Toutes ces filles couronnées de langues : les instruments
Toutes ces filles couronnées de langues : les instruments [All these girls crowned with tongues : intruments], 2019

Installation composed of five sculptures (variable dimensions, copper, micro piezoelectric, transducer, electronic elements), two video projections (12 min 55) and a sound installation (12 min 55).

With: Nathalie Broizat, Silvia Di Rienzo, Anna Gaïotti, Pauline Lorillard and Susanne Schmidt.
Photography: Thomas Favel and Michele Gurrieri.
Sound: Raphaële Dupire.

Sculptures were made in collaboration with Thierry Madiot.
The installation was produced by Lafayette Anticipations, fondation d’entreprise Galeries Lafayette, 2019.

Pictures were taken by Romain Darnaud during Bels animal, Château du Feÿ, Bourgogne, Fr, 2019.
With the support of Brane Project.

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Toutes ces filles couronnées de langues
Toutes ces filles couronnées de langues [All these girls crowned with tongues], 2017–19

Movie, 40 min

With: Nathalie Broizat, Silvia Di Rienzo, Anna Gaïotti, Pauline Lorillard and Susanne Schmidt
Choreography: Anna Gaïotti
Frame: Thomas Favel and Michele Gurrieri
Editing: Laurent Leveneur and Hodei Berasategui (movie), Nicolas Bacou (teaser)

Production: Corinne Castel, Les volcans

This project is a work of research based on ideas of community, body, mutation, identity, language, and environment. We were initially drawn to the desire to write a fiction as a result of a voyage-investigation that took place in the North of Greece: the fiction would be about an island of women. The title is a reference Hélène Cixous and her The Laugh of the Medusa.

This project is supported by Lafayette Anticipations, CIRVA, Fondation Villa Datris and Danièle Kapel-Marcovici.

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Et cette vie qui était la sienne
Et cette vie qui était la sienne à l’aube était surnaturelle avec ses lunes innombrables qui l’aspergeaient d’un liquide argenté vraiment terrible, 2017

Sculture wovenwith carbon fiber, 400 × 600 cm
The sculpture is part of an installation composed by three sculptures created for the movie Toutes ces filles couronnées de langues.

The project is supported by association Al Omarilla, fondations Coeur Maghrébin, Raja Danièle Kapel-Marcovici and Ars Ultima Stein & Guillot Art Fondation, companies Hexcel and Coriolis. We especially thank Fatima, Saida, Zahra, Mina, Khadijah, Amina, Lakbira, Atiqua et Saâdia Cherkaoui, Ghizlane et Heria Hmidouch, Latifa Doublali, Elaziza Belahmer, Hayat Souktani, Fatiha Ali Oubane, Hafida Benaicha, Fatima Esouktani, Rabia Aicha, Naima Ettouile and Christian Guillaume without whose efforts this would not have been possible.

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Au sol camaïeux, divers verts et marrons…
Au sol camaïeux divers verts et marrons. Un rayon se pose. Mordoré. Rosy-Blue apparaît [Against the shaded ground, various greens and blues, a ray falls, bronzed. Rosy-blue appears], 2016

Movie, 17 min

This project is part of an ongoing exploration in which sculptures are the foundation of a new relationship constructed around and with the body, where the sculptures are incarnate. The installation is composed of a film, a sculptural form, a performance, and a sound work. The footage was filmed in the area surrounding Dakar, Senegal. The first shots show a run-down inn, a meandering into a former brothel. When we leave the enclosed space two women and four sculptures perform a strange routine and the movements of water seem to be their language.

The installation proposes a liminal space, one that appeals to multiple senses. The sound is broadcast through the entirety of the exposition space and not only in the projection area. It does not directly accompany the images; it occupies the space and in so doing reveals it, gives it a new materiality. The sound places us in a specific state of perception. It constructs a path in which we re-encounter one of the forms present in the film. This form is an architectural outgrowth, a protuberance that takes on the characteristics of one of the filmed sculptures. Sometimes one of the dancers appears.

