Thursday 13 January
18:30
Vernissage - La Relève 4
Nora Barbier, Flo Souad Benaddi, Amentia Siard Brochard, Chloé Erb, Valentine Gardiennet, Prune Phi, Eloïse Vo
art-cade, Galerie des Grands Bains Douches de la Plaine 

For the past four years, Parallèle has joined forces with art-cade, Galerie des Grands Bains Douches de la Plaine, Buropolis, Coco Velten, La compagnie-lieu de création, Le Château de Servières, and the Centre Photographique Marseille to showcase the work of visual artists who are in the process of becoming professional.
On the occasion of the festival, the partners propose an exhibition bringing together the projects selected following a call for thematic projects. This year, the invitation was made around the verb “Veiller”.

La Relève 4 is a collective exhibition in the city of Marseille exposing the artists’ answers.

At art-cade, Galerie des Grands Bains Douches de la Plaine 
from Friday January 14 to Saturday March 12 

  • opening on Thursday, January 13 at 6:30 pm

At Buropolis
from Saturday January 15 to Saturday February 26

  • opening on Friday, January 14 at 6:30 pm

At Coco Velten (in the Archives), in partnership with La compagnie, lieu de création
from Thursday January 20 to Saturday February 19 

  • opening on Wednesday, January 19 at 6 pm

At the Marseille Photographic Center 
from Friday, January 21 to March 26

  • opening on Thursday, January 20 at 6:30 pm

At the Château de Servières 
from Tuesday January 25 to Friday April 15

  • opening on Saturday, January 22 from 11:00 am to 6:30 pm
art-cade, Galerie des Grands Bains Douches de la Plaine 
Sélection d’images
Ressources

You can consult the website of art-cade.

Friday 14 January
18:30
Vernissage - La Relève 4
Luisa Ardila, Gabriel Bercolano, Léa de Cacqueray, Leonore Camus-Govoroff, Charles-Arthur Feuvrier, Chloé Erb, Collectif Grapain, Leonard Rachex, Corentin Laplanche Tsutsui
Buropolis

For four years, Parallèle has worked in partnership with art-cade, Galerie des Grands Bains Douches de la Plaine, Buropolis, Coco Velten, La compagnie - lieu de création, Le Château de Servières, and le Centre Photographique de Marseille to promote the work of emerging, early-career artists.
For this year’s edition, the exhibition assembles projects selected following a call for proposals on the theme of “Watching Over” (in French, the verb veiller). La Relève 4, a collective exhibition in the city of Marseille, will exhibit the artists’ reflections on the subject.

La Relève 4 is a collective exhibition in the city of Marseille exposing the artists’ answers.

At art-cade, Galerie des Grands Bains Douches de la Plaine 
from Friday January 14 to Saturday March 12 

  • opening on Thursday, January 13 at 6:30 pm

At Buropolis
from Saturday January 15 to Saturday February 26

  • opening on Friday, January 14 at 6:30 pm

At Coco Velten (in the Archives), in partnership with La compagnie, lieu de création
from Thursday January 20 to Saturday February 19 

  • opening on Wednesday, January 19 at 6 pm

At the Marseille Photographic Center 
from Friday, January 21 to March 23

  • opening on Thursday, January 20 at 6:30 pm

At the Château de Servières 
from Tuesday January 25 to Friday April 15

  • opening on Saturday, January 22 from 11:00 am to 6:30 pm
Buropolis
Sélection d’images
Ressources

You can visit the facebook account of Buropolis.
You can also check their instagram account.

Tuesday 18 January
19:00
Idées musicales
Maxime Kurvers
Friche la Belle de Mai | GMEM — Centre national de création musicale, Le Module

Director and scenographer Maxime Kurvers here continues his pursuit of the foundations of theater. At the limits of the history of musical modernity and the avant-garde, he transposes a series of musical actions within a theatrical setting. Not a composer himself and thus possessing no a priori knowledge of harmony or musicology, Maxime Kurvers seeks through this performance to produce a musical script that only the space of the theater can render possible. Musical Ideas is as much an experimental recital, thinking representation in a way that situates it outside the illusion of the spectacle, as an attempt to reveal the grammar and codes of theater through music for the stage. Here, perhaps, leafing through one musical idea to another, emerges a kind of living and critical testimony of the work in progress, one that questions, ceaselessly, what makes theater what it is.

Presented as part of the Modulations of GMEM.

Conception, direction and interpretation: Maxime Kurvers
Lighting: Manon Lauriol
With : Haga Ratovo and the participation of a group of amateurs and musicians

Friche la Belle de Mai | GMEM — Centre national de création musicale, Le Module
Sélection d’images
Biographie

In 2015, Maxime Kurvers directed his first production, Pièces courtes1-9, in the form of a theatrical programme that questions the minimal conditions of his own production. Created at the Festival d’Automne in 2016, Dictionnaire de la musique extends this questioning of the theatre and its resources through the presence and history of other media. La naissance de la tragédie (2018) is a solo for and by the actor Julien Geffroy.
Idées musicales (2020) is an experimental musical recital. Created in April 2021, Théories et pratiques du jeu d’acteur (1428-2020) provides a critical reading of the pedagogical tools available to the actor.

Maxime Kurvers is an associate artist at the Ménagerie de verre for the 2016-2017 season and at La Commune - CDN d’Aubervilliers since September 2016.

Mentions

Production: La Pop and MDCCCLXXI
With the support of Festival Musica, Théâtre de l’Aquarium and Ménagerie de verre in the framework of Studiolab

With the support of Onda - Office national de diffusion artistique.

Maxime Kurvers has already presented Pièce courtes 1-9  at Parallèle in 2017.

  • In co-production with the GMEM — Centre national de création musicale and in partnership with the Friche la Belle de Mai. *
Ressources

You can check out the teaser for the performance.
You can also consult the website of Maxime Kurvers.
You can consult the website of GMEM.

21:00
Remixed settings
Sandar Tun Tun
Friche la Belle de Mai | GMEM - Centre national de création musicale, Le Module

Inspired by shifting, an explorative practice inaugurated by Gen Z that consists of displacing one’s consciousness into a parallel reality and thereby effecting a « shift » via the force of imagination and self-hypnosis, Remixed settings seeks to act as a practice of evasion, situated between plasticity and performativity.
In this metaphysical solo, Sandar Tun Tun traverses worlds imbibed with mythologies, spiritual belief systems and symbols of otherness linked to the artist’s heritage. By entering into a relationship with these symbols, she creates intermediary characters. Through a composite language that melds DJ set, poetry, and documentary, she proposes an interface through which to explore a mental landscape hewn from the co-incidence and amalgamation of realities, histories, and utopias.

Presented as part of the Modulations of GMEM.

Friche la Belle de Mai | GMEM - Centre national de création musicale, Le Module
Sélection d’images
Biographie

Sandar Tun Tun builds her work around fabulation, new alliances and collaborative trajectories. Artist, researcher, DJ and composer, she develops a sound, spatial and performative practice centred around listening, sensitive and critical reactivity. 
Her installations, compositions, performances, audiovisual sets or collective writings are interested in the conditions of coexistence within dominant cultures, in the space of appearance/disappearance, in the link between technology and spirituality, non-human ecologies and collective consciousness and give rise to projects with hybrid languages ranging from the creation of entities to the organisation of sound poetry evenings.  
Sandar embodies the musical identities Nay Thit (DJ, producerx) and SD S (noise, electronic music) and is also one half of BARE-TT, an experimental music duo formed in 2016 with researcher, artist and biologist Katia Barrett. BARE-TT is a conceptual audio-visual project that explores the possibilities of sonic storytelling at the intersection of queer feminist science fiction and the symbiotic relationships of the living. 

Mentions

Commissioned and coproduced by: Triangle – Astérides, centre d’art contemporain and Festival Parallèle

In partnership with GMEM — Centre national de création musicales and la Friche la Belle de Mai.

Ressources

You can consult the website of GMEM.

22:00
Remixed settings
Sandar Tun Tun
Friche la Belle de Mai | GMEM - Centre national de création musicale, Le Module

Inspired by shifting, an explorative practice inaugurated by Gen Z that consists of displacing one’s consciousness into a parallel reality and thereby effecting a « shift » via the force of imagination and self-hypnosis, Remixed settings seeks to act as a practice of evasion, situated between plasticity and performativity.
In this metaphysical solo, Sandar Tun Tun traverses worlds imbibed with mythologies, spiritual belief systems and symbols of otherness linked to the artist’s heritage. By entering into a relationship with these symbols, she creates intermediary characters. Through a composite language that melds DJ set, poetry, and documentary, she proposes an interface through which to explore a mental landscape hewn from the co-incidence and amalgamation of realities, histories, and utopias.

Presented as part of the Modulations of GMEM.

Friche la Belle de Mai | GMEM - Centre national de création musicale, Le Module
Sélection d’images
Biographie

Sandar Tun Tun builds her work around fabulation, new alliances and collaborative trajectories. Artist, researcher, DJ and composer, she develops a sound, spatial and performative practice centred around listening, sensitive and critical reactivity. 
Her installations, compositions, performances, audiovisual sets or collective writings are interested in the conditions of coexistence within dominant cultures, in the space of appearance/disappearance, in the link between technology and spirituality, non-human ecologies and collective consciousness and give rise to projects with hybrid languages ranging from the creation of entities to the organisation of sound poetry evenings.  
Sandar embodies the musical identities Nay Thit (DJ, producerx) and SD S (noise, electronic music) and is also one half of BARE-TT, an experimental music duo formed in 2016 with researcher, artist and biologist Katia Barrett. BARE-TT is a conceptual audio-visual project that explores the possibilities of sonic storytelling at the intersection of queer feminist science fiction and the symbiotic relationships of the living. 

Mentions

Commissioned and coproduced by: Triangle – Astérides, centre d’art contemporain and Festival Parallèle

In partnership with GMEM — Centre national de création musicales and la Friche la Belle de Mai.

Ressources

You can consult the website of GMEM.

Wednesday 19 January
18:00
Vernissage - La Relève 4
Gabriel Bercolano, Antoine Berger et Charles Pierre, Claire Bouffay, Louis Chaumier, Chloé Erb, Dosoung Kim, Rémi Lecussan, Elsa Muller, Sacha Rey, Vehanush Topchyan
Coco Velten, en partenariat avec La compagnie - lieu de création

For four years, Parallèle has worked in partnership with art-cade, Galerie des Grands Bains Douches de la Plaine, Buropolis, Coco Velten, La compagnie - lieu de création, Le Château de Servières, and le Centre Photographique de Marseille to promote the work of emerging, early-career artists.
For this year’s edition, the exhibition assembles projects selected following a call for proposals on the theme of “Watching Over” (in French, the verb veiller). La Relève 4, a collective exhibition in the city of Marseille, will exhibit the artists’ reflections on the subject.

