{"id":4909,"date":"2026-09-21T11:32:23","date_gmt":"2026-09-21T11:32:23","guid":{"rendered":"https:\/\/andydegroat.org\/ccinp\/?post_type=tribe_events&#038;p=4909"},"modified":"2026-09-21T11:33:05","modified_gmt":"2026-09-21T11:33:05","slug":"les-mouvements-familiers-dune-danse-inconnue","status":"publish","type":"tribe_events","link":"https:\/\/andydegroat.org\/ccinp\/event\/les-mouvements-familiers-dune-danse-inconnue\/","title":{"rendered":"Les mouvements familiers d&rsquo;une danse inconnue"},"content":{"rendered":"<h4><em>Les mouvements familiers d\u2019une danse inconnue<\/em><\/h4>\n<p>Commissaire d&rsquo;exposition\u00a0: Lou Forster<\/p>\n<p>Avec les \u0153uvres de\u00a0:<br \/>\n<strong>Lucinda Childs, James Lee Byars, Andy de Groat et Robert Wilson<\/strong><\/p>\n<p>Au d\u00e9but des ann\u00e9es 1960, la danse et les arts visuels op\u00e8rent aux \u00c9tats-Unis un tournant majeur\u00a0: les gestes ordinaires deviennent un mat\u00e9riau \u00e0 part enti\u00e8re de la cr\u00e9ation artistique. L\u2019exposition <em>Les mouvements familiers d\u2019une danse inconnue<\/em> propose une histoire discontinue de cette transformation, qui traverse les diff\u00e9rentes tendances de l\u2019art am\u00e9ricain d\u2019apr\u00e8s-guerre \u2014 de l\u2019art minimal \u00e0 la danse postmoderne, en passant par le pop art \u2014 \u00e0 travers des \u0153uvres de Lucinda Childs, James Lee Byars, Andy de Groat et Robert Wilson.<\/p>\n<p>Marcher constitue l\u2019un des mat\u00e9riaux privil\u00e9gi\u00e9s permettant de repenser la cr\u00e9ation au prisme de l\u2019ordinaire. Cette activit\u00e9 se trouve au ch\u0153ur de <em>Street Dance<\/em> (1963-1965), une pi\u00e8ce fondatrice de Lucinda Childs dans laquelle la chor\u00e9graphe performe dans une rue de New York, tandis que le public regarde la sc\u00e8ne depuis le quatri\u00e8me \u00e9tage d\u2019un loft. Cette pi\u00e8ce fait \u00e9merger les \u00ab activit\u00e9s pi\u00e9tonni\u00e8res \u00bb (pedestrian activities), ces actions quotidiennes envisag\u00e9es comme des gestes chor\u00e9graphiques \u00e0 part enti\u00e8re, inscrits dans le paysage gestuel de la ville.<\/p>\n<p>En 1965, James Lee Byars fait \u00e0 son tour de la marche le mat\u00e9riau de <em>The Mile-Long Paper Walk<\/em>, une sculpture que l\u2019artiste conceptuel et performer d\u00e9signe comme un \u00ab performable \u00bb. Un ou une danseuse d\u00e9ploie une bande de papier japonais de plus de 150 m\u00e8tres, dessinant au sol des formes g\u00e9om\u00e9triques. Dans cette \u0153uvre, la marche n\u2019est pas seulement abord\u00e9e comme un d\u00e9placement, elle imprime une ligne de mouvement, esquissant un paysage virtuellement infini.<\/p>\n<p>La manipulation d\u2019objets constitue une autre mani\u00e8re de repenser les relations entre l\u2019art et la vie. \u00a0Sacs plastique, bigoudis, passoires et lunettes noires peuplent les pi\u00e8ces que cr\u00e9e Lucinda Childs au sein du Judson Dance Theater, un collectif qui rassemble chor\u00e9graphes, artistes et compositeurs. Par leur agencement et leur juxtaposition sur le corps de la danseuse, ces objets r\u00e9v\u00e8lent leur \u00e9tranget\u00e9 et d\u00e9placent l\u2019imaginaire consum\u00e9riste qui leur est attach\u00e9. Chez le chor\u00e9graphe Andy de Groat, les objets \u2014 cordes ou \u00e9ventails \u2014 deviennent quant \u00e0 eux des op\u00e9rateurs du mouvement. Ils prolongent le geste de la marche ou rendent visibles les forces qui contraignent et entra\u00eenent le corps lorsqu\u2019il se met \u00e0 tourner sur lui-m\u00eame (<a href=\"https:\/\/andydegroat.org\/ccinp\/rope-dance\/\" target=\"_blank\" rel=\"noopener\">spinning<\/a>).