Dancing to move the numbers that tell the condition of women in the world. Through  the statistics that appear and chant the choreography, see a mapping of  areas of injustice, these battle areas where it is urgent to act to  establish equality and respect.
Moving numbers place the  dance as an act of resistance: moving under the image of these figures  that arrive as verdicts, the dancers state and denounce an inventory of  the places they set in motion. To dance against passivity: to say, to move and to prevent these unworthy statistics from freezing.

Source : CNDC d'Angers

www.cndc.fr/

 ROBERT SWINSTON (Artistic Director) graduated from the Juilliard School with a BFA in Dance. His experiences as a dancer began with the Martha Graham Apprentice Group. He performed with the companies of Kazuko Hirabayashi and Jose Limon, before joining Merce Cunningham Dance Company (MCDC) in 1980. In 1992, he became Assistant to the Choreographer. After Cunningham’s death in 2009, Robert became Director of Choreography and maintained the company’s repertoire during the Legacy Tour (2010-2011). During this period, he assembled 25 Events for Merce Cunningham Dance Company, concluding with the final Event performances at the Park Avenue Armory. While Director of Choreography for the Merce Cunningham Trust (2012), Swinston created Four Walls / Doubletoss Interludes, an adaptation of John Cage’s Four Walls (1944) and Cunningham’s Doubletoss (1993) for Baryshnikov Arts Center. In January 2013, he became Artistic Director of the Centre national de danse contemporaine (CNDC) in Angers, France. In October 2017, 4 Femmes, his collaboration with French-American violinist, Elissa Cassini, and French visual artist, Agnès Thurnauer, will be presented in Angers. He has staged Cunningham works for companies such as the White Oak Dance Project, Rambert Dance Company, New York City Ballet, and the Paris Opera. In 2003, Robert Swinston was awarded a “Bessie” for the reconstruction and performance of How to Pass, Kick, Fall and Run (1965).

www.cndc.fr/

Matrice, l’œuvre sculpturale extensible d’ Agnes Thurnauer est  constituée d’une série de sculptures inspirées des moules utilisés pour  créer les lettres de l’alphabet en trois dimensions. Le nombre  d’éléments exposés varie d’une installation à l’autre mais, à l’instar  de la différence qui distingue la langue de la parole, chaque sélection  de formes-lettres va infléchir le sens du système comme tout. Dans la  pratique picturale de Thurnauer , l’écriture est souvent intégrée au  plan du tableau or, même lorsqu’elle ne l’est pas, la force allusive qui  se dégage du sujet comme de son traitement, soulignée par les éléments   génériques inscrits au premier plan, exprime clairement que l’œuvre se  situe au sein du langage de l’histoire de l’art et qu’elle implique  ainsi également une véritable lecture du tableau. Thurnauer est fascinée  par le potentiel qu’a l’art de refléter la réalité sociale et  culturelle dans laquelle il est produit. Elle maintient constamment le  regardeur en alerte sur le mélange complexe de libertés et de  restrictions qui gère les différents langages de l’art.

Source : Agnès Thurnauer

En savoir plus : www.agnesthurnauer.net/