Born in Zurich in 1974, Alexandra Bachzetsis is a choreographer and visual artist based in Zurich and Athens. Her practice unfolds at the intersection of dance, performance, the visual arts and theatre, generating a conflation of the spaces in which the body, as an artistic and critical apparatus, can manifest. Bachzetsis studied at the Zürcher Kunstgymnasium, the Dimitrischule in Verscio, the Performance Education Program at the STUK arts centre in Leuven, and is a graduate of the DasArts postgraduate course for the performing arts at the Amsterdam School of the Arts (AHK). Since she started working independently in 2001, she has created over 24 pieces, often collaboratively, which have been shown at theatres, festivals and public spaces worldwide. In addition to this, her work has been exhibited in a variety of contemporary art spaces and museums, including Kunsthalle Basel (Basel, 2008), the Stedelijk Museum (Amsterdam, 2013 and 2015), Tate Modern (London, 2014) and the Jumex Museum (Mexico City, 2014), as well as a number of international biennials, such as the 5th Berlin Biennial (Berlin, 2008), (d)OCUMENTA 13 (Kassel, 2012) and the Biennial of Moving Images (Geneva, 2014). Bachzetsis was nominated for the DESTE Prize (2011) and is a recipient of the Migros Kulturprozent Jubilee Award (2007), the Swiss Art Award (2011 and 2016), The Swiss Performance Prize (2012) and, most recently, The Art Prize of the City of Zurich (2018). In 2016, Brachzetsis participated in ›The Parliament of Bodies‹ and ›Continuum‹, Public Programmes at documenta 14. In January 2017, she presented ›Massacre: Variations on a Theme‹ at MoMA, New York City. Later that year her work was included in documenta 14 exhibitions in both Athens and Kassel.
Trajal Harrell came to visibility with the Twenty Looks or Paris is Burning at The Judson Church series of works which asked, “What would have happened in 1963 if someone from the ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?” Over the past two decades, Harrell has created a body of work that interrogates the cracks and fissures of history, drawing from the early postmodern and Japanese butoh dance traditions, kabuki theater, voguing balls, and runway movement. He recently completed a residency at The Museum of Modern Art, New York, focusing on the surreal and radical style of Tatsumi Hijikata—the founder of butoh, a form of Japanese modern dance that was especially popular in late twentieth-century. Harrell has presented his work in numerous American and International venues and festivals, such as The Kitchen, New York; The Museum of Modern Art, New York (MoMA); Performa Biennial; The New Museum, New York, the Barbican Centre Art Gallery, London, the Walker Art Center, Centre Pompidou Paris, and Panorama Festival Rio, Festival d’Avignon, Festival d’Automne in Paris, and Holland Festival.
Born in Poland based currently in Paris, Ola Maciejewskais a choreographer and performer. In 2012 she obtained her MA from Contemporary Theatre and Dance Studies at the University of Utrecht. Along the academic research she made a performance, entitled: LOIE FULLER: Research (2011), that has been presented in France for the Opening of CN D Pantin in 2015, Switzerland, Spain, Canada, Poland, Portugal and several venues in Holland. In the fall 2015 Ola Maciejewska premiered BOMBYX MORI in Paris at la Ménagerie de verre in the framework of the Festival Les Inaccoutumés, and continued being presented abroad in venues such as Kaaitheater, Rotterdamse Schouwburg, Veem Huis voor Performance, Museu de Arte Contemporânea de Serralves, ImPulsTanz in Vienna to name just few. BOMBYX MORI is supported by Fondation d’entreprise Hermès in the frame of New Settings #6. In 2016 until 2018 Ola Maciejewska is associated artist of Centre chorégraphique national de Caen en Normandie. In the fall 2017, Ola’s solo work LOIE FULLER: Research and COSMOPOL (dance film) was presented in the frame of la Biennale de Lyon. Her new work DANCE CONCERT has its world premiere at National Taichung Theatre in Taiwan and in the fall of 2018 it will be presented at Centre Pompidou in the frame of Festival d’Automne in France.
Born in Rwanda, Dorothé Munyaneza left Kigali in 1994 when she was 12 for England, where she studied music at the Jonas Foundation in London and social sciences at Canterbury Christ Church University. In 2004, she composed and performed the original soundtrack for Terry George's Hotel Rwanda, before appearing a year later on the album Anatomic by Afro Celt Sound System. In 2006, without any formal training, she danced for the first time in François Verret's Sans Retour. After performing in several of the French choreographer's creations, Dorothée Munyaneza worked alongside Mark Tompkins, Robyn Orlin, Rachid Ouramdane, and Alain Buffard. In 2013, she founded her own company, Kadidi, and in 2014, she created her first show, Samedi Détente, which evoked the Rwandan genocide by returning to those moments of laughter that punctuated life before the tears of war. A singer, musician, dancer, actress, writer and choreographer, she has established herself in the French cultural landscape as a unique artist who refuses boundaries and speaks out “to force us to listen to the silences and see the scars of History.” Her last piece, Unwanted, has been presented in 2018 at MCA Chicago.
