X-Event process

In 2005, Annie Vigier and Franck Apertet (les gens d’Uterpan), in partnership with the Contemporary art Centre of Bretigny, have
introduced the construction and diffusion of several
danced performances – The X-Event.
























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The creations point out and question the frontiers between the two fields: performing and plastic arts.  
After the creation of X-Event 1, Annie Vigier and Franck Apertet have developed seven protocols brought together under the generic title X-Event 2. Constructed as autonomous units and utilised as individual objects, these embodied forms can enter into a duality with other venues as part of a framework or an exhibition agenda, distinct from the ordered theatre space. Determined by an expenditure of energy taken to its limits, what the performers do confronts the specific characteristics of the site and its intended use. Developing new relations with creation, the two artists develop their research towards new exhibition frameworks, new conventions, towards a new identity.

To download the file X-Event, please click >here<


X-Event 1

Creation:

January 12th & 13th 2005, L’Echangeur, Festival Faits d’hiver, Bagnolet, France
Specific partners: CAC Brétigny, CCN Ballet de Lorraine, ADAMI, micadanses, Centre national de la danse for the use of the studio
Sound concept and realization: Nicolas Martz, after the voice of baritone Victor Torres

Annie Vigier and Franck Apertet premiered their X-Event 1 at the Faits d’Hiver festival 2005 in Paris. In a theatre rearranged by the choreographers, a raised, X-shaped space reminiscent of a Minimalist sculpture serves as a stage around which the spectators are quite literally installed. This use of the stage-object distinguishes it from sculpture, however, pointing rather to a convergence with the post-Minimal current that plays on the interdependence between bodies and the functional and spatial coordinates of a given venue.
Pushed to their limits, the striving bodies give rise to involuntary and residual shapes, and to respiration, sweating and physical marks that are laid bare to the public along with the movements carried out. The confined, homelike space of the conventional theatre, with its back/front organisation of the performance, is opened out and deconstructed. The X-shaped stage space takes on real volume, transforming into visual and physical continuity the technical and illusionist separation of the frontal division between the show and the spectators. The generic character of the X-Event 1 protocols in relation to the history of the dance, and of postmodern dance in particular, makes the work of the choreographers part of a return to the deconstructive strategies of the 70s; and of a transcendence of those strategies via an updated critique of the theatre industry, its standardisation and the role assigned to the spectator.

Pierre Bal Blanc, Director CAC Brétigny
Translation-Extract of the catalogue Lyon Biennial of Contemporary Art 2007


January 12th & 13th 2005, L’Échangeur, Bagnolet, France
Photos: Sabrina Mathoux
Courtesy: les gens d'Uterpan


X-Event 2

With X-Event 2, premiered simultaneously with X-Event 1 at the Brétigny Contemporary Art Centre in 2005, Annie Vigier and Franck Apertet apply their strategy at a different level by formulating an external critique of the standardisation of the performing arts. With its seven protocols, X-Event 1 is described by the choreographers as the matrix generating the seven performances brought together under the generic title of X-Event 2: Les courses, Les corps morts, Le goût, La vague, Les Kama Sutra, Les chutes and Salives.
 Constructed as autonomous units and utilised as individual objects, these embodied forms can enter into a duality with other venues as part of a framework or an exhibition agenda, distinct from the ordered theatre space. Determined by an expenditure of energy taken to its limits, what the performers do confronts the specific characteristics of the site and its intended use. The spectator's body, too, is put to work and becomes an agent of movement. The time limit set for the performance is sometimes overrun by several hours or replaced by a calendar extending over several days, with the spectator totally free in terms of his perceptual rhythms and the movements involved. In brief, what the choreographers propose as an alternative to the strategy of deconstruction is that of reversibility, a tactic which, via the imposing of constraints and extreme limitations on contexts and performers, ineluctably gives rise to the reverse situation: the liberation of individualities and an acute awareness of place.

