Yann Marussich

Bleu Remix

Yann Marussich

source: highlike

Work: Bleu Remix is the sequel to Bleu provisoire, created in 2001–a performance in which Yann Marussich let a blue-tinted biological liquid ooze through the layers of his skin, representing the movement of the body’s inner processes. The soundtrack to Bleu provisoire is remixed for each performance of Bleu Remix by a different local musician, bringing an element of uniqueness to each event. In Bleu Remix, the performer, wearing nothing but white briefs, sits on a reclining chair in a transparent glass cage. Once again, the artist takes us on an intimate journey through his body. He sits motionless, opening and closing his eyes. Gradually, blue tears run down his cheeks, blue snot runs from his nose, and blue spit trickles from his mouth. He begins to sweat, first under his armpits, then his forehead, back, belly and legs: his whole body is covered with pearls of blue sweat. While searching for a kind of universal human being, Marussich takes the essence of Bleu Provisoire’s concept, mixes and transforms it to shake the senses and reveal the frailty of reality. With imperceptible movements, an intense gaze, and blue perspiration made visible, Marussich opens the paths between the inside and the outside world–secret passages from the unconscious, straight to the conscious. Why the colour blue? The colour relates to wisdom, serenity and dreams. It is ever-present around us, and yet doesn’t exist inside our bodies. It only exists in our dreams and our subconscious. The colour blue refers to life, journeys and discoveries in the literal sense as well as the figurative (personal introspection). The intensity of the performer’s presence makes it unbearable for the audience to hold its gaze. The subject “expressing” the blue ink takes the audience through a human experience that reaches the realm of the supernatural. Text: Anne Rochat English translation: AJS Craker.

Design and performance: Yann Marussich Sounds remixed by: … Set and Lighting: Yann Marussich Artistic collaboration and lights: Daniel Demont Decor and Technical: David Châtel. Duration: 60min. Administration/Diffusion: Perceuse productions. Scènes: Thuy-San Dinh. Production/Communication: Perceuse productions. Scènes: Julie Semoroz. With the support of: the City of Geneva, la Loterie romande et Pro Helvetia ARS ELECTRONICA PRICE 2008 – HYBRID ART CATEGORY.
Photographer: Jakub Wittchen
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source: vimeo

Recorded, Filmed, and Edited by Cindy Yeh
In his spectacle-installation Bleu Remix, Yann Marussich returns to a theme originally explored in Bleu Provisoire (2001), a spectacle in which a mysterious blue liquid oozes through the layers of his skin as though it were the final effect or by-product of his body’s inner processes. In Bleu Remix, the artist once more invites the viewer to experience an intimate journey through the corners of his body. Each time the spectacle is performed, a different (local) musician accompanies Marussich. This unique, singular confrontation establishes a new relationship between the sound and image. The meeting of the two artists brings an element of risk and uniqueness to the event, as if the music explores the spectacle repeatedly, resulting in new ways of perception.
Marussich’s performance will be accompanied by live sound performances by artists David Schafer and Dominick Fernow.
Support for Bleu Remix at LACE is generously provided by swissnex San Francisco, the Swiss Arts Council Pro Helvetia, and the City and Canton of Geneva.
ABOUT THE ARTISTS
Yann Marussich, a unique character in contemporary dance, delivers performances that have a true impact on the audience. Since 1989, he has developed scores of performances and choreography that have been presented internationally.
In 2001, Yann Marussich choreographed Bleu Provisoire, his first totally motionless piece. Since then, his work has deepened in introspection, exploring the control of stillness while placing his body in direct confrontation with diverse solicitations and aggressions. He continues moving towards solo performance and body art in its poetic aspect. His most recent performances, which he considers examples of the development of his full-fledged style, have been presented in many festivals in Switzerland and abroad, including the collaborations L’arbre aux Clous and Glassed (2011), both with industrial music pioneer Carter Tutti, Hyphos with students of the Geneva University of Art and Design, and PÔ in collaboration with Vincent Barras (2012).
In 2008, he won the Ars Electronica price in the category Hybrid Art. He was an associate artist at the Grutli Theater for the 2010-2011 season. Since 2011, Yann Marussich has been supported by the Department of Culture and the Municipal Fund for Contemporary Art (FMAC) of the City of Geneva. From 1993 to 2000, Marussich worked as director of the Théâtre de l’Usine (Geneva, Switzerland) where he programmed almost exclusively contemporary dance and new forms of expression. He is also founder of the ADC Studio (Geneva) created in 1993.

