Titre en cours, Laurent Pichaud

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CONCEPT NOTE

“I will work using some sequences from previous works that seems to me to be answering the Miniature command : Love, the relationship to the couple. (…) The desire to work with a couple from Beirut is based on my in-situ approach of art. It thus seems logical to me to work with a couple from Beirut, in their home and/or in a public place that makes sense to them. (…) The couple you will meet shall not necessarily have any artistic skill (…). They will share and experiment artistic materials regarding the requested theme and will incarn it according to their sensibility (…) I wish to invent with them a form of artistic score for couple that will then be adapted to different couples and contexts (…).”

Laurent Pichaud, Octobre 2011


LAURENT PICHAUD

Laurent Pichaud (1971) is trained in contemporary dance and holds a post graduate diploma in contemporary art history. He began to work as a choreographer by the middle of the 90s. Up to now he has presented about fifteen pieces including specific performances related to museum exhibitions. He’s used to focusing his practice on perception experiences, through which the presence of the performer is emphasized not only as an artist but also as a singular man or woman and where he tends to collapse the idea of a total professional self control. Very soon, he felt the theatrical scene too neutral and limited, and started to practice and present his work in areas specifically chosen according to the project’s purpose. Some of his works are indeed basically related to typological sites concerned by ‘real’ life. (Fer terre, a picture of a place –duet ; Réferentiel bondissant, for sport halls ; Mon nom, for war memorials). Invariably, he’s taken into account the whole visual place (not only the performer’s arena). In a such way that he’s going beyond the only choreographic aspects and one can establish connections with site-related art. It also results that Pichaud’s works are perceived by an autonomous and embodied eye. Actually, through his bodily presence each viewer can feel himself included in the experience of the performance in a sort of equality of statute with the performer – though there is not at all interaction. Performer in his own pieces, he also performs for other choreographers. He has recently worked with Martine Pisani, the Carnets Bagouet, Deborah Hay, Boris Charmatz, Anne Collod/Anna Halprin. Besides, he’s getting deeply involved in transmission and regularly takes on the direction of specific site workshops, either for teenagers, untrained or trained performers. (c.scotton)

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