The project was originally conceived as a simultaneous projection in Senegal (Biennale de Dakar) and in France (BF15, art space in Lyon), with the simultaneity acting as the project’s heart. It has now multiplied into several versions. At each new exposition, the installation changes. 

Performance: Anna Gaïotti et Mbarou Ndiaye
Photography: Antoine Waterkeyn
Sound: Raffaele Grimaldi
Pictures of the exhibition: Perrine Lacroix

This project is supported by CNC/​Dicréam, ADERA, Fondation Ars Ultima Stein & Guillot and l’Académie de France à Rome, Villa Médicis. It was rewarded by the price of the presidents, ENSBA Lyon.

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Celle qui a tourné dix mille fois sept fois sa langue dans sa bouche
Celle qui a tourné dix mille fois sept fois sa langue dans sa bouche avant de ne pas parler, ou elle en est morte, ou elle connaît sa langue et sa bouche mieux que tous [She who twisted her tongue in her mouth one thousand times seven times before not speaking: either she died from it, or else she knows her tongue and her mouth better than anyone else], 2016

Installation composed of one sculpture (350 × 240 m, copper, resin, pigments, neon tubes), a video, one sound work, and one performance.
Exhibition views of Rendez-vous 2017, Biennale de Lyon, IAC, Villeurbanne and Galerie Nomades 2016, GAC, Annonay.

Performance: Anna Gaïotti, Laura Giacomini, Lotus Edde-Khouri et Catherine Touzeau
Sound: Raffaele Grimaldi
Video: Antoine Waterkeyn
Pictures: Blaise Adilon

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Rosy-Blue a trouvé un truc très scénique
Rosy-Blue a trouvé un truc très scénique [Rosy-Blue found a very scenic thing], 2016

Performance filmed and streamed live at the Friche la Belle de Mai in Marseille, as a part of Benjamin Valenza’s project Labor Zéro Labor.

Francisca Crisóstomo López, Laura Giaomini, Isabelle Mollard, Isabelle Thorrand, Catherine Thouzeau.

This project is supported by Fondation d’Entreprise Ricard.

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5:03 Contre-plongée, léger dégradé, il fait chaud
5:03 Contre-plongée, léger dégradé, il fait chaud [5:03 Low-angle shot, light gradation, it’s hot], 2015

Installation shown for 60e Salon de Montrouge, composed of two sculptural elements, a wall covered in a photograph, and a performance.

Performance: Anna Gaïotti
Curated: Stéphane Corréard, Le Beffroi, Montrouge, France
Wall’s photography: Ibrahima Mbengue
Pictures: Julien Rezette

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Fond et sa sculpture dissimulée
Fond et sa sculpture dissimulée [Background with its concealed sculpture], 2014

Installation composed of one sculpture, a gradation of color and a performance.

Performance: Anna Gaïotti
Curated: Georgia René-Worms, Cité scolaire François Villon, Paris, France
Pictures: Paul Nicoué

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Une partie indivisible de sa scénographie aquatique
Une partie indivisible de sa scénographie aquatique [An indivisible part of acquatic scenography], 2013–2014

Installation composed of six sub-parts or action-sculptures and a performance. The synchronized narrative splits into two levels: the spectacle (that of artistic representation) is above the water, while the camera’s occasional dive lets us discover another level, that of physical effort. The water line represents the surface-limit, or the precise moment of the shift between two states of being. At the beginning of 2013, we began shadowing Lyon’s synchronized swimming team. We produced a catalog of images, gestures, materials, sounds, and stories. The catalog-tool box would serve as the base of this project.

Performance: Laura Giacomini, Amélie Giacomini, Lucie Riothon Pannetrat, Laura Sellies.
Réfectoire des nonnes, Les Subsistances, Lyon, France
Pictures: Laurent Basset and Karolina Krassouli

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