At art-cade, Galerie des Grands Bains Douches de la Plaine 
from Friday January 14 to Saturday March 12 

  • opening on Thursday, January 13 at 6:30 pm

At Buropolis
from Saturday January 15 to Saturday February 26

  • opening on Friday, January 14 at 6:30 pm

At Coco Velten (in the Archives), in partnership with La compagnie, lieu de création
from Thursday January 20 to Saturday February 19 

  • opening on Wednesday, January 19 at 6 pm

At the Marseille Photographic Center 
from Friday, January 21 to March 23

  • opening on Thursday, January 20 at 6:30 pm

At the Château de Servières 
from Tuesday January 25 to Friday April 15

  • opening on Saturday, January 22 from 11:00 am to 6:30 pm
Coco Velten, en partenariat avec La compagnie - lieu de création
Sélection d’images
19:30
The Wake, video installation
The Living and the Dead Ensemble
Coco Velten

Night has fallen on a world on fire. Demonstrations, earthquakes, forest fires - fire is everywhere. The fires of struggle and pain, of rebirth and chaos. Men and women speak and “break out” to honor the dead and save the living. The Wake is a place of dreams and mourning, a journey through time and space, an attempt to reconstruct a shattered geography, like the broken mirror of a chaotic world soon to be swallowed by the raging rain. Personal stories and fables, cries of revolt and songs, claims and illusions - a collection of people trying to understand themselves. Is there a possible future beyond the repetition of all kinds of catastrophes? Echoing his last piece, The Wake, this new installation by The Living and the Dead Ensemble transforms a polyphonic Caribbean cry into a call to repair the world.

Screening times
— 19h30
— 20h04
— 20h38
— 21h12
— 21h46

An installation of The Living and the Dead Ensemble

With: Mackenson Bijou, Rossi Jacques Casimir, Dieuvela Cherestal, James Desiris, James Peter Etienne, Leonard Jean-Baptiste, Cynthia Maignan, Sophonie Maignan, Frankétienne
Direction: Olivier Marboeuf et Louis Henderson
Images et montage : Louis Henderson
Son et mixage : Victor Donati
Music: João Polido

Coco Velten
Sélection d’images
Biographie

The Living and the Dead Ensemble is a group of artists, performers and poets from Haiti, France and the UK. They first came together in Haiti 2017, to produce a Haitian Creole translation and performance of Édouard Glissant’s play Monsieur Toussaint. From an original idea by Louis Henderson and Olivier Marboeuf, Ensemble OUVERTURES’ first film premiered at the 2020 Berlinale. The film explores the influence of Haiti, the first independent black republic in the Americas, in Western modernity as well as the history and present of the Caribbean.

The Living and the Dead Ensemble is currently composed of: Rossi Jacques
Casimir, Dieuvela Cherestal, Sophonie Maignan, Cynthia Maignan, James Desiris,
James Peter Etienne, Mackenson Bijou, Leonard Jean Baptiste, Olivier Marboeuf,
Louis Henderson.

Mentions

Co-production: Spectre Productions, Théâtre de l’Usine à Genève, Ateliers Médicis à Clichy-Montfermeil, Kunstenfestivaldesarts (Belgique), Z33 (Belgique), Savvy Contemporary (Allemagne)

With the support of Onda - Office national de diffusion artistique.

Ressources

You can visit the website The Living and the Dead Ensemble.

21:00
Poésie chantée
Chouf
Coco Velten

Interpretation: Chouf
Accompanied by: Trustfall

Coco Velten
Sélection d’images
Biographie

Chouf is an artist whose work is part of a contemporary poetic tradition of the intimate.
Her writing subtly plays with love and despair, she speaks of the living and the dead,
of the solitude of being oneself, of the courage to say things.

Trustfall is a Paris-based artist who creates tense pop songs that resonate between the dark steel of Michael Mann’s Heat soundtrack and the blues of Sade chasing the dragon. Mentored by avant-garde composer and artist William Basinski and the late cultural theorist Mark Fisher, his music features a classic sense of construction coupled with abstract, ghostly k-funk deeply rooted in contemporary experience. Working in Los Angeles, London, Paris and Berlin, he has honed his craft as an in-demand songwriter and instrumentalist, performed live with contemporaries Kelsey Lu and Holly Herndon, composed soundtracks for films and fashion shows, and produced acclaimed mixes for Radio alHara, NTS Radio and Rinse FM.

21:30
DJ set
Chkoun is it?
Coco Velten

In view of government announcements, the Dj set of Chkoun is it? is maintained in a form but we will ask you to remain seated. However, we are doing everything we can to ensure that it takes place in happy and safe conditions for all.

Coco Velten
Sélection d’images
Biographie

Chkoun is it? is an association which tends to put forward hybridization, intersectionality and otherness as vectors of creation, by proposing cultural and musical programs where musical, festive, convivial and artistic proposals are mixed.

Trustfall is a Paris- based artist creating tensely- wound pop songs that resonate between the steely noir of Michael Mann’s Heat OST and the dragon-chasing blues of Sade. Mentored under avant-garde composer and artist William Basinski and the late cultural theorist Mark Fisher, his music is characterized by a classical sense of construction coupled with an abstract, ghostly k-funk, deeply rooted in the contemporary experience. Both working in and channeling LA, London, Paris and Berlin, he has honed his craft as an in- demand songwriter and instrumentalist, performed live with contemporaries Kelsey Lu and Holly Herndon, composed soundtracks for film and runway, and has produced acclaimed mixes for Radio alHara NTS Radio, and Rinse FM.

Thursday 20 January
18:30
Vernissage - La Relève 4
Chloé Erb, Nabila Halim, Jade Maily, Claire Maroufin, Aliha Thalien, Emma Tholot, Corentin Laplanche Tsutsui, Lingjun Yue
Centre Photographique Marseille

For four years, Parallèle has worked in partnership with art-cade, Galerie des Grands Bains Douches de la Plaine, Buropolis, Coco Velten, La compagnie - lieu de création, Le Château de Servières, and le Centre Photographique de Marseille to promote the work of emerging, early-career artists.
For this year’s edition, the exhibition assembles projects selected following a call for proposals on the theme of “Watching Over” (in French, the verb veiller). La Relève 4, a collective exhibition in the city of Marseille, will exhibit the artists’ reflections on the subject.

La Relève 4 is a collective exhibition in the city of Marseille exposing the artists’ answers.

At art-cade, Galerie des Grands Bains Douches de la Plaine 
from Friday January 14 to Saturday March 12 

  • opening on Thursday, January 13 at 6:30 pm

At Buropolis
from Saturday January 15 to Saturday February 26

  • opening on Friday, January 14 at 6:30 pm

At Coco Velten (in the Archives), in partnership with La compagnie, lieu de création
from Thursday January 20 to Saturday February 19 

  • opening on Wednesday, January 19 at 6 pm

At the Marseille Photographic Center 
from Friday, January 21 to March 23

  • opening on Thursday, January 20 at 6:30 pm

At the Château de Servières 
from Tuesday January 25 to Friday April 15

  • opening on Saturday, January 22 from 11:00 am to 6:30 pm
Centre Photographique Marseille
Sélection d’images
21:00
Love Mathematics
Christelle Oyiri / Crystallmess
SISSI club

Imagined with humor in the interstice between the fever of an evangelical preaching, the Afrocentrism of the Five Percenters, the decorum of an orthodox ceremony, Love Mathematics explores the possibility of a syncretism. What constitutes good preaching today in the age of “accelerationism” and social networks ?

What’s today Mathematics ? As Clarence Edward Smith aka Clarence 13X, the Nation of Gods and Earths (or Five Percenters) thought leader, asked. Mathematics, despite its name, is not mathematics. They are practical lessons that respond to a theological and numerological system.

Love Mathematics revisits these precepts and reads like a performance-testimony on the caesura in faith, the faith of the self first.
How to apprehend the love of oneself in a world that refuses it to you? How to live one’s full faith and flourish in monotheistic religions when your place as a black/queer woman is at best incidental, at worst in danger. How can you find refuge in the universal when it has been built at your expense ?

Duration: 10 minutes

SISSI club
Sélection d’images
Biographie

Christelle Oyiri aka Crystallmess is a DJ and producer as well as a writer and artist, keen to highlight past and present sub-cultures.
Her approach as a DJ and producer ranges from abrasive zouk and dancehall to afro-trance and Detroit techno, whether she’s behind the decks at a Janus party in Säule/Berghain, Hyperdub’s monthly ø party at Corsica Studios, Yves Tumor’s Terms of Endearment party or the local Parisian party CONCRETE.
It relies more on textures, sonic continuum and narrative rather than genres, while continuing to rock the dance floor.
Tackling themes of club culture, colonial alienation and alternative temporalities, she created ‘Collective Amnesia’ in 2018. Inspired by Kodwo Eshun’s Cyber Club Research Unit work on Afrofuturism and music, this multidisciplinary performance mixing film and DJ, and traditional griology vocal performance celebrates the forgotten history of logobi, an urban Afro-French dance from the mid-2000s fusing hardcore techno and offbeat coupe.
She self-released her debut EP Mere Noises, oscillating between raw rave energy, dark dancehall and melancholic ambient, supported by artists such as Kode9, Lee Gamble and Klein.

Mentions

In corealisation with SISSI club.

Ressources

You can check out the instagram of Christelle Oyiri.
You can also listen to her Souncloud.
You can browse her website.
You can also listen to her Bandcamp.

Friday 21 January
20:00
Rave to Lament
Katerina Andreou
Mucem

In the fall of 2020, Katerina Andreou got in touch with Voltnoi Berge, a man who lived through the transformation of the (sub)urban music scene in Athens from 1989 onwards. This scene was then influenced by the rave culture coming from the United States and England, and carried by the house and techno music. Too young to participate in the effervescence of these spontaneous gatherings, Katerina Andreou immersed herself in the stories, books and music shared by Voltnoi Berge. At the same time, she conducted her own research on this movement, which was above all sonic. Very quickly the myths and rumors took over the reality of this underground scene which, according to her, deserves to be approached with a more physical than mental approach. Filled with nostalgia for a time she did not live through, Katerina Andreou creates Rave to Lament: a fleeting, unique and impulsive gesture that, rather than looking to the past, seeks to be part of the present.

