MIDDAY and ETERNITY (the time piece)

Eleanor BAUER (usa/be)

Thursday 17 April 2014 & Friday 18 April 2014

Hangar Jardin

MIDDAY AND ETERNITY (the time piece) is the closing piece of a trilogy past-present-future that started with A Dance for the Newest Age (the triangle piece) and Tentative Assembly (the tent piece). The triangle-tent-time trilogy is rooted in an ontology of dance as a synthesis of many facets of experience and intelligence. The three pieces challenge the modern delineation of science, politics, and spirituality as three separated spheres of truth production.

MIDDAY AND ETERNITY (the time piece) approaches the spiritual within dance as a practice connecting singularity and universality, emphasizing “the dancing, not the dancer” as the driving force.

The trilogy also concerns and defines itself in time: MIDDAY AND ETERNITY approaches the future by way of Eternal Recurrence, placing the dancing body’s relationship to the future in its production of predictability, potential and continuity. The Midday that opens up to Eternity is the timeless center of a daily practice that connects at once past, present and future, continuously generating new futures in its engagement with the present.

Considering the major unknowns of the future and spirituality, MIDDAY AND ETERNITY looks straight into the middle of a lifelong practice of dancing and making dances for the blind spot within the familiar that holds the key to its entirety.

MIDDAY AND ETERNITY digs deep into what we know very well in order to discover what might have been hiding right under our noses all along.

Direction: Eleanor Bauer; Creation, performance: Eleanor Bauer, Rebecka Stillman, Cecilia Lisa Eliceche, Naiara Mendioroz; Music: Chris Peck; Costumes: Ada Rajszys; Scenography: 88888; Lighting: Bardia Mohammad; Executive production: Caravan; Production for GoodMove (Brussel, BE); Coproduction: Kaaitheater (Brussel, BE), BUDA (Kortrijk, BE) in collaboration with Festival Latitudes Contemporaines (Lille, FR), Vooruit (Gent, BE); Residencies: SIN Culture Center (Budapest, HU), PACT Zollverein (Essen, DE); With the support of the Flemish Authorities, the Flemish Community Commission of the Brussels-Capital Region (VGC); Eleanor Bauer is artist in residence at Kaaitheater (Brussel, BE); Special thanks to Nathan John, The Wild Unknown

Photo by: Reinout Hiel


Mary Chebbah, Renaud Golo, Sandra Iché, Pascale Schaer, Vincent Weber (France)

Thursday 17 April 2014 & Friday 18 April 2014


For this new work, VARIATIONS ORIENTALISTES, and following on the research on Lebanon initiated by the former piece Wagons libres, Sandra Iché invited four of her artistic companions who had themselves never visited Lebanon to come on stage and say « I have been to Lebanon and this is what I have seen ». In a revue-type series of scenes, not only the oriental tradition of travel stories but also visions, feelings, thoughts and present-day clichés of the performers come to life ? : a working process that critically explores the practices of “Orientalism” and exoticism and puts our fictions and conceptions of ‘the Other’ to the test for their constructive potential.

Creation, performance: Mary Chebbah, Renaud Golo, Sandra Iché, Pascale Schaer et Vincent Weber; Light: Sylvie Garot; Costumes: Elise Garraud; Repeater dance and music: Souraya, Baghdadi et Hassan Bengharbia; Production: Association Wagons libres; Coproduction: Parc de La Villette, Tanzquartier (Vienne, Autriche), CCN de Belfort, Association regards et Mouvements, Hostellerie de Pontempeyrat; avec le soutien de la DRAC Rhône-Alpes dans le cadre de l’aide au projet.; Contact:; Administration: Rosita Lagos-Diaz:; Special thanks to: Michèle, Béchir et Nejmedine Chebbah, Geneviève Hamedi Sangsari, Fériel Sakka, Selma Fatoum et Thibault Koenig, Seloua Benyoussef, Marie Papon, Ali Cherri, Valérie Castan, Gilbert Guillaumond, Lisa Yahia-Cherif, Franck Mermier, le CCN de Rillieux-la-Pape pour mise à disposition d’un studio, le LIEUES.

