MONUMENT 0.1: Valda & Gus is one of the series that Eszter Salamon launched in 2014 with MONUMENT 0: Haunted by wars (1913-2013). 

From London to New York, from Paris to Berlin, from Shiraz to Taiwan, from Serge Diaghilev to Marie Rambert and Tamara Karsavina, from Bertolt Brecht to Marcel Duchamp, from Ted Shawn to Katherine Dunham, from Rudolf Laban to Martha Graham, from Merce Cunningham to David Gordon and Yvonne Rainer, from Judson Dance Theatre to Grand Union, from John Cage to Morton Feldman and La Monte Young, from Robert Rauschenberg to Jasper Johns and Andy Warhol, from Brian de Palma to Woody Allen and from King Lear to Othello: between history and fiction, the names of Valda Setterfield and Gus Solomons Jr., through their artistic practices, have been associated for the past sixty years with a myriad of artistic stages and historical changes. Their impertinence rejects the influence of standards prescribing abdication or withdrawal from the experience of old age. Distorted over the course of fictions in which words and gestures are intertwined, MONUMENT 0.1: Valda & Gus combines periods and stories using memory and resources offered by other gestures. Or how to cheat death using the impetus of desire.

MONUMENT 0.1: Valda & Gus is the first act open to the public resulting from the transatlantic meeting between Eszter Salamon and Christophe Wavelet, and Valda Setterfield and Gus Solomons Jr. Intended for the dramatic scene with an emphasis on fiction, it will be followed in 2016 by a second act in which various archives and documents will be presented as part of a performance to take place in White Cube art gallery

Updating: January 2016

ESZTER SALAMON is a choreographer and performer. Since 2001 she has created solos and group pieces. Her work has been widely shown around the world and she is regularly invited to give presentations in museums. Eszter Salamon uses choreography as an extensive practice viewed as a machine to manoeuvre among various media: video, sound, music, text, voice, movement and bodily actions.
In her first works, the activation of cognitive experience questions visual perception, sensation and kinaesthesia.

From 2005 she started expressing an interest in documentaries and women’s autobiography, which led her to explore multiple formats such as dance conference, video-choreography or monodrama. Her research on speculation and fiction led her to create TALES OF THE BODILESS, futuristic opera without performers, picturing the possible ways of life following human extinction. Lately Salamon initiated a new series of pieces exploring both  the concept of a monument and an attempt to rewrite history.
Eszter Salamon will be factory artist with LE CND until 2017.

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).