Rave to Lament is an in situ performance commissioned by the MIR festival in Athens.

The Rave to Lament performance take place outdoors, bring warm clothes!

Design, performance: Katerina Andreou
Soundtrack designed: Katerina Andreou, created in collaboration with Cristian Sotomayor, based on the original sounds of DJ Sisso, Jacob Garet, Ayya.
Research assistance: Voltnoi Brege
Acknowledgements: Jérémy Perrin , Frédéric Pouillaude
Production, diffusion: Elodie Perrin
Production: BARK

Mucem
Sélection d’images
Biographie

Born in Athens, Katerina Andreou is based in France. She graduated from the Law School of Athens and the National Dance School of Athens, followed the ESSAIS programme at the CNDC in Angers and holds a Master’s degree in choreographic research (Paris 8). As a performer she has collaborated with DD Dorvillier, Anne Lise Le Gac, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, Ana Rita Teodoro. In her own work she develops a physical practice specific to each project and seeks states of presence that result from a constant negotiation between contrasting or even contradictory tasks, fictions or universes, often questioning notions of authority and censorship. She creates herself the sound environment of her pieces which becomes her main dramaturgical tool. She received the Jardin d’Europe award at the ImpulsTanz festival in 2016 for her solo A kind of fierce. She then created the solo BSTRD (2018) and the duo Zeppelin Bend (2020) with Natali Mandila.

Mentions

Production: Cie BARK, MIR Festival Athènes, far° Nyon 
Residencies: GRRRND ZERO Lyon, Les SUBS – lieu vivant d’expériences artistiques Lyon, CND – Centre national de la danse Paris 

With the support of Onda - Office national de diffusion artistique.

In corealisation with le MUCEM.

Ressources

You can consult the website of the artist.

21:30
Happy Hype
Collectif Ouinch Ouinch X Mulah
Mucem

The Hype Call is a call of encouragement practiced in Krump culture, a dance born in Los Angeles in the 90s.
The Ouinch Ouinch draw inspiration from the Hype Call and take the liberty of inventing their own. Adopting the unbridled beat of Afro and Hip-Hop music, mixed live by DJ Mulah, the dancers treat the audience to a traditional and utopian performance, the space of representation becoming that of a festive ritual, at once contemporary and inclusive.
The site is treated as a refrain around which the dancers gather to rest and recover, in order to heighten once again the power of their movement. Happy Hype invites us to reflect upon collectivity and encouragement. Each audience member may choose the form of their participation in this festive parade that conjures the depths of joy with utmost conviction.

Design: Karine Dahouindji, Simon Crettol, Nicolas Mayorga Ramirez, Marius Barthaux
Dance and choreography: Elie Autin, Collin Cabanis, Karine Dahouindji, Adèl Juhasz, Marius Barthaux
DJ set: Maud Hala Chami
Thanks to: Dans Les Parages, laboratoire de LA ZOUZE - Cie Christophe Haleb

Mucem
You can consult the instagram of Collectif Ouinch Ouinch.
You can also browse their website.
Sélection d’images
Biographie

Marius Barthaux, directeur artistique
After obtaining a Bachelor’s degree in Literature and Theatre in Paris, Marius joined the Manufacture de Lausanne in 2015 to follow the Bachelor’s degree in contemporary dance with a creation option, which he completed in June 2018. Between January and June 2021, he will also attend the Dance and Landscape course at the Ecole Nationale Supérieure de Paysagisme de Versailles, to better understand the challenges of dance in extra-stage spaces. Professionally, he is involved in the creation of various personal and collective projects in Switzerland and France. Since 2015, he is part of a Parisian collective, La Grosse Plateforme, a transdisciplinary collective dedicated to the creation of events and artistic objects. Their first show, le Sacre , an in situ piece mixing a capella singing and dance, has been performed in many festivals for four years. During the 2018-2019 season, Marius is an associate artist at the Abri foundation, a place dedicated to young creation in Geneva, which allows him to develop the creation of a solo, dires des sommes , as well as to co-found the company des marmots in June 2019. Since May 2021 and in the prolongation of his solo, Marius continues his sensorial experiments in the public space with the children of a school in Saint Florentin under the name of a project entitled Cosmos des sommes, within the framework of the programme Création en cours piloted by the Ateliers Médicis. The aim of this project is to create a series of artistic objects linked together by similar fictions and devices.
The first collective piece to emerge from this series is called la patrouille and will be premiered at the Dancing-CDCN in Dijon in November 2021, as well as at the Château de Monthelon in May 2022 for a premiere scheduled for the end of summer 2022. Marius also performs for choreographers such as Fanny de Chaillé, La Fabrique Fastidieuse, Nicole Seiler, Nagi Gianni and Antoine Thiollier.

Karine Dahouindji, directrice artistique
Karine Dahouindji is a dancer, performer and choreographer. She trained at the conservatory of Nîmes and at the CND of Angers before entering La Manufacture to develop her universe and to invest herself in composition and improvisation. During this training she participated in various video, photo and film projects. In 2018, she obtained her Bachelor’s degree in contemporary dance and went on to participate in the Talent Adami Danse project with the choreographers Béatrice Massin and Pierre Rigal. Since then, she has continued to meet various artists with whom she has performed revivals of pieces or workshops, notably Ruth Childs and Ambra Senatore. She also created the Ouinch Ouinch collective with 3 friends and shares its artistic direction with Marius Barthaux for the moment. Karine works today mainly in Switzerland with different artists: choreographers, directors or visual artists such as Nicole Seiler, Yasmine Hugonnet, Natasza Gerlach or Maëlle Gross. She also participates in the Tanzfaktor 2020 tour with Molecutrio and in the Swiss Dance Days 2022 with Happy Hype, two pieces by Ouinch Ouinch. She also continues to work on various photo and video projects. For the 2021/2022 season, Karine is an associate artist at l’Abri, an opportunity for her to launch her first solo piece.

Adél Juhász, performeuse
Adél Juhász is a Hungarian contemporary dancer, based between Hungary and Switzerland. She studied at the Budapest Contemporary Dance Academy, where she began to develop her own movement language and experiment in the creative field. In 2015 she created the piece Coexit in collaboration with the musician Áron Porteleki. In 2016, she joined the Bachelor of Contemporary Dance at La Manufacture in Lausanne. In 2018, she created the solo László, which has been shown several times (Les Quarts d’Heure de Sévelin, Sziget festival, Dunapart showcase, Ubik Eklekktik festival). Since 2019, she has been working with Csaba Molnár as a performer in the piece Gods and Monsters, and with the Collectif Ouinch Ouinch, with whom she is touring the piece Molecutrio, a piece selected for the Tanzfaktor 2020 scheme, as well as Happy Hype. This year, she is an associate artist at La Fondation L’Abri, a residency where she is developing her next creation, László Károlyné.

Elie Autin, performeur
Elie Autin first entered the Montauban Conservatory and then the Toulouse Conservatory. At the same time, he pursued a classical education. In 2016, he joined the Manufacture-Lausanne to follow the Bachelor’s degree in contemporary dance with a creation option, which he will complete in June 2019.
During his studies, Élie met different artists and choreographers such as Simone Aughterlony, Mark Lorimer, Valeria Bertolotto, Cindy Van Acker, Thomas Hauert, Gabriel Schenker. He was invited by Dadid Zambrano to perform a solo for the opening of his art centre Tic Tac Art Center in Brussels in 2018. In parallel to his studies at the Manufacture, Élie has been involved in several projects such as with Jérôme Bel for Gala, which he danced three times, notably for the Bâtie festival. He also collaborates with Vincent Macaigne for En manque. In November 2019 Élie Autin will be in residence at the Tanzhaus (Zurich) with Juliette Uzor to reinvent their Bachelor duo created at the Manufacture. In 2020 Élie will be part of the OPERALAB project organised by the Grand Théâtre de Genève, the Comédie de Genève and the Hautes Écoles d’Art de Suisse Romande. During the 2020-2021 season, he will be part of Alexandre Doublet’s creation.

Maud Hala Chami
aka Dj Mulah
Music
In 2016, Maud Hala Chami created the association ZRO21, an independent music label and publishing house, specialised in artist development and urban culture management. Mulah is a versatile artist who likes to mix the technicality of music production with the festive world of live performance and entertainment. The Ouinch Ouinch call on her creativity and musical relevance, to launch the Happy Hype concept. In 2019, Maud Hala Chami becomes a representative of women in the mix world. Helping through her live performances to highlight equality, in all its forms.

Collin Cabanis
Performance
Collin has practiced breakdance for more than ten years in Lyon. At the same time he started to learn contemporary dance, gradually moving away from breakdance. He also trained in administrative and commercial management of cultural organisations at the University of Lyon 3. At the Manufacture, Collin plunged into the pool of improvisation and fed this practice by crossing paths with many great improvisers such as Thomas Hauert, Martin Kilvady and David Zambrano. During her training, she participated in creations with Alix Eynaudi, Mathilde Monnier and Nicole Seiler, with whom she also created Wouah!. In spring 2021, Thomas Hauert gave her the solo Personne, which she performed at the Brigitinnes in Brussels. Finally, she is a member of the Foulles collective, with whom she has already created two pieces: Song for four people and one Bench(2019) and A Prayer Before (2020). Since 2018, iel has been organising, in collaboration with Fabio Zoppelli, the Monday Evening Sharings, which are evenings of instantaneous performances with live musicians, first at the Manufacture and then at the Théâtre Sévelin 36, since January 2021.

Mentions

Distribution support: Anna Ladeira - Association Le Voisin
Co-production: Fondation L’Abri (Geneva), le FAR (Nyon), Belluard Bolwerk Festival (Fribourg)

In corealisation with MUCEM.

Saturday 22 January
11:00
Vernissage - La Relève 4
Leonore Camus-Govoroff, Camille Chastang, Manon Dalmas, Roméo Dini, Chloé Erb, Juliette George, Kiana Hubert Low, Aglaé Miguel, Gwenaël Porte, Xiaoke Song, Eloïse Vo
Château de Servières

For four years, Parallèle has worked in partnership with art-cade, Galerie des Grands Bains Douches de la Plaine, Buropolis, Coco Velten, La compagnie - lieu de création, Le Château de Servières, and le Centre Photographique de Marseille to promote the work of emerging, early-career artists.
For this year’s edition, the exhibition assembles projects selected following a call for proposals on the theme of “Watching Over” (in French, the verb veiller). La Relève 4, a collective exhibition in the city of Marseille, will exhibit the artists’ reflections on the subject.

