eaux, France, mars
2007 X-Event 2.1 (according to the protocol La vague) - CAC
Brétigny, France, février 2005
Création: January
24th 2008, micadanses, Festival Faits d’hiver 2008, Paris, France X event 0
disorients the spectacular object and creates an observation situation by
positioning the presence of the viewer in the center of the representation
process. By a deliberate act of retention, the convention of spectacular
evening is maintained but the show is absent. This strategy of substitution
points out the political and social dimensions of the formats and structures in
live art. In a theater deprived of its essential, the emphasizing of the
presence and the statute of the public reveals the roles of the individuals in
the human economy, the motivations of their expectations as well as the concept
of consumption in a cultural frame. X-Event 1 Activations (selected): Faits d’hiver Festival, Theater l’Echangeur of Bagnolet, January 2005 Dance Festival in Aix, Aix en Provence, August 2005 Faits d’hiver Festival/Maison de l’Architecture-Couvent des Récollets, Paris, January 2006 Theater of Saulcy, Metz, March 2006 5th Berlin Biennial of Contemporary Art, Kunstwerke Institute, Allemagne, May 2008 CAC Brétigny/Hall of skate-board of Val d’Orge, December 2008 X-Event 2 Activations (selected): SIDES, Singapore, May 2018 Kusseneers Gallery, Brussels, Belgium, October 2017 Institute of Contemporary Art, Dunaújváros, Hungary, September 2017 Slovak National Gallery, Bratislava, Slovakia, May 2017 Musée d’Art Moderne de la Ville de Paris, France, June & November 2016 3rd Ural Industrial Biennial of Contemporary Art, Ekaterinburg, Russia, September 9th-November 10th 2015 RING Festival, Lucca, taly, September 2014 YAY! Gallery & Museum Center, Baku, Azerbaijan, (presented by Yarat contemporary art space), March 2014 National Gallery/International Theater Festival MESS, Sarajevo, June 2013 Copenhagen Art Festival, Denmark, August 2012 MSU/Zagreb Museum of Contemporary Art, Croatia, exhibition L'amour du risque, April 2012 Museum of Fine Arts, Strasbourg, France, March 2012 Collection Lambert en Avignon, France, exhibition JE CROIS AUX MIRACLES, May 2011 Kunsthaus Graz, Museum Joanneum, Austria, exhibition Catch me, Grasping Speed, April 2010 Museum of Modern Art in Warsaw/Muzeum Sztuki Nowoczesnej, Poland, September 2009 Galeria Vermelho/festival Verbo, Sao Paulo, Brazil, July 2009 Nam June Paik Art Center, Now Jump! Festival, Yongin, Korea, October 2008 Bétonsalon/Playtime Festival, Paris, France, September 2008 Beursschouwburg/On y danse tout en rond Festival, Brussel, Belgium, April 2008 Frac Bourgogne, Dijon, France, March 2007 & March 2008 Louvre Museum, Paris, France, February 2008 Tate Modern, The living Currency Pierre Bal-Blanc, London, England, January 2008 Lyon Biennial of Contemporary Art 2007, France, September 2007-January 2008 Departmental Domain of Chamarande, France, July 2007 International Center of Art in Vassivière, France, June 2007 FRAC Bourgogne, Dijon, France, March 2007 Saint-Léger Parc,Centre d’Art Contemporain, Pougues-les-Eaux, France, March 2007 VI Cali performance Festival, Colombia, May 2006 CAC Brétigny, France, February 2005 & April 2007 Conception : Annie Vigier et Franck Apertet |
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