SEPTEMBER 26 – 28 / 8PM / INSTALLATION-PERFORMANCE / FIAF FESTIVAL CROSSING THE LINE / This collaboration between Fanny de Chaillé and renowned French visual artist Philippe Ramette, comprised of twelve performances, is rooted in the duo’s shared fascination with the body and its surrounding environment of human-made objects. With a series of delightfully absurd human sculptures set in motion, the artists attempt to “rationalize the irrational,” recreating comic and improbable situations, and toying with our sense of perspective. Like visitors in a museum, audience members are invited to circulate through the room and observe the performers, who playfully ignite our imagination and challenge traditional notions of spectatorship and performance.
Performers: Jérome Andrieu, Christine Bombal, Pauline Brun, Jonas Chéreau, Simon Courchel, Madeleine Fournier, Kerem Gebelek, Christophe Ives, Lenio Kaklea, Sylvain Prunenec, Betty Tchomanga
Co-presented with FIAF Crossing The Line, The Invisible Dog Art Center and the Hermès Foundation’s New Settings Program US PREMIERE
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Fanny de Chaillé
After studying Aesthetics at the Sorbonne, Fanny de Chaillé worked with Daniel Larrieu at the National Choreographic Centre of Tours, first as a production assistant for the plays On était si tranquille, Feutre (w\hose score she composed with Rubin Steiner) and +Qu’hier, and as a performer in Cenizas. She also collaborated Rachid Ouramdane (as a performer), and with Gwenaël Morin, she appeared in the film Anéantis and in the plays Guillaume Tell, Philoctète and Lorenzaccio. Since 1998, she has created installations, performances and choreographic works including Le Karaokurt, Le Robert, Underwater and Ta ta ta. She has produced La Bibliotheque and Je suis un metteur en scene japonais (based on Thomas Bernhard’s Minetti) at the Theatre de la Cite Universitaire, where she has been an artist in residency for three years. . In 2013 she was invited by the Nouveau Festival of the Centre Pompidou where she created La Clairière with scenographer Nadia Lauro.
After studying at Villa Arson in Nice, he crucifies his moped and leaves behind painting for sculpture and the visual arts. Creating objects reflecting improbable situations: Objet à se voir regarder, Point de vue individuel portable. Working with photographer Marc Domage, he becomes the user of his own objects, entering the realm of what he calls photographic sculptures.