At art-cade, Galerie des Grands Bains Douches de la Plaine 
from Friday January 14 to Saturday March 12 

  • opening on Thursday, January 13 at 6:30 pm

At Buropolis
from Saturday January 15 to Saturday February 26

  • opening on Friday, January 14 at 6:30 pm

At Coco Velten (in the Archives), in partnership with La compagnie, lieu de création
from Thursday January 20 to Saturday February 19 

  • opening on Wednesday, January 19 at 6 pm

At the Marseille Photographic Center 
from Friday, January 21 to March 23

  • opening on Thursday, January 20 at 6:30 pm

At the Château de Servières 
from Tuesday January 25 to Friday April 15

  • opening on Saturday, January 22 from 11:00 am to 6:30 pm
Château de Servières
Sélection d’images
18:00
Confessions nocturnes
Luisa Ardila, Gabriel Bercolano, Contemporaines et 16b éditions, Elise Courcol-Rozès, Neïla Czermak Neïla Czermak Ichti et Valentin Noujaïm, Théophile DCX et Nelo Gevers, Pierre Itzkovitch, La Kabine - Centre de l’image et Permadanse, Souhila Larabi, Manifesto XXI, Salomé Michel avec Marie Manguele, Hugo Mir-Valette avec Dan Adeyemi, Joseph Perez, Nicolas Perez, Prune Phi, Sacha Rey, Soeurs Malsaines, Studiolow, Studio Martyr, RIFT (Liam Warren) et Hugo Mir-Valette, Giulia Tellier avec Lola Rudrauf, Marion Zurbach avec Maël Boumlil et Manon Tombe
Artagon Marseille

After the first “Opening of the doors” at the end of August, autumn was synonymous with the installation and appropriation of spaces for the 2021-2022 residents of Artagon Marseille. The former Ricard factory is now inhabited by new presences: the residents’ own, but also of neighbours’ and our curious visitors or guests.

This new winter opening time as part of the Festival Parallèle is an opportunity to explore the venue by night. For one evening, about twenty residents share new artistic proposals, previews of their ongoing projects, collaborations or invitations to outside partners.

Confessions nocturnes thus gathers universes of diverse temperatures. Readings, performances, discussions, installations, contextual interventions and sound creations unfold and appear progressively all through the building, which will be immersed in dimness.

Corridors become arteries leading to closed studios, or to studios transformed by their occupants; perhaps even more so at nighttime, these work spaces must be made welcoming, and monitored, inhabited with voices, sounds and dances. Our vigil will be romantic, funereal, attentive, ritualistic or reflective, and is punctuated by stories of resistance and phantasmagorical tales. We’ll share meals, dreams, and revolts, the way we confide in each other by the fire.

Artagon Marseille
Sélection d’images
Mentions

In co-realisation with Artagon.

Ressources

You can visit Artagon’s website.
You can also check out their account Instagram.

Sunday 23 January
18:00
I Comete
Pascal Tagnati
La Baleine

In the presence of the director

A village in Corsica. Kids and teens mess around, grown-ups discuss the future while elders reflect on time passing by. Those who never left welcome back those who went abroad. Under the burning sun and to the sound of rippling laughter, summer suspends time but doesn’t heal all wounds.

It is sometimes said that a film unfolds its own design, as if locked into an initial proposition that ineluctably reveals the full story to come. Escaping this trap, I Comete by Pascal Tagnati offers a multitude of aesthetic proposals, drawing from a rich stylistic palette to offer a unique and distinctive narrative. 
Over the course of one summer, the filmmaker captures on the fly portraits of a Corsican village’s inhabitants. With carefully crafted framing and subtle choreography, the trajectories of a myriad of individuals play out before our eyes without betraying their intimacy. And yet…
As strange portraits and mysterious relationships are woven together, step by step we connect shards of an underlying story and grasp the film’s hidden ambition. Here, faith in the power of cinema as it revisits its own codes and embroiders fragmented destinies onto its rich canvas, reaffirms what makes a community. To achieve this, we need to recall the words of the community’s adopted child, played by Jean-Christophe Folly: « I am the exception that confirms the rule ».

  • Reservations for this screening are made with La Baleine. *

Director: Pascal Tagnati
Writer: Pascal Tagnati
Director of photography: Javier Ruiz Gómez
Editor: Pascal Tagnati
Production designer: Kalli Tormen Mixing
Sound: Amaury Arboun, Pierre Bompy, Vincent Verdoux
Calibration: Gadiel Bendelac
Camera assistant: Lucas Vittori
Assistant director: Thomas Bobrowski
Stage Manager: Antoine Lefeuvre
Sound assistants: Antoine Bertucci, Laurent Blahay
Assistant set designer: Tom Mattei
With: Jean-Christophe Folly, Pascal Tagnati , Cédric Appietto , Davia Benedetti , Jérémy Alberti et Apollonia Orsoni

La Baleine
Sélection d’images
Biographie

Né en 1982 à Ajaccio, Pascal Tagnati est acteur, auteur, metteur en scène et réalisateur.
Au cinéma, il a notamment joué dans les films de Lucie Borleteau (Fidélio), Delphine Leoni (La Nuit est là), Sarah Arnold (Parades), Thierry de Peretti (Sleepwalkers), Antonin Peretjatko (La loi de la jungle), Lavinie Boffy (La Vie ou la Pluie) ; Au théâtre, sous la direction de François Orsoni, Jean-Christophe Meurisse pour le collectif Les Chiens de Navarre, Thierry de Peretti, Cristèle Alves Meira et dans ses propres mises en scène. Dans ses films, Pascal Tagnati observe son époque, ses contemporains ou lui-même, avec humour, sensibilité et mélancolie. I Comete est son premier long métrage.

Mentions

Producers: Martin Bertier, Helen Olive, Delphine Leoni
Production company: 5à7 Films, Lotta Films
Country of production: France
Distributor: New Story

Ressources

You can consult the Baleine website.

Tuesday 25 January
19:00
The Wake, performance
The Living and the Dead Ensemble
Théâtre Joliette

The Wake is a piece that reweaves a fragmented geography. An assembly tries to make itself heard through intimate stories and fables, cries of revolt and songs, claims and delirium. Is there a possible future beyond the repetition of catastrophes of all kinds? Is there a common fire to share with those who have lost their voice or never had it?
The authors of The Living and The Dead Ensemble are artists, performers and poets from Haiti, France and the UK. In writing this uncertain journey, they took fragments of the play Melovivi ou le piège by Haitian writer Frankétienne. By rereading and updating this work, which anticipates the earthquake that devastated Haiti ten years ago, they turn the vigil into a visionary space.

Text: The Living and the Dead Ensemble
Excerpts from Mélovivi ou le piège by Frankétienne
With: Mackenson Bijou, Rossi Jacques Casimir, Dieuvela Cherestal, James Desiris, James Peter Etienne, Louis Henderson, Leonard Jean-Baptiste, Cynthia Maignan, Sophonie Maignan, Olivier Marboeuf

Théâtre Joliette
Sélection d’images
Biographie

The Living and the Dead Ensemble is a group of artists, performers and poets from Haiti, France and the UK. They first came together in Haiti 2017, to produce a Haitian Creole translation and performance of Édouard Glissant’s play Monsieur Toussaint. From an original idea by Louis Henderson and Olivier Marboeuf, Ensemble OUVERTURES’ first film premiered at the 2020 Berlinale. The film explores the influence of Haiti, the first independent black republic in the Americas, in Western modernity as well as the history and present of the Caribbean.

The Living and the Dead Ensemble is currently composed of: Rossi Jacques
CASIMIR, Dieuvela CHERESTAL, Sophonie MAIGNAN, Cynthia MAIGNAN, James DESIRIS,
James Peter ETIENNE, Mackenson BIJOU, Leonard JEAN BAPTISTE, Olivier MARBOEUF,
Louis HENDERSON.

Mentions

Co-production: Spectre Productions, Théâtre de l’Usine à Genève, Ateliers Médicis à Clichy-Montfermeil, Kunstenfestivaldesarts, Z33, Savvy Contemporary

With the support of Onda - Office national de diffusion artistique.

In corealisation with the Théâtre Joliette.

Parallèle has launched a tour of The Wake project by The Living and The Dead Ensemble in collaboration with Spectre Productions.
The project (performance, installation, screening of the film Ouverture(s)) will be presented at the Ateliers Médicis in Clichy-sous-Bois, at the Quartz in Brest as part of the DansFabrik Festival and at the Traveling Festival in Rennes. The video installation The Wake will also be part of the Forum Expanded exhibition at Berlinale 2022.
The Kunstverein in Karlsruhe will host the first monographic exhibition of The Living and the Dead Ensemble from May to July 2022.

The national tour receives specific support from Tournée internationale de l’Onda — Office national de diffusion artistique.

Wednesday 26 January
19:00
Evaporation(s)
Manon Worms et Camille Nauffray
Montévidéo

Reading

A family of today, perhaps in Japan. Solitudes, ready to dissolve. A mother present but already so far away. A son who can no longer stand the silence in the subway. The son’s sister, on the verge of discovering the exaltation of desire. The son’s uncle, who has changed jobs since the disaster. And a father. Gone. At first, just absent, as often, a sign that business is good.
Every year, nearly 100,000 Japanese take the decision to disappear and live as outcasts after being laid off, over-indebted or failing an exam. This text is inspired by those who are called the evaporated and imagines a family torn apart by this departure, in which those who remain will talk to each other for the first time. It is the story of their intimate revolutions that are born from a void.