<\/p>\n<p>Au cours des ann\u00e9es 1970 et 1980, la r\u00e9flexion de ces artistes sur ces mat\u00e9riaux familiers \u00e9volue. Leur int\u00e9r\u00eat se d\u00e9place progressivement des objets eux-m\u00eames\u00ad vers les syst\u00e8mes permettant de formaliser et de transmettre une danse. Lucinda Childs recourt au dessin de formes g\u00e9om\u00e9triques pour \u00e9laborer le diagramme et les partitions de ses pi\u00e8ces, tandis qu\u2019Andy de Groat fait des lettres, de l\u2019\u00e9criture et du geste graphique les matrices de nouvelles constructions chor\u00e9graphiques. D\u2019abord con\u00e7ues et perform\u00e9es dans des espaces alternatifs, leurs \u0153uvres sont \u00e9galement pr\u00e9sent\u00e9es sur la sc\u00e8ne. En \u00e9troite collaboration avec Robert Wilson, ils inventent une nouvelle th\u00e9\u00e2tralit\u00e9 o\u00f9 le mouvement, le corps et l\u2019espace construisent un paysage. Dans les <em>Field Dances<\/em>, les gestes ne sont plus les \u00e9l\u00e9ments d\u2019une action, mais deviennent les termes de relations spatiales changeantes, dessinant un territoire \u00e0 parcourir.<\/p>\n<h6><em>Les mouvements familiers d\u2019une danse inconnue,<\/em><\/h6>\n<p>met ainsi en \u00e9vidence la mani\u00e8re dont l\u2019irruption du quotidien n\u2019a pas seulement constitu\u00e9 une mani\u00e8re de transgresser les cadres traditionnels de pr\u00e9sentation de l\u2019art. Il participe, surtout, \u00e0 une r\u00e9invention des proc\u00e9d\u00e9s de l\u2019art moderne par une g\u00e9n\u00e9ration d\u2019artistes confront\u00e9e \u00e0 l\u2019essor de la consommation de masse et \u00e0 l\u2019acc\u00e9l\u00e9ration des transformations urbaines. \u00c0 partir de la marche ou des objets ordinaires, ils et elles \u00e9laborent de nouvelles mani\u00e8res de se situer dans un monde en pleine transformation.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Les mouvements familiers d\u2019une danse inconnue Commissaire d&rsquo;exposition\u00a0: Lou Forster Avec les \u0153uvres de\u00a0: Lucinda Childs, James Lee Byars, Andy de Groat et Robert Wilson Au d\u00e9but des ann\u00e9es 1960, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":4910,"template":"","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[],"tribe_events_cat":[],"class_list":["post-4909","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry"],"uagb_featured_image_src":{"full":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK.webp",474,266,false],"thumbnail":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK-150x150.webp",150,150,true],"medium":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK-300x168.webp",300,168,true],"medium_large":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK.webp",474,266,false],"large":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK.webp",474,266,false],"1536x1536":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK.webp",474,266,false],"2048x2048":["https:\/\/andydegroat.org\/ccinp\/wp-content\/uploads\/2026\/09\/OIP.4ylqdD2k58I9FlWnkZiH4QHaEK.webp",474,266,false]},"uagb_author_info":{"display_name":"admin","author_link":"https:\/\/andydegroat.org\/ccinp\/author\/admin\/"},"uagb_comment_info":0,"uagb_excerpt":"Les mouvements familiers d\u2019une danse inconnue Commissaire d&rsquo;exposition\u00a0: Lou Forster Avec les \u0153uvres de\u00a0: Lucinda Childs, James Lee Byars, Andy de Groat et Robert Wilson Au d\u00e9but des ann\u00e9es 1960, [&hellip;]","_links":{"self":[{"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tribe_events\/4909","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":1,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tribe_events\/4909\/revisions"}],"predecessor-version":[{"id":4911,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tribe_events\/4909\/revisions\/4911"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/media\/4910"}],"wp:attachment":[{"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/media?parent=4909"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tags?post=4909"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/andydegroat.org\/ccinp\/wp-json\/wp\/v2\/tribe_events_cat?post=4909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}