Photo by: Mary Chebbah


Matej Kejžar (Slovenia/Belgium)

Thursday 17 April 2014 & Saturday 19 April 2014

Hangar Saône

Despite a wish/persistency, a system will stop, a ball will stop bouncing, a scream will stop screaming, space will stop being space, hit will stop hitting, avantgarde will stop being avant garde. PERSISTENCY STOPS PERSISTENCY. What is the moment before every thing stops?

It is time for shape, it is time for re-thinking of shape, it is time to rethink the illusion.

This is not a hit is a punk shaman dance performance where the time-space component is taken into reconsideration. It suggests/screams to start all over, to look at it once again, opening many questions considering how body in motion can be seen, and what is there to be read. It overlaps past with future, stillness with speed, abstract with meaningful. An approach allowing dance to be discovered again.

Concept, choreography and performed: Matej Kejžar; Music and live music: Marjan Stanić; Light Design: Petra Veber; Technical Design: Hipi Jaja; Video Technique: Andraž Avsec; Producer: Žiga Predan; Production: Pekinpah/Kink Kong; Coproduction: Plesni Teater Ljubljana

Photo by: Petra Veber


Fabrik (France)

Thursday 17 April 2014 & Friday 18 April 2014

Quai des Arts

Le Cinéma Préhistorique is entering its third season. The unique lecture / laboratory format continues with a new visual artist invited each month to participate in the experience. To bring life to a text, contemporary or not, to make it resonate and allow the public to immerse themselves in imagination, rediscovering the joy of narrative.

Le Cinéma Préhistorique, after more than twenty editions has found its voice and a virtuosity of action.

First attempt at a reduction of cinema. An artistic proposal that un-tethers image, dreams the text and contemplates the sound. Somewhere between shaman and storyteller … Rediscover the innocence of storytelling, of letting yourself be hypnotized by the tale…

Performance: Ben Merlin, Guitos Fournier, Jonas Bernath, Charles P., Lisa Cokrell

Photo by: Fabrik


Jean Emmanuel Belot (France)

Friday 18 April 2014 & Saturday 19 April 2014

Hangar Saône

“I wanted to capture the last image. Perpetuate the passing time, the being that will never occur again. Give time to our eyes, build what makes and breaks our “existential stuff” before the eyes of others. A ghost, that is to say, some elusive reality, finally shows through beneath this image. It will be the messenger of all intangible body. It is a fiction with no memory of myself, where I am at the same time real and impossible to reach. Genre: self-fiction.”

A physical journey through the figures that haunt the “ecce homo”: the male body plunges here in his own reflections and very quickly morphs into a warrior, a transi, a demon, a gargoyle, a crucified, a repentant, a satyr. A whole store of personal and fictional fragments is reviewed in an endless caroussel of appearances and fragmentations of its movements.

Concept, performance: Jean-Emmanuel Belot; Set and video: Nicolas Ticot / XLR Project; Production: Woo; Partners: XLR Project; With the support: DICRéAM; Special thanks: Les Subsistances, Lyon / CND Rhône-Alpes / Projet Plain pieds, accueil studio 2010, CCN de Rillieux-la-Pape; Eightball est artiste compagnon à l’Amphithéâtre du Pont-de-Claix depuis 2010.

Photo by: Eightball


Saša Božić / Petra Hrašćanec (Croatia)

Friday 18 April 2014 & Saturday 19 April 2014

Hangar Saône

LOVE WILL TEAR US APART is a solo created for performer Petra Hrašćanec. The work itself fuses several genres and is somewhere between a rock concert, confession and abstract dance. The question of ownership over the performance at first was positioned within an abstract dance frame dealing only with the body and the politics of observation, extremely expanding into a broader arts and social context.

Love in the title relates to love for dance, the act of dance itself, while the work debates the difference between dance and its realization as a social event through the constitution and definition of the performer herself.

Performer Petra Hrašćanec executes dance numbers, chosen love songs, while in the intermission we are to learn about seemingly ephemeral details about the origins of this production, weaving a fine net of relationships between powers which define the act of performance. The audience is invited to actively take on the responsibility about the sequences in the hierarchy of the act of performing.