Text and dramaturgy : Camille Nauffray
Director: Manon Worms
Interpreters: Barbara Joan Do Ich Chossis, Mike Nguyen, Elise Pignard, Nicolas Vantalon

Montévidéo
Sélection d’images
Biographie

Manon Worms, director, lives and works in Marseille. After studying literature and theatre at the E.N.S Paris, she studied for a professional Master’s degree in directing and dramaturgy at Paris X-Nanterre, then joined the company des Hommes approximatifs, led by Caroline Guiela Nguyen, with whom she worked as a dramaturge on three creations (Elle brûle, Saigon, Fraternité conte fantastique), which were presented at the Avignon Festival in particular. She created her first show Si bleue, si bleue la mer, based on a play by Nis-Momme Stockmann in 2015 at the 104 urban culture laboratory. In 2016, following a residency shared with visual artists at the Worm Gallery in Valparaiso (Chile), she began a cycle of creations around the Chilean performer, writer and political activist Pedro Lemebel, which will end in early 2020 with the creation of Cœurs Fugitifs, winner of the Artcena Prize for Plural Dramaturgies. Through her company Krasna, based in Marseille, she develops shows in which she associates text with performative and audiovisual devices, works with performers from various scenic universes, and articulates the creation on stage with times of practice and expression carried out over a long period of time with a series of work groups (teenagers, socially precarious people, young authors…). She is currently developing two forthcoming creations, Arcanes, cabaret-requiem which she is writing with different groups of women living in Marseille, and Automobiles, a poem for a car scrapyard in collaboration with the Franco-Guinean author Hakim Bah. At the same time, she continues to collaborate in dramaturgy with different artists from the fields of theatre, public space arts, dance and puppetry, and leads research and training courses in schools, universities, associations and professional training organisations.

Camille Nauffray lives in Marseille and works there as an author, director and actor.
Since 2009, Camille Nauffray has been training in acting and directing in parallel with her studies in modern literature and art history (Lycée du Parc and Lyon 2) and her studies in performing arts administration (ENSATT).
In 2016, she joined the professional training of the “compagnie d’entrainement” given by Alain Simon at the Théâtre des Ateliers in Aix-en-Provence, proposing a work in company where the notion of actor-author is at the centre of the pedagogy.
Since 2017, she has devoted herself to writing her first personal projects, which have the disappearance of the social body as their common theme. The plays Evaporation(s) (about voluntary disappearances in Japan) and Wave lengths (about electro-hyper-sensitivity) are part of this cycle.
In January 2020, she co-wrote, co-directed and co-performed the play Administrators-Creators with Nicolas Bole, Delphine Bole and Laetitia Sadak. This play is the foundation of the Bolnaudak authors’ collective, within which she contributes to the emergence of texts written by several hands, notably on the theme of work. These texts put into voice and body inventories, testimonies, dates, facts, reports… and try to tell the story of these processes of collecting materials from reality.
This collective assumes the conviction that each person has a life story within him or her, so it organises writing workshops on the fringes of the creations, which become a place of co-creation with the participants, and brings the stage and the act of writing closer together.

Mentions

Production: Collectif Bolnaudak
This text is a winner of the Aide à la création de textes dramatiques - ARTCENA
It also receives the support of Théâtre Ouvert and A mots découverts.

In corealisation with Montevideo.

Ressources

You can consult the website of the Bolanudak Collective

20:00
Fresque
Old Masters
Montévidéo

What distinguishes Fresque by Old Masters is the extraordinary interplay of form, aesthetics, narrative mode and the performances of Charlotte Herzig and Marius Schaffter, who come up against each other in a kind of installative arrangement.

The piece’s distorted rhythm allows the spectators to experience time quite differently from the day-to-day. The interaction of stage, sound and light puts us into a kind of trance, freeing every single one of us to immerse ourselves in our own thoughts and reveries. The powerful images produce a kind of permanent vacancy between the intimate dialogues and the unambiguous psychological reductions to the human condition. An intimate piece, full of absurd and yet cathartic humour, telling us about love that lasts until death.

A play by Old Masters
Conception, construction, writing: Sarah André, Charlotte Herzig, Marius Schaffter and Jérôme Stünzi
Performance: Charlotte Herzig and Marius Schaffter
Music and sound: Nicholas Stücklin
Lighting design: Jonas Bühler
Administration: Pâquis Production
Text by Laurence Wagner

Montévidéo
Sélection d’images
Biographie

Old Masters is a middle-aged collective formed by Marius Schaffter (performer and geographer), Jérôme Stünzi (set designer and artist) and Sarah André (author, artist and set designer, aka André André). Since 2014, they have been appropriating and rearranging the most varied discourses, whether banal or expert, whether scientific, political, artistic or everyday. Conceiving theatrical performance as a total plastic work, they create universes with a strong, unusual and radical aesthetic. Using their favourite weapons of the absurd, sincerity, benevolence, irony, beauty, sadness and gentleness, Old Masters invites us to experience, collectively, what freedom could be today, a freedom that is situated, changing and always in search of itself.
The collective’s latest creation, Original Soundtrack, is based on a musical work created for the occasion by Nicholas Stücklin. Old Masters offers a radical stage experience: a collective listening to a sound piece, adorned with a text as a surtitle and strikingly minimalist tableaux vivants. Soundtrack is presented as the manifesto of a small group of beings, both the ultimate post-apocalyptic survivors and post-neolithic ancestors.
In 2020, Old Masters created The World at the Arsenic, a play that simply shows, in three steps, how to build (1) the world, (2) things and (3) words. It was also presented at the Théâtre Saint-Gervais in Geneva and will be featured in the Focus Old Masters at the Centre culturel suisse in Paris in January 2021 with L’impression.
L’impression, created in 2018, is a therapeutic play about life in general, co-produced by the TU - Théâtre de l’usine in Geneva and the Arsenic in Lausanne.
In 2016, Old Masters wrote, published and staged Fresque, a play which, through a simple device and situation, offers the moving story of two individuals and, above all, of a scenic object, the module. The play was selected and presented in May 2018 at the Stückemarkt of the Theatertreffen in Berlin. It will tour again in French-speaking Switzerland during the 2020-2021 season.
Old Masters’ first work Constructionism, created in 2014, is a performative device for the creation, analysis and dissection of objects of study. Constructionism won the 2015 Premio, the Performing Arts Encouragement Award. Since its creation, Constructionism is regularly presented in many festivals, museums or universities, in French, English and German, in Switzerland and abroad.
Old Masters regularly collaborates with different artists: Charlotte Herzig, Jonas Bühler, Nicholas Stücklin, Sofia Teillet, Jérémy Chevalier, Joana Oliveira. The Pâquis production association in Geneva, and more precisely Laure Chapel, skilfully manages it.

Mentions

Production: Old Masters
Coproduction: TU - Théâtre de l’Usine Genève
Support: Ville de Genève, Loterie Romande, Fondation Nestlé pour l’Art, Ernst Göhner Stiftung, Société des Interprètes Suisses, Fonds d’encouragement à l’emploi des intermittent·e·s genevoi·e·s (FEEIG), CORODIS, Pro Helvetia, République et canton de Genève

In corealisation with Montévidéo.

Ressources

You can check out the website of Old Masters.
You can also browse their Instagram account.
You can also listen the Soundcloud from the soundtrack.

21:30
Kagabas, live
Lion’s Drums
Montévidéo

Threatened by deforestation, land grabbing and the effects of climate change, the Kagabas, an Amerindian people of Colombia, fear for the future of their living environment, their autonomy and the preservation of their traditions. They sing to strengthen their connection with “Aja”, Mother Nature, to preserve the balance, respect and harmony of the Sierra Nevada. Lion’s Drums got to know them, spent several days in these mountains that are home to a rich biodiversity, and recorded them.
Kagabas is based on these songs and the sounds of the surrounding nature. In his live audiovisual, the artist continues to explore the relationship between field recording, ambient and subtle electronic beats.

Part of the profits from the album and the tour are donated to the organization Nativa to support its fight for reforestation and land restitution.

Musical direction and composition: Harold Boué
Singing: Màma Jose Miguel Nuevita and his son Camilo
Graphic and video design: Floriane Ollier
Lighting design: Freddy Peretti

Montévidéo
Sélection d’images
Biographie

Harold Boué aka Abstraxion and Lion’s Drums, is a French producer and musician based in Marseille. 
He started to produce music as Abstraxion in 2005, and has so far released a fair amount of EP’s as well as two studio albums (“Break of Lights” on Nicolas Jaar’s label Other People - 2013 & “She Thought She Would Last Forever” on Biologic Records - 2016).  His latest EP “Black Vulture” was released May 2019 on Jennifer Cardini’s label Dischi Autunno, including remixes by Black Merlin and Interstellar Funk. 
In 2018 Harold felt the desire to explore different musical territories and launched Lion’s Drums, which he’s developing in parallel with his Abstraxion project.  Lion’s Drums music is inspired from and pays tribute to the character of his city Marseille: a bit rough though luminous, and influenced by elements of the Mediterranean, African and Northern European cultures.  This translates into heavily percussive sounds, in which tribal disco grooves invoke the spirits of voodoo-techno.  He released a first EP on John Talabot’s label Hivern Discs, which featured a track co-written with Fantastic Man, and made a psychedelic acid remix of “Goca Dunya” by Turkish band Altin Gün.
Harold co-runs Biologic records with partner in crime DC Salas, and has released music by Matisa, ڭليثرGlitter٥٥, Malcolm, among others.  He travels across the globe to perform a hardware live act or dj sets in places such as Pitchfork festival or Berghain/Panorama-bar, and occasionally sharing the decks for wild back-to-back sessions with beloved musical friends such as Roman Flügel, Budino, Bufiman, Chloé, Zozo… 
2021 will see the release of Lion’s Drums debut album “Kagabas”, an audio project and album comprising of new compositions based on field recordings of original songs the Kagabas people sing to wild animals, and the nature they habitat.   A second album will follow on Cocktail d’Amore Music.

Mentions

Co-production: GMEM, Cabaret Aléatoire
Acknowledgements: Franz K. Florez from Nativa.org
Management Magma: Sebastien Desprez and Julien Gathy
Booking / music scene: Bi:Pole - Gaetan and E314 Agency - Toon
Booking / performing arts: Parallèle - International production centre for emerging artistic practices and Jean-François Mathieu

In corealisation with Montévidéo.

Ressources

You can visit the website of Lion’s Drums.
You can also browse their account Instagram.

Thursday 27 January
19:30
Welcome
Joachim Maudet
KLAP Maison pour la danse

Premiere

WELCOME plunges the spectators into a tragicomic journey where bodies and voices dialogue, intermingle and struggle. Three performers invite us to perceive the spaces that contain, limit and separate. Three silhouettes with fragmented bodies, floating gait, revolting words.
Joachim Maudet continues his research into the relationship and dissociation of body and voice initiated in the creation ‘sto:riz, and explores new modes of communication and relationship. WELCOME brings to light divided bodies supporting the need to come together, to cross the threshold and see what happens beyond us.