Pierre Bal Blanc, Director CAC Brétigny
Translation-Extract of the catalogue Lyon Biennial of Contemporary Art 2007

Creation:

X-Event 2.7 (according to the protocol Salives) - Lyon Biennial of Contemporary Art 2007, France
Specific partners: micadanses, ONDA

X-Event 2.6 (according to the protocol Le goût) - Lyon Biennial of Contemporary Art 2007, France
Specific partners: micadanses, ONDA

X-Event 2.5 (according to the protocol Les Kama Sutra) - Lyon Biennial of Contemporary Art 2007, France
Specific partners: micadanses, ONDA

X-Event 2.4 (according to the protocol Les courses) - Centre international d’art et du paysage de Vassivière, France, juin 2007

X-Event 2.3 (according to the protocol Les chutes) -  Domaine départemental de Chamarande, France, juillet 2007

X-Event 2.2 (according to the protocol Les corps morts) - Centre d’art contemporain-le Parc Saint Léger, Pougues les Eaux, France, mars 2007
Specific partners: CAC Brétigny, ADAMI, Centre Chorégraphique National / Malandain Ballet Biarritz

X-Event 2.1 (according to the protocol La vague) - CAC Brétigny, France, février 2005
Specific partners: CAC Brétigny, Centre Chorégraphique National – Ballet de Lorraine, ADAMI, micadanses, Centre National de la Danse pour le prêt de studio


X-Event 0

Création:

January 24th 2008, micadanses, Festival Faits d’hiver 2008, Paris, France

X event 0 disorients the spectacular object and creates an observation situation by positioning the presence of the viewer in the center of the representation process. By a deliberate act of retention, the convention of spectacular evening is maintained but the show is absent. This strategy of substitution points out the political and social dimensions of the formats and structures in live art. In a theater deprived of its essential, the emphasizing of the presence and the statute of the public reveals the roles of the individuals in the human economy, the motivations of their expectations as well as the concept of consumption in a cultural frame.
X-Event 0 pursues the reflections developed on the presence on the body in representation. This performance expresses and experiences an hindsight after the different observations made during the X-Event process, in the performing and live arts fields.
X Event 0 took place, on the occasion of the Festival Faits d’Hiver 2008, in the Micadanses Paris Studio, with the collaboration of 75 volunteer figurants. Following a precise timing and detailed indications, the participants have activated and influenced the process of the performance while being identified as the public.




X-Event 1

Activations (selected):
Faits d’hiver Festival, Theater l’Echangeur of Bagnolet, January 2005
Dance Festival in Aix, Aix en Provence, August 2005
Faits d’hiver Festival/Maison de l’Architecture-Couvent des Récollets, Paris, January 2006
Theater of Saulcy, Metz, March 2006
5th Berlin Biennial of Contemporary Art, Kunstwerke Institute, Allemagne, May 2008
CAC Brétigny/Hall of skate-board of Val d’Orge, December 2008


X-Event 2


Activations (selected):

Musée d’Art Moderne de la Ville de Paris, France, June & November 2016
3rd Ural Industrial Biennial of Contemporary Art, Ekaterinburg, Russia, September 9th-November 10th 2015
RING Festival, Lucca, taly, September 2014
YAY! Gallery & Museum Center, Baku, Azerbaijan, (presented by Yarat contemporary art space), March 2014
National Gallery/International Theater Festival MESS, Sarajevo, June 2013
Copenhagen Art Festival, Denmark, August 2012
MSU/Zagreb Museum of Contemporary Art, Croatia, exhibition L'amour du risque, April 2012
Museum of Fine Arts, Strasbourg, France, March 2012
Collection Lambert en Avignon, France, exhibition JE CROIS AUX MIRACLES, May 2011
Kunsthaus Graz, Museum Joanneum, Austria, exhibition Catch me, Grasping Speed, April 2010
Museum of Modern Art in Warsaw/Muzeum Sztuki Nowoczesnej, Poland, September 2009
Galeria Vermelho/festival Verbo, Sao Paulo, Brazil, July 2009
Nam June Paik Art Center, Now Jump! Festival, Yongin, Korea, October 2008
Bétonsalon/Playtime Festival, Paris, France, September 2008
Beursschouwburg/On y danse tout en rond Festival, Brussel, Belgium, April 2008
Frac Bourgogne, Dijon, France, March 2007 & March 2008
Louvre Museum, Paris, France, February 2008
Tate Modern, The living Currency Pierre Bal-Blanc, London, England, January 2008
Lyon Biennial of Contemporary Art 2007, France, September 2007-January 2008
Departmental Domain of Chamarande, France, July 2007
International Center of Art in Vassivière, France, June 2007
FRAC Bourgogne, Dijon, France, March 2007
Saint-Léger Parc,Centre d’Art Contemporain, Pougues-les-Eaux, France, March 2007
VI Cali performance Festival, Colombia, May 2006
CAC Brétigny, France, February 2005 & April 2007