Concept: Saša Božić; Choreography: Saša Božić and Petra Hrašćanec; Performed by: Petra Hrašćanec / Luka Švajda; Music selection: Saša Božić, Petra Hrašćanec; Photo and video: Danko Stjepanović; Producer: Štefica Bartolin; Production: de facto

Photo by: Danko Stjepanović


Loge 22 (France)

Friday 18 April 2014 & Saturday 19 April 2014

Hangar Jardin

In Konkretheit, a german word signifying concreteness, the attention is held on movement both meticulous and functional. Konkretheit is a study of the mechanisms of linguistic gesture; an attempt to reckon the distance between literary writing and redundancy of what can be called choreographic writing.

More, and in many ways less, than a mere dance piece, Konkretheit is conceived as a collection of concrete movements as such. A bolster to the tangible, supporting simultaneously the place of narration and the space of poetic abstraction. Enshrouded in a dense fog ; the signifiers, haikus and incantations of Loge 22 conjure a fever dream of laboring figures. In Konkretheit, there is no “ I see…”, there is only “we witness”; inverse and reversible, the spectator and the spectacle.

Finally, one question remains “What is it we are witnessing?”

Interpreted and performed by: Thomas Michaux; Created with: Marie Goudot, Thomas Michaux, Julien Monty, Michael Pomero, Adam Weig, Sandy Williams; Music: Loge 22; Technical director: Lise Poyol; Production: Loge 22; With the support of: Rosas, Anne Teresa de Keersmaeker, Forest Centre Culturel et du collège des Bourgmestre et Echevins de Forest, la Raffinerie, Charleroi Danses; Financial support: la DRAC Rhône-Alpes, la ville de Lyon and la Région Rhône-Alpes.

Photo by: Barbara Sarić

Moving – thinking

Gabriel Schenker (Brazil/Belgium)

Friday 18 April 2014 & Saturday 19 April 2014

Quai des Arts

My overall research, originally called “Research on the Simultaneity of Sensorimotor Activity and Cognition”, started in 2012 and aimed at understanding different relations between movement, sensation, and thought. These questions started in a hiking experience. In 2011 I was hiking alone in Rio de Janeiro, going up a mountain at a high pace and I noticed that my mind was moving in a quality and a speed it did not usually move, much quicker than when I’m reading, in conversation, climbing, or running. What was specific about this activity that made my mind rush with such richness and speed?

After this hiking experience the question of the ability of one’s body to be engaged with movement and with un/related thinking at the same time stayed in my mind and I embarked in a theoretical research on those questions specifically in the fields of phenomenology and neuroscience. What followed
was the development of a form of questioning that would involve not only acquired knowledge and reasoning but also movement. I turned back to some movement practices I knew in order to see towards where those practices led my thinking and developed a dialogue between the movement practices and a process of constantly re-thinking, through movement and speech, in the doing. The score Moving – Thinking is this practice of thinking and speaking through and alongside movement and sensation.

Concept, performance: Gabriel Schenker

Photo by: Giannina Urmeneta Ottiker


Leja Jurisic & Teja Reba (Slovenia)

Saturday 19 April 2014


The authors and performers Leja Jurišić and Teja Reba, in collaboration with visual artist Petra Veber, test the limits of freedom of speech and performing on stage, straightforward and without hesitation, in front of the eyes of a spectator who is free in their astonishment when they cross the thin lines between what can and what shouldn’t be done on stage. Shouldn’t be done in order to make it work. An apparently endlessly easy (artistic) freedom is right at the point where the thought of one person stops and the thought of the other starts. Hence it not only brings rédemption but also a demand for constant participation: Kristeva, Reagan, Monroe, Lennon, the unknown and – you.

Authors & performed: Leja Jurišić & Teja Reba; Set, light & costume design: Petra Veber; Music: Davor Herceg; Technical Director: Igor Remeta; Producer: Žiga Predan; Production: Bunker, Ljubljana; Coproduction: Pekinpah / Kink Kong; Supported by: Culture Programme of the European Union as part of the network Imagine 2020: Art and Climate Change.