By: Joachim Maudet
With: Sophie Lèbre, Pauline Bigot and Joachim Maudet
Lighting design: Nicolas Galland
Sound design: Julien Lafosse
Outside observers: Yannick Hugron and Chloé Zamboni
Vocal assistant: Pierre Derrycke
Production: Aline Berthou - Aoza Production

KLAP Maison pour la danse
Sélection d’images
Biographie

Born in French Brittany, Joachim Maudet graduated from the CNSMDP in Paris in 2012. As a performer, he has worked with Tatiana Julien, Arthur Perole, the Noord Nederlandse Dans (Holland), the National Dance Company Wales (UK), Samuel Faccioli and Bérangère Fournier, Christian Ubl, Léa Tirabasso and Léonard Rainis and Katell Harterau. In parallel to his career as a performer, Joachim created the company Les Vagues in 2017. He creates ˈstɔːriz in 2019. WELCOME is the second piece by the company Les Vagues.

Mentions

Production: company Les Vagues
Co-production: Le Triangle, cité de la danse, KLAP Maison pour la danse, Les petites scènes ouvertes, Danse à tous les étages, Le Théâtre de l’Arsenal, Le Théâtre de Vanves, Le Centre Chorégraphique National de Rillieux-La-Pape
Provision of studios Le Colombier, Le Dancing, Honolulu

With the support of the DRAC Bretagne in the framework of the project aid, the Région Bretagne and Rennes Métropole.

The company Les Vagues is supported by Danse Dense since 2019.

En coréalisation avec KLAP Maison pour la danse.

21:00
Muyte Maker
Flora Détraz
KLAP Maison pour la danse

Four female figures appear like mythological beings, in perpetual metamorphosis, despite the strong constraints imposed on them by the playing space. They sing copiously, laugh in polyphony, dance blindly and chat in cacophony. In this piece by Flora Detraz, joy is posed as an existential and physical postulate and as a potential for creation.
Muyte Maker, from the old Flemish word “mutiny”, proposes a strange ballet, born from these contradictory components, where the imaginary of the medieval, trivial songs and grotesque paintings are mixed together.

By: Flora Détraz
With: Mathilde Bonicel, Inês Campos, Flora Détraz and Agnès Potié
Lighting: Arthur Gueydan (taken over by Eduardo Abdala)
Sound: Guillaume Vesin (taken over from Claire Mahieux)
Set design: Camille Lacroix
External view and physical preparation: Anaïs Dumaine

KLAP Maison pour la danse
Sélection d’images
Biographie

Flora Détraz trained in classical dance and followed literary studies (preparatory classes and a degree in modern literature) before joining the training of the National Choreographic Centre of Rillieux-la-pape, directed by Maguy Marin.
She continued her training at the PEPCC choreographic research cycle, Forum Dança, in Lisbon.
During her career, she had the opportunity to meet, among others, Meredith Monk, Jonathan Burrows, Loïc Touzé, Meg Stuart, Vera Mantero, Diane Broman, who influenced her own research.

Since 2013, she has created choreographic pieces that question the relationship between voice and movement: Peuplements (2013), Gesächt (2014), Tutuguri (2016), Muyte Maker (2018).

Currently, she is also a performer in the performance Bacchantes, prélude pour une purge by Marlène Monteiro Freitas, and assistant choreographer for the piece Anarchismos by Pablo Fidalgo.

Mentions

Production: PLI
Co-productions: Ramdam-un centre d’art - Lyon, CCN de Caen, direction Alban Richard, Pact-Zollverein, L’Avant-scène, Cognac, La Place de la danse CDCN Toulouse - Occitanie, le réseau des Petites Scènes Ouvertes, CHOREGE - Relais Culturel Régional du Pays de Falaise, Festival Alkantara
Provision of studios: Les Eclats chorégraphiques - La Rochelle, Alkantara - Lisbon, O Espaço do Tempo - Montemor-o-novo.
The Muyte Maker project has received support for the model and the project from the Normandy Region, and support for the project from the DRAC Normandy

In corealisation with KLAP Maison pour la danse.

Ressources

You can consult the teaser of the play.
You can also browse the website of the company.

22:00
Muyte Maker
Flora Détraz
KLAP Maison pour la danse

This film is an extension of the piece. It plays with cinema effects and thus offers a different prospective of the live performance.

By: Flora Détraz and Vincent Bosc
From: a play by Flora Détraz
Performance - Agnès Potié, Inês Melo Campos, Mathilde Bonicel, Flora Détraz
Set: Camille Lacroix
Lights: Arthur Gueydan (operated by Eduardo Abdala)
Sound: Guillaume Vesin (recorded by David Guionneau)

Recorded in Espaces Pluriels in march 2021.

KLAP Maison pour la danse
Sélection d’images
Biographie

Flora Détraz trained in classical dance and followed literary studies (preparatory classes and a degree in modern literature) before joining the training of the National Choreographic Centre of Rillieux-la-pape, directed by Maguy Marin.
She continued her training at the PEPCC choreographic research cycle, Forum Dança, in Lisbon.
During her career, she had the opportunity to meet, among others, Meredith Monk, Jonathan Burrows, Loïc Touzé, Meg Stuart, Vera Mantero, Diane Broman, who influenced her own research.

Since 2013, she has created choreographic pieces that question the relationship between voice and movement: Peuplements (2013), Gesächt (2014), Tutuguri (2016), Muyte Maker (2018).

Currently, she is also a performer in the performance Bacchantes, prélude pour une purge by Marlène Monteiro Freitas, and assistant choreographer for the piece Anarchismos by Pablo Fidalgo.

Mentions

Production: Aline Berthou - Aoza Production

In corealisation with KLAP Maison pour la danse.

Ressources

You can consult the teaser of the play.
You can also browse the website of the company.

Friday 28 January
18:00
Rettilario
Sara Leghissa
42 La Canebière

« The vivarium, or reptilarium, is a space that preserves lives and dangers, where the Ancients kept morays and snakes, toothed creatures and poisonous beasts locked up. Today, however, the reptilarium resounds with delicious, small clamors of children that enjoy hitting the windows with their fingernails. Yet the power of glass remains, a safe and invisible frontier in the presence of false danger. » (The paradox of the phasmid, Georges Didi Huberman)

The reptile house is a space where the life of small animals becomes the object of human attention. In that occasion, performer Sara Leghissa invites the audience both inside and outside the « Rettilario», to shift their perception from one scale to another, from the macro to the microscopical, and back. In doing so, the nature of what we can see and hear slides into new territories, more abstract, less defined, colours, shapes, structures, textures, rhythmic patterns, that defamiliarize the way we apprehend our own surroundings and makes room for their artificiality. How to make a section of the city resonate, collecting and accumulating some of the materials that make it up? To explore those issues, the artist draws from the practice of foley, or the reproduction of everyday sound effects to dub films. Through an experience of overlapping between different soundscapes and the daily life of the city, a voice is given to the humanity that passes through it.

Concept: Sara Leghissa
Device designed in collaboration with: Tomas Gonzalez
Foley sound: Manuela Schininà
Sound recording: Silvia Laureti
Installation: Alice Leonardi, Marzia Dalfini
Light design: Manuel D’Onofrio
Executive production: Martina Merico

42 La Canebière
Sélection d’images
Biographie

Sara Leghissa is an Italian-based artist and independent researcher whose work embraces performing, making and curation and whose research arises from a need of connection and transformation with contexts and people. Through a principle of ecology of resources, she uses as much as possible of what is already available in the space outside. She creates systems and devices that try to be mimetic with the context in which they occur for intercepting different audiences. She has been co-founder of the collective Strasse, involved in site-specific production in public space. For the Italian scene, she organizes icw. Annamaria Ajmone, Nobody’s Indiscipline, an independent platform for sharing practices in the performing arts and Nessuno, a practice of gathering for a community of people, that positions the participation of all bodies at its centre, with a focus on performance, dance, visual arts and discursive experiments. She has presented her artistic work in different contexts including Santarcangelo Festival, Triennale Teatro dell’Arte, Short Theatre, VAC Foundation, far Festival, Oerol Festival, Sareyett, La Casa Encendida , Festival Parallèle, Saal Biennial, Les Tombées De La Nuit, Auawirleben.

Mentions

Production: Associazione L’Altra coproduced by Azienda Speciale Palexpo- Mattatoio | Progetto Prendersi Cura Roma, Parallèle Festival Marseille, Lieux Publics Marseille, Les Tombées De La Nuit Rennes with the support of Triennale Teatro dell’Arte Milano, Base Milano, far Festival Nyon company financed by Mic_Ministero della Cultura

With the support of Onda - Office national de diffusion artistique

In corealisation with Lieux Publics.

Ressources

You can visit Sara Leghissa’s website.
You can also browse the website of Sara Leghissa.

20:30
Aberration
Emmanuel Eggermont
LE ZEF

In astronomy, “aberration” means the difference between the apparent direction of a star and its real direction. Here, Aberration is a choreographic experience that tests our capacity to envisage the perspectives of a reconstruction after the sudden deviation of a life trajectory.
It is not a question of reproducing on stage the traumas that haunt our daily lives. On the contrary, it is a question of recovering the senses, of overcoming the shock by accepting the resurgence of disordered sensations that it provokes in us. Like a prism, which diffracts the colors to leave the choreographer, alone, in the middle of a white that covers everything, stage and costumes. A white inhabited, which “abounds in living possibilities” (Kandinsky), and from which Emmanuel Eggermont constantly extracts new forms. In a game of glances, gestures, and precisely placed angles, he becomes an immaculate emperor, a bird with spindle-shaped hands, a nun showering in powder, and accomplishes the tour de force of associating images with expressionist resonances and an abstract dance of breathtaking precision. A solar performance, minimal but powerfully figurative, which extends the unique path opened by the choreographer-dancer.

Concept, choreography and interpretation: Emmanuel Eggermont
Artistic collaboration: Jihyé Jung
Original music: Julien Lepreux
Lighting design: Alice Dussart
Artistic consultant: Élise Vandewalle
Production and distribution: Sylvia Courty / BOOM’STRUCTUR
Production management: Violaine Kalouaz

Text written by Léon Favier of ZEF.