Brazilian choreographic artist living in France, Pol Pi is interested in a broader understanding of the choreographic field, working around questions about memory and temporality, language, and notions of archive and translation in dance, with a particular interest for in situ performances. A graduate in music at the University of Campinas (Brazil), from 2013 to 2015 Pol Pi followed the choreographic master ex.erce in Montpellier and was a performer for Clarissa Sacchelli, Eszter Salamon, Latifa Laabissi / Nadia Lauro, Pauline Simon, Aude Lachaise and Anna Anderegg. Since 2010, he develops his own choreographic projects, presented in several cities and festivals in Brazil. He also directed 5 editions of the Free to Fall São Paulo project (exquisite artistic night) and worked as a professional musician for more than 10 years. In France, Pol Pi created the solo ECCE (H)OMO (March 2017) and ALEXANDRE (May 2018), presented at the Centre national de la danse, Festival Montpellier Danse, Musée de la Danse, Festival NEXT/Espace Pasolini, PACT Zollverein, La Raffinerie/Charleroi Danse, Vivat la Danse and Uzès Danse, among others.
Noé Soulier’s work explores choreography and dance in different settings. In conceptual projects as the book Actions, Movements and Gestures or the performance Movement on Movement, he analyzes and describes different ways to conceive movements that aim to offer multiple ways to experience the body. The series of choreographic pieces including Removing, Faits et gestes, Second Quartet for the company L.A. Dance Project or his last creation The Waves, try to activate the physical memory of the spectators with movements that aim at objects or events that are absent, thus suggesting more than they display. The choreographed exhibition Performing Art, created at Centre Pompidou, reverses the usual position of dance in the museum by choreographing the installation of a selection of works from the collection by professional art handlers on stage. Born in Paris in 1987, Noé Soulier studied at the National Ballet School of Canada and PARTS in Brussels. He received a master’s degree in philosophy at La Sorbonne University (Paris IV) and took part in Palais de Tokyo’s residency program: Le Pavillon. In 2010, he won the first prize of the competition Danse Élargie, organized by Le Théâtre de la Ville in Paris and Le Musée de la Danse. Noé Soulier is associated artist at the CN D Centre national de la danse in Pantin since 2014 and associated artist at CDCN Toulouse / Occitanie from 2016 to 2018.
Historians and Critics
Elizabeth Lebovici is a French art historian, critic, journalist, and lecturer at Sciences-Po in Paris. After obtaining a PhD in aesthetics in 1983, she began publishing art criticism pieces, later becoming chief editor of Beaux Arts magazine (1987-90), and Arts and Culture Editor for the daily newspaper Libération, from 1991 to 2006. She is also archival research member at the Centre audiovisuel Simone de Beauvoir (travellingfeministe.org) and blogs at le-beau-vice.blogspot.com. Since 2006, Lebovici has co-organized “Something You Should Know: Artists and Producers”, a weekly seminar at the EHESS in Paris. She has also co-curated numerous exhibitions, including “Beau comme un Camion” (European Lesbian and Gay Pride, Paris, 1997) “Xn 99” and “Xn 00” (Espace des Arts Châlon-sur-Saône, France), and “L’Argent“ (Plateau/FRAC, Ile de France, 2008). Lebovici’s work grapples with gender and sexuality, as well as the relationships between feminism, AIDS activism, queer politics, and contemporary art. She has written several monographs on
contemporary artists, worked as an editor for L’Intime (Paris, ensb-a) and is the author, along with Catherine Gonnard, of Artistes/femmes, Paris de 1880 à nos jours (Hazan, 2007), a history of women artists in France between 1880 and today. Her last project, What AIDS Has Done to Me. Art and Activism at the End of the 20th century, has been published in 2016 by the éditions Maison Rouge/JRP Ringier and has received in 2017 the Pierre Daix Prize that is awarded every year to an exceptional study of modern or contemporary art.
Franz Anton Cramer
Franz Anton Cramer is a freelance dance critic, author and theorist. He’s a Senior Researcher at the Inter-University Centre for Dance / University of the Arts, Berlin, where he co-directed the BA-course “Contemporary Dance, Context, Choreography“ from 2007 till 2010, together with Gisela Müller and Boris Charmatz. 2004 to 2006 he was Researcher in residence at the Centre National de la Danse near Paris and between 2007 and 2013 a Fellow at the Collège International de Philosophie in Paris. Together with Barbara Büscher, he is co-editor of the special-interest magazine ›MAP Media—Archive—Performance‹ (www.perfomap.de).