Photo by: Nada Žgank


Eleanor Bauer (USA/Belgium)

Saturday 19 April 2014

Quai des Arts

BAUER HOUR is talk show, variety show, shit show, parlor show and cabaret show. A space and time for whatever seems most important now and not later. An occasion to practice the unknown, to share the musings and amusings that decorate life and need a place to go at night so they don’t cause insomnia, a container for the things that end with «you heard it here first.

BAUER HOUR is not about Bauer, it’s all about the guests within the ruckus frame of Bauer, of course. Everybody has a story so let’s hear it, and talk is cheap so let’s spend it. Small talk, medium talk, big talk, trash-talk, pillow talk, hard talk, shop talk, walk talk, fake talk, real talk, straight talk, curly talk, sideways talk, and backwards talk. No talk is also an option for special guests who prefer dance or pantomime.

BAUER HOUR is not an after talk nor an artist talk but perhaps everything everyone wishes both would actually ever be. BAUER HOUR is a fixed quantity aimed at maximum quality – quality time, of course, of an hour.


Jordi Gali (France)

From Monday 14 April 2014 to Saturday 19 April 2014


With this intervention I imagine connecting the two facades of the courtyard at Les Subsistances. With this proposition I’d like to juxtapose fragility and force with the construction of a web of string ; delicate and ephemeral.

This absurd installation will take place over four days in the heart of Les Subsistances and will expose the labor, process, thought and conception of the action.

The spectator can come and go, participate an instant or an hour, become accomplice or voyeur, engage or remain indifferent. Stance is a proposal in situ in collaboration with Festival Spider.

Creation, performance: Jordi Gali, artiste résident à Ramdam (lieu de ressources artistiques), en collaboration avec Jérémy Paon

Photo by: Silvère Simon


Classe technique / Benoit Caussé (France)

From Monday 14 April 2014 to Friday 18 April 2014

“I propose an open work based on the classical technique, called academic.
It seems to me important to keep an opening, a permeability between techniques in relation to each other, including the link between ballet and contemporary dance to prepare the body for movement whatsoever.

For this, the proposed work is focused on sensation seeking, so that everyone can discover its possibilities and its limitations and not just reproduce a form but integrate sensations that lead to the form.

Also I prefer the accuracy and understanding of the “placement”. He must be legible and felt, it is the foundation, the basis of the technique suggesting a deep and constant readjustment of the body in motion. These concepts will be used to address the classical technique with ease and freedom, subverting constrained by creativity.”

Workshop : “Time & space Remixed”, Matej KEJŽAR (Slovenia)

From Monday 14 April 2014 to Wednesday 16 April 2014

Going through various dance practices T&S Remixed is a re-dance class which deals with shapes in both directions: building them up and breaking them down. From floor work to classical dance forms, from open movement explorations to very defined written movement material the class offers a detailed movement analyses in constructing and deconstructing the material. It serves passion to move in combination with an awareness of the dynamics of projection in space and time. Breaking and reinventing the meaning of the specific time and a specific space concept in for instance traditional, classical, modern, post-modern, new dance, dance theatre, physical theater, etc. All these styles and forms describe a certain time and certain space in order to allow dance as such to appear. The mentioned classifications describe certain technical aspects of what moving in time and space can mean. And what do they mean today?

T&S Remixed opens many questions considering how body in motion can be seen, and what is there to be read. It calls for shapes which are still to be discovered. It overlaps past with future, stillness with speed, abstract with meaningful, impulses and reflection, passion and ratio. This approach allows dance to be discovered again.