LE ZEF
Sélection d’images
Biographie

Emmanuel Eggermont trained in contemporary dance at the Centre National de Danse Contemporaine d’Angers (1999). In 2002, after three years with Carmen Werner in Madrid, he spent two years in Seoul for a project mixing pedagogy and choreography. From there, and from his collaboration of more than ten years with Raimund Hoghe, he draws his attention to “the essence”. He has been developing his choreographic projects since 2007 in Lille with L’Anthracite. With a tangible taste for plastic art and architecture, he has developed a singular style of writing, images with expressionist resonances rubbing shoulders with more performative tones and abstract dance with technical and aesthetic rigour. From 2010 to 2016, he was in research residency at L’L in Brussels. This process led to several pieces, including Vorspiel (2013). In 2014, he was invited by the SACD to participate in Sujets à Vif at the In festival in Avignon. He is also the winner of the Beaumarchais association’s writing scholarship for the solo Strange Fruit created in May 2015 at the FRAC Alsace. In 2019, Le Gymnase | CDCN de Roubaix commissioned him to create a piece for young audiences as part of the Twice programme. 2020 saw the creation of Aberration, a solo piece questioning post-traumatic reconstruction.

Mentions

Production: L’Anthracite
Co-productions: CCN de Tours direction Thomas Lebrun, ADC Genève, Le Gymnase CDCN Roubaix - Hauts-de-France, La Maison CDCN Uzès Gard Occitanie, Le Tandem Scène Nationale, POLE-SUD CDCN / Strasbourg, Théâtre de Nîmes - scène conventionnée d’intérêt national - Art et Création - danse contemporaine
Aid: DRAC Hauts-de-France, Région Hauts-de-France
Support: SPEDIDAM
Project supported as part of the Etape Danse programme, initiated by the French Institute of Germany - Office of Theatre and Dance, in partnership with the Maison CDCN Uzès Gard Occitanie, the Théâtre de Nîmes - scène conventionnée d’intérêt national - Art et Création - danse contemporaine, la fabrik Potsdam, and Interplay International Festival contemporary dance (Turin) in collaboration with La lavanderia a Vapore / Fondazione Piemonte dal Vivo (Piemonte) and the support of the DGCA - Ministry of Culture and the City of Potsdam.

Emmanuel Eggermont is an associate artist at the Centre Chorégraphique National de Tours, directed by Thomas Lebrun (2019-2023).

With the support of Onda - Office national de diffusion artistique.

In co-realisation with LE ZEF.

Ressources

You can consult the website of the Anthracite company.

Saturday 29 January
18:00
Rettilario
Sara Leghissa
42 La Canebière

« The vivarium, or reptilarium, is a space that preserves lives and dangers, where the Ancients kept morays and snakes, toothed creatures and poisonous beasts locked up. Today, however, the reptilarium resounds with delicious, small clamors of children that enjoy hitting the windows with their fingernails. Yet the power of glass remains, a safe and invisible frontier in the presence of false danger. » (The paradox of the phasmid, Georges Didi Huberman)

The reptile house is a space where the life of small animals becomes the object of human attention. In that occasion, performer Sara Leghissa invites the audience both inside and outside the « Rettilario», to shift their perception from one scale to another, from the macro to the microscopical, and back. In doing so, the nature of what we can see and hear slides into new territories, more abstract, less defined, colours, shapes, structures, textures, rhythmic patterns, that defamiliarize the way we apprehend our own surroundings and makes room for their artificiality. How to make a section of the city resonate, collecting and accumulating some of the materials that make it up? To explore those issues, the artist draws from the practice of foley, or the reproduction of everyday sound effects to dub films. Through an experience of overlapping between different soundscapes and the daily life of the city, a voice is given to the humanity that passes through it.

Concept: Sara Leghissa
Device designed in collaboration with: Tomas Gonzalez
Foley sound: Manuela Schininà
Sound recording: Silvia Laureti
Installation: Alice Leonardi, Marzia Dalfini
Light design: Manuel D’Onofrio
Executive production: Martina Merico

42 La Canebière
Sélection d’images
Biographie

Sara Leghissa is an Italian-based artist and independent researcher whose work embraces performing, making and curation and whose research arises from a need of connection and transformation with contexts and people. Through a principle of ecology of resources, she uses as much as possible of what is already available in the space outside. She creates systems and devices that try to be mimetic with the context in which they occur for intercepting different audiences. She has been co-founder of the collective Strasse, involved in site-specific production in public space. For the Italian scene, she organizes icw. Annamaria Ajmone, Nobody’s Indiscipline, an independent platform for sharing practices in the performing arts and Nessuno, a practice of gathering for a community of people, that positions the participation of all bodies at its centre, with a focus on performance, dance, visual arts and discursive experiments. She has presented her artistic work in different contexts including Santarcangelo Festival, Triennale Teatro dell’Arte, Short Theatre, VAC Foundation, far Festival, Oerol Festival, Sareyett, La Casa Encendida , Festival Parallèle, Saal Biennial, Les Tombées De La Nuit, Auawirleben.

Mentions

Production: Associazione L’Altra coproduced by Azienda Speciale Palexpo- Mattatoio | Progetto Prendersi Cura Roma, Parallèle Festival Marseille, Lieux Publics Marseille, Les Tombées De La Nuit Rennes with the support of Triennale Teatro dell’Arte Milano, Base Milano, far Festival Nyon company financed by Mic_Ministero della Cultura

With the support of Onda - Office national de diffusion artistique

In corealisation with Lieux Publics.

Ressources

You can visit Sara Leghissa’s website.
You can also browse the website of Sara Leghissa.

20:00
BSTRD
Katerina Andreou
Ballet national de Marseille

A body that borrows. A body engraved in the very instant. Katerina Andreou, in her second solo which has been conceived as an extension of her first piece (A Kind of Fierce, 2016), returns to her style with an energy which is as explosive as it is contained, with movements closely anchored to the ground. Poised on a riser, she is alone with a vinyl turntable and this request: “We need silence for the piece” which emerges in luminous letters at the back of the stage. The soundtrack, which she conceived with Éric Yvelin and pressed on a vinyl which she activates at the beginning of the piece, recalls house music. Katerina Andreou has decided to embody this hybrid music, which uses samples allowing for incursions into varied fragments and a continuous bass line. Her dance is based on a choreographic structure punctuated by what she calls regular gestural “rendezvous” which, for each performance, create the possibility for gestures to arrive at such a moment. This compositional method raises the following question: what is the origin of a gesture?

Choreography and interpretation: Katerina Andreou
Sound creation: Katerina Andreou in collaboration with Eric Yvelin
Lighting: Yannick Fouassier
Stage Manager: Gaetan Lajoye
External viewers: Myrto Katsiki, Lynda Rahal
Produced by : Mi-Maï / BARK
Production, diffusion : Elodie Perrin
Text written by the CND.

Ballet national de Marseille
Sélection d’images
Biographie

Born in Athens, Katerina Andreou is based in France. She graduated from the Law School of Athens and the National Dance School of Athens, followed the ESSAIS programme at the CNDC in Angers and holds a Master’s degree in choreographic research (Paris 8). As a performer she has collaborated with DD Dorvillier, Anne Lise Le Gac, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, Ana Rita Teodoro. In her own work she develops a physical practice specific to each project and seeks states of presence that result from a constant negotiation between contrasting or even contradictory tasks, fictions or universes, often questioning notions of authority and censorship. She creates herself the sound environment of her pieces which becomes her main dramaturgical tool. She received the Jardin d’Europe award at the ImpulsTanz festival in 2016 for her solo A kind of fierce. She then created the solo BSTRD (2018) and the duo Zeppelin Bend (2020) with Natali Mandila.

Mentions

Co-production: Atelier de Paris CDCN, ONASSIS STEGI, Centre Chorégraphique National d’Orléans, Centre Chorégraphique National de Caen en Normandie within the framework of the Accueil-studio, La place de la danse CDC de Toulouse, Ballet de Marseille.
Partners: Ménagerie de verre Studiolab, Kunstencentrum BUDA, Réservoir Danse Rennes, ImpulsTanz Festival (residency Prix Jardin D’Europe) / CN D Pantin (extended residency)/ La CABINE (PAD), Monitor Fest Heraklion.
With the support of ARCADI and DRAC Ile de France
PREMIERE: 5th Young Choreographers Festival, ONASSIS STEGI, Athens

With the support of Onda - Office national de diffusion artistique.

En coréalisation avec le MUCEM.

Ressources

You can check the teaser of BSTRD.
You can also browse the website of Katerina Andreou.

21:30
Body Scenography
Steven Cohen and dancers of the Ballet national de Marseille
Ballet national de Marseille

Each year, the Festival Parallèle and (LA) HORDE invite an artist to work with the dancers of the Ballet national de Marseille. This year, the invitation was extended to performance artist, choreographer and visual artist Steven Cohen.
Body Scenography, the result of a laboratory conducted with the dancers, questions our physical self as a mobile stage, as a space that produces actions, identity construction and learning, but also as a surface exposed to the gaze, an invitation to arrangement for the viewer.

Artistic direction: Steven Cohen
With: dancers of the Ballet national de Marseille

Ballet national de Marseille
Sélection d’images
Biographie

Steven Cohen was born in 1962 in South Africa and now lives in France. As a performer, choreographer and visual artist, he has orchestrated interventions in public places, in art galleries and on stages, notably for the Festival d’Automne, the Centre Pompidou in Paris, the ImPulsTanz Vienna International Dance Festival, the National Arts Festival in Makhanda, Théâtre du Rond-Point in Paris, Montpellier Danse, Festival d’Avignon, Munich Opera Festival at the Bavarian State Opera, Festival Escena Contemporánea in Madrid, Bozar in Brussels, Oktoberdans Festival in Bergen, Canadian Stage in Toronto… He has also been artist in residence at the Baryshnikov Arts Center and the Center for Performance Research in New York.

Mentions

In co-realisation with the Ballet national de Marseille.

Ressources

You can visit the website of Steven Cohen.
You can also browse the website of the Ballet national de Marseille.

Tuesday 01 February
19:00
Raide d’équerre
Pauline Brun
3 bis f, Centre d’arts contemporains d’intérêt national — Aix-en-Provence

Premiere

Stiff: that which cannot be bent or that which comes suddenly.
Square: at right angles.

Raide d’équerre, Pauline Brun’s latest creation, is an assemblage that ironically points to a paradox to name what is without reference points, without right angles, what flinches, leans.
Checkerboard floor and hanging curtains, like David Lynch’s The Red Room, a typical parallel space is the starting point to unfold a fiction. Through special effects, the space and the body are supports to distortions, to deformations.
Raide d’équerre questions the relationship to efficiency, tests other forms of alterity, unfolds a system of non-tangible causes and effects.