David Schafer is a visual and sound artist working in sculpture, sound, sound performance, installation, and graphics. His work embodies aspects of language, site, and architecture through the appropriation of modernist themes, cultural memory, and theory. His work is concerned with the intelligibility, translation, and structures of language and architecture, both spatial and linguistic. Schafer has shown nationally and internationally and has received several public commissions. Most recently he participated in Radio Break, where he remixed a selection of John Cage compositions for an exhibition on the air in Los Angeles conveyed through low-power radio transmissions. He mounted two solo exhibitions this year, one at Studio10 in Bushwick Brooklyn, and the other at the Glendale College of Art, Los Angeles. In 2010 he permanently installed Separated United Forms at the Huntington Hospital, Pasadena, CA, and participated in conjunction with the Whitney Biennial with What Should a Museum Sound Like?, a sound performance and sculpture.

Dominick Fernow is an electronic musician best known for performing and releasing work under the moniker Prurient. He has released material on numerous independent record labels, such as American Tapes, Hanson Records, RRRecords, Load Records, Troubleman Unlimited, Chrondritic Sound, Kitty Play Records, and his own label Hospital Productions. Since the 2000’s, Prurient has become one of the most well-known and influential names in noise music, and has been covered in outlets such as The New Yorker, Pitchfork Media and The Village Voice. Fernow grew up in Wisconsin but now lives in Los Angeles and runs the Hospital Productions record label. More recently, Fernow has started marketing to the black metal audience with his label and creative works and is currently the primary live synthesizer player for Cold Cave. Fernow also releases industrial techno under the monicker, Vatican Shadow.

ABOUT SWISSNEX SAN FRANCISCO
swissnex San Francisco is an initiative of Switzerland’s State Secretariat for Education and Research (SER), managed in cooperation with the Department of Foreign Affairs as an annex of the Consulate General of Switzerland in San Francisco.
A public-private venture, swissnex San Francisco is a platform for the exchange of knowledge and ideas in science, education, art, and innovation. Together with the network of swissnex outposts (Bangalore, Boston, Shanghai, Singapore) and individual Swiss science and technology counselors worldwide, it takes an active role in strengthening Switzerland’s leadership in these fields.
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source: dance-techtv

In his spectacle-instalation Bleu remix, Yann Marussich returns to the theme already explored in 2001, in the Bleu Provisoire spectacle when he let a mysterious blue liquid ooze as blood would, through the layers of his skin, as though it was a final effect or a by-product of his body’s inner processes. This way, Marussich opened the paths between the inside and the outside world – secret passages from the unconscious, straight to the conscious.

In Bleu.Remix, the artist once more lets us experience an intimate journey through the corners of his body. While searching for a kind of a universal human being, he takes the essence of Bleu Provisoire’s concept, mixes and transforms the senses and uncovers the secret existing reality, which exists in everyone of us, even better.

Each time the spectacle is performed, a different (local) musician accompanies Yann This exceptional – unique and one-time – confrontation of a musician with a performance establishes a new relation between the sound and the created image. The spontaneous meeting of two artists brings an element of risk and uniqueness to the event, as if the music explored the spectacle over and over again and depicted new ways of perception.
Bio

Born in 1966, Yann Marussich is an isolated character. In contemporary dance and performance: “hypersensitive, puzzling, provocative, authentic” he delivers performances from which we don’t come out of unharmed. Since 1989, he has signed about thirty performances and choreographies broadcasted all over Europe.
From 1993 to 2000, he evolves in the domain of artistic programming as the director of the Théâtre de l’Usine (Geneva) where he programs almost exclusively contemporary dance and more specifically new forms of expression. He is also the founder of the ADC Studio (Geneva) created in 1993.

In 2001, Yann Marussich signs Bleu Provisoire, his first totally motionless piece. Since then