Wednesday 16 April 2014

Imperial Quartet is the gathering of four improvisational musicians that have been accomplices for many years. The project came to light in the beginning of 2010. Based on a supple, generous, solid and on-alert upright bass/electric bass and drum rhythm, the band leans on the singularity of the undeniable coexistence that has united the saxophone players for over 10 years. Between the two of them, they share familie of saxophones from sopranino to bass, developing an original and unexpected sound pallate. This uncommon variety of pitches allows the exploration of new musical territory through the compositions proposed by the ensemble. The search for organic material, also inspired by traditional music, trance music and that somewhat «dirty» rock energy, serve as a rhythmic pool to their aerial melodies and other theatrics. The improvisational aspect has a fundamental place in this quartet’s music. When it comes from the compositions as well as in itself. Imperial Quartet is a formation that is simple in its constitution (a quartet without polyphonic instruments), rich in its possible orchestral combinations, essential in its wish to communicate, be it in the exchange between musicians or in sharing with the audience.


Wednesday 16 April 2014

Charlie Winston plumbs the depths of genre, style and time. Standing on the crossroads, he plays to an audience of kindred spirits with tastes departing in all directions, full of everything and rich in anything. – Francis Dordor, Inrocks, 2009 What more can we say? Charlie cites Leonard Cohen, appreciates
Beethoven, reveres Nick Cave, Steve Reich and the immanent Jacques Brel, devoures T.S. Eliot and revels in Wim Wenders. But beyond all this, what distinguishes him most is his benevolent gaze on life, on people. Charlie is an auteur, a true lyricist, a voice of the 21st century, straddling autobiography and fantasy.

LeYan – Chinese Man Records (France)

Wednesday 16 April 2014

If this young Polish privateer with his rough skin craggy by years of traveling hadn’t bumped into the Chinese Man, his life could have gone wrong … very wrong … Indeed, alcohol, women and looting activities are barely accepted in our societies nowadays … But on a sunny day, he heard a loud voice: “Drop your impious activities, LeYan! Come and join me on the long road that leads to the spiritual dance floor…!”

That was enough to put the Yan on right track … Since that day; he’s been spending his time behind a pair of turntables and is still relentlessly trying to create the perfect transition sequence that will lead the peoples on the road to the Zen spirit!


We conceived the Spider Project as an Itinerant Artistic Manifestation; an independent nomadic laboratory comprised of an eclectic group of artists who, moved by a common idea, endeavour to weave a thread of innovation and imagination through the heart of Europe. Spider is not an artistic movement as such but a clockwork of interconnected individuals. Each artist’s statement is autonomous yet vitally connected to the whole, creating a collective of singularities manifested through the force of a communal direction. Concerned primarily with contemporary dance, Spider is a dynamic meeting point between different artistic process and practices.


With Spider, we attempt to create a temporary zone of encounter between each of the participants in the festival, no matter their role. Contributors are moved to carve out a space in which they are able to reflect on their own process of creation. The inclusive nature of Spider then allows this reflection to produce lines of influence between the artists, the public and other participants, giving rise to a collective expression of concepts, ideas and choreographic proposals. As a result, the artists involved in Spider (dancers, choreographers, musicians, visual artists and authors) are simultaneously participating in themanifestation and responsible for it’s shape and function.


Due to our differing economic necessities, Spider is conceived as a cooperative; a collectivization of means, a prototype of artistic exchange that includes both production and presentation of work. In this way each piece presented is open to appropriation, modification and reinvention by us or other structures without copyright. This communion allows us an autonomy through which we may dictate how and to whom we present our work. This cultural recoup by and for the artists is essential to opening new possibilities of presenting and experiencing performance in the artistic landscape.

Spider – ACT / ACTUAL.

We endeavour to curate a bold and audacious program that is both a look forward and a dynamic Act. Spider is Actual as it engages itself with the
problematics of perceiving the contemporary world which surrounds us; tracing the cracks and highlighting its incongruences and anomalies. Each participant
in Spider is effectively taking part in a subversive movement concerned not only with innovative artistic practice but also with the re-contextualization of the means of artistic production itself. This collective process of creation and presentation becomes a vehicle in which a fundamental re-appropriation of life and art can be approached.

Spider takes the form of a festival where artists and the public can meet in an environment of performances, workshops and discussions. Spider’s primary concern is exchange without the banality of “community outreach”. The festival strives to establish a dialogue with its hosts regardless of class or professional status. We believe that the specificity of each venue, viewed through the lens of each participating artist, choreographer and performer makes Spider a remarkable and unique artistic manifestation.