Rhizikon is a condensed allegory – physical, visual and auditory – that aims to provoke sensations, sentiments, questioning, reverie and reflection on the concept of putting oneself into play – into danger. A piece on the relationship with risk – madness or necessity – which causes us to walk on the edge. Risk – the imminence of danger – is often triggered by a life force. The need to mobilise powerful resources in order to preserve one's existence often arises when this is threatened. In the same way, ancient initiation rites such as baptism consisted of submerging a person, keeping their head underwater until they almost drowned. On the brinks of death, an ancient, essential life force takes hold. This is a ‘rebirth’.
 As a trapeze artist, I have often asked myself what made me dedicate so much time to hanging from one arm, eight metres in the air. The fascination with limits – whose paradox is that they can always be pushed – the quest for a form of elation, the attempt to restore a weakening lust of life? (See D. Le Breton 1991 – 2002)
What are we searching for when we take a risk, what is this need that makes us stand on the edge of the void, well aware that we are courting danger? Attraction? Revulsion? Fascination? Where is the balance between excess safety and excess danger? Or rather, what is the perpetual imbalance – narrowly saving ourselves, though never completely? 

Chloé Moglia 

“It's about confronting death in a metaphorical way, making the threat almost accessible and avoiding it by taking precautions. Stabilising death in this way, defining the limits of its power, reinforces the feeling of identity for people who dare to attempt this challenge. Success breeds enthusiasm, a surge of meaning that corresponds to a symbolic effectiveness that restores more favourable foundations to existence, for a while at least.”

David Le Breton, Passions du risque, published by Métailié Sciences Humaines

As a performer Chloé Moglia infuses her practice in martial arts in her artistic way, developing through her work a singular exploration of the suspension art. Defending an embodied thought as much as a sensitive corporeality, it endeavors to deploy attention and acuity by linking physical practice, reflection and sensitivity. 

She confronts her complicit relationship to weightlessness and her confrontation with the void, in multiple aerial experiments. Solo or collective, her creationsplay with bodies, slowness, vertigo and the laws of physics. Summoning a taste for taking on risk and fear to be the stand of her performances, Chloé Moglia shows a staggering controlthat evokes as much fragility. She has been artistic director of Rhizome since its emergence in 2009.

Source:Chloé Moglia (April 2020)

More information

rhizome-web.com

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc) .
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.

Sources: Maison de la Danse ; Fabien Plasson website

More information: fabione.fr