Design, performance and scenography: Pauline Brun 
Sound creation: Diane Blondeau 
Lighting design: Florian Leduc 
Assistant: Valérie Castan 
Dramaturgy: Céline Cartillier 
Sound assistant: Maïa Blondeau 
Production: MI-MAI 
Acknowledgements: Adaline Anobile, Lynda Rahal, Bettina Blanc Penther, Jean de Sagazan, La Station Artist-run-space

3 bis f, Centre d’arts contemporains d’intérêt national — Aix-en-Provence
Sélection d’images
Biographie

Choreographer, performer and visual artist, Pauline Brun is trained in dance, choreographic writing and visual arts. She began her training in classical and contemporary dance at the Conservatoire de Nice. At the École Supérieure d’Arts Plastiques, the Villa Arson, then at the École Nationale Supérieure des Beaux-Arts de Paris, she developed an installation work combining mainly sculptures and videos. It is since her plastic research that she redirects herself towards dance and performance and joins the master ex.e.r.ce at the Centre Chorégraphique National de Montpellier where she develops a choreographic work. Invited for the exhibition Museum On/Off at the Centre Georges Pompidou in 2016, she created the performance GRAND BAIN for 12 performers in the space of the permanent collection. For the European Night of the Museums at the MAC VAL, she presents the performance ÉTALON PAR DÉFAUT. In 2018, she created the performance SCRUFFY SHOT, a duet with Jonas Chéreau, presented at the C-TAKT#2 festival. She also participates in group exhibitions with performances, installations and videos, notably at the Salon de Montrouge, the MAMAC, the Eva Vautier gallery, the Atelier d’Estienne contemporary art centre, and La Station. As a performer and set designer, she has collaborated with choreographers Fanny De Chaillé (performer Passage à L’acte 2011), Alain Buffard (performer in the reconstruction of Mauvais genre 2017 in homage to Alain Buffard), Pol Pi (set design Ecce Homo 2017), Jule Flierl (set design Störlaut 2018 - set design and performance Wismut, a Nuclear choir 2019), Kevin Jean (set design La poursuite du cyclone 2019), Ingrid Berger Myhre (set design Supplies 2016), Valérie Castan and Diane Blondeau (set design Talking Dance 2019), Nina Santes (set design Nuit fictions 2019 - set design and costumes République zombie 2020, set design and costume La vénérina for a dancer from the Opéra de Lyon) Adaline Anobile (set design See that my grave is kept clean 2019)
In 2022 she will create the choreographic pieces Raide d’équerre at 3bisf for the Parallèle festival, Jardins in the Nomades programme of Nos lieux communs, and Tie-Tool in collaboration with Marcos Simoes at the C-TAKT Festival in Belgium. She will perform in the creations Réverbérer by Jonas Chéreau and Le renard de l’histoire by Antoine Cegarra. Accompanied in her different production projects by MI-MAI, her proposals play with contexts and different mediums exploring the body with self-mockery and on the edge of absurdity.

Mentions

Co-production: CND Centre National de la Danse, C-TAKT, 3bisf - Lieu d’arts contemporains

In corealisation with 3 bis f, Centre d’arts contemporains d’intérêt national.

Ressources

You can consult the teaser of Raide d’équerre.
You can also consult the website of Pauline Brun.

21:00
4 questions à Yoshi Oida
Maxime Kurvers
Théâtre Antoine Vitez - Le Cube

Since 2018, Maxime Kurvers has approached some of his work as an investigation into the art of the actor-rice. From The Birth of Tragedy to Theories and Practices of Acting (1428-2021), he is interested in the history of theatrical forms and their modes of play and confronts it with the subjectivity of the performers he works with.
In preparation for the show Theories and Practices of Acting, Maxime Kurvers met with Japanese actor, director and theorist Yoshi Oida. Together they discussed the work, techniques, role and social function of performers.
The young director then proposed to the Japanese master to interpret this exchange on stage, through four questions he would like to ask him, evoking Japanese theatricalities.
Through these four questions (and four answers!), this show pays homage to Yoshi Oida’s singular way of thinking of his practice beyond his art, beyond the sensitive world itself, as a path to help humans situate themselves in the world; and thus to live and die.

The Parallèle 12 Festival also welcomes Maxime Kurvers with the piece Idées Musicales on January 18.

Conception et mise en scène : Maxime Kurvers
Écriture et dramaturgie : Maxime Kurvers et Yoshi Oida
Avec : Maxime Kurvers et Yoshi Oida

Masque de Kagura réalisé par l’atelier de Kakita Katsuro (Hamada).
Masque de Noh Ko-omote traditionnel issu de la période Shōwa (1926-1989).

Théâtre Antoine Vitez - Le Cube
Sélection d’images
Biographie

In 2015, Maxime Kurvers directed his first production, Pièces courtes1-9, in the form of a theatrical programme that questions the minimal conditions of his own production. Created at the Festival d’Automne in 2016, Dictionnaire de la musique extends this questioning of the theatre and its resources through the presence and history of other media. La naissance de la tragédie (2018) is a solo for and by the actor Julien Geffroy.
Idées musicales (2020) is an experimental musical recital. Created in April 2021, Théories et pratiques du jeu d’acteur (1428-2020) provides a critical reading of the pedagogical tools available to the actor. Maxime Kurvers is an associate artist at the Ménagerie de verre for the 2016-2017 season and at La Commune - CDN d’Aubervilliers since September 2016.

Mentions

Production : MDCCCLXXI

With the help of the Maison de la culture du Japon in Paris and Morishita Studio - Tokyo, for the use of their research and rehearsal spaces.

With the support of Onda - Office national de diffusion artistique.

In co-realisation with the Antoine Vitez Theater - Le Cube.

Ressources

You can consult the website of Maxime Kurvers.
You can also consult the website of Théâtre Antoine Vitez - Le Cube.

La Caresse du Coma ft. YOLO
Anne Lise Le Gac
Friche la Belle de Mai | Petit plateau

Parallèle production

“I have been staying in a four-star spa hotel in remote Croatia for forty days now, at a gathering of people who are in search of Happiness, convinced that they live in a world that is INFINITELY LIVING. Within the group, they each have a transitional status: as I am new, I am automatically DOG, “a love machine”, and my number is 23. At the beginning, DOG (23) did not know anyone, and soon COACH, PIRATE and ANGEL 92Kcal shared their advice, beliefs and practices with them. Today, DOG (23) meets LIQUID VIRGIN, a spectral figure of the movement. Her presence is manifested by a breath called YOLO, a kind of primordial atmosphere, a contact like a “big passing hit” that DOG (23) will have no choice but to inhale and spit out.”

La Caresse du Coma is a meta-project composed of cameos. It’s not so much about a project that works in stages so much as chapters, like in a novel, or the ALIEN saga, or when Doc Gyneco asks Bernard Tapie, Renaud, or Johnny Hallyday if they’ll sing with him.
For the time being, Anne Lise Le Gac presents all of them separately, because a cameo can last between fifty minutes and an hour. Each is an encounter between CHIEN (23) and some other proverbial mutt passing through the Croatian spa.

Presented as part of the Modulations of GMEM.

Production: OKAY CONFIANCE
Production and distribution: Parallèle - International production centre for emerging artistic practices
Co-production: Nouveau Théâtre de Montreuil, Arsenic-Centre d’art scénique contemporain, Veem House for Performance, BUDA and BIT Teatergarasjen within the framework of apap-FEMINIST FUTURES, a cooperation project of the European Union’s Creative Europe programme | Antistatic Festival / Brain Store Project Foundation, Workshop Fundation within the framework of the European project Life Long Burning

Friche la Belle de Mai | Petit plateau
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Biographie

Anne Lise Le Gac lives in Bègles. She studied at the Fine Arts School in Strasbourg from 2003 to 2008, focusing on performance art. She completed a performance master programme ESSAIS at CNDC Angers in 2013. In 2014, she worked with choreographer Claudia Triozzi. Anne Lise Le Gac has created a solo piece La Caresse du Coma and a collaborative performance project, GRAND MAL, with Élie Ortis, which they presented at the Les Urbaines festival (Lausanne), at Festival Parallèle (Marseille). Since 2015, she has been co-organising the performance festival OKAY CONFIANCE that was recently held at La Ferme du Buisson (Paris). In May 2019, she presents a new performance project DUCTUS MIDI in collaboration with the artist and musician Arthur Chambry at the Kunstenfestivaldesarts in Brussels.
She is currently working on a new creation La Caresse du Coma ft. YOLO in collaboration with the musician Loto Retina.

Mentions

Design and performance: Anne Lise Le Gac
Sound design: Loto Retina
Lighting design: Anat Bosak
General management, sound: Benjamin Delvalle
Layout of the site: Anne Lise Le Gac and Anat Bosak
Production and distribution: Alice Fabbri for Parallèle

Anne Lise le Gac has already presented Grand mal at Parallèle in 2017, La Caresse du Coma ft. ANGE 92 Kcal in 2018 and DUCTUS MIDI in 2020.

In partnership with la Friche la Belle de Mai.

Ressources

You can consult the website of Anne Lise Le Gac.
You can also consult the website of GMEM.

Canceled
DJ set
Christelle Oyiri, Crystallmess
Ballet national de Marseille

In view of government announcements, the Crystallmess Dj set unfortunately cannot be maintained.

Ballet national de Marseille
Sélection d’images
Biographie

Christelle Oyiri aka Crystallmess is a DJ and producer as well as a writer and artist, keen to highlight past and present sub-cultures.
Her approach as a DJ and producer ranges from abrasive zouk and dancehall to afro-trance and Detroit techno, whether she’s behind the decks at a Janus party in Säule/Berghain, Hyperdub’s monthly ø party at Corsica Studios, Yves Tumor’s Terms of Endearment party or the local Parisian party CONCRETE.
It relies more on textures, sonic continuum and narrative rather than genres, while continuing to rock the dance floor.
Tackling themes of club culture, colonial alienation and alternative temporalities, she created ‘Collective Amnesia’ in 2018. Inspired by Kodwo Eshun’s Cyber Club Research Unit work on Afrofuturism and music, this multidisciplinary performance mixing film and DJ, and traditional griology vocal performance celebrates the forgotten history of logobi, an urban Afro-French dance from the mid-2000s fusing hardcore techno and offbeat coupe.
She self-released her debut EP Mere Noises, oscillating between raw rave energy, dark dancehall and melancholic ambient, supported by artists such as Kode9, Lee Gamble and Klein.

Mentions

In corealisation with SISSI club.

Ressources

You can check out the instagram of Christelle Oyiri.
You can also listen to her Souncloud.
You can browse her website.
You can also listen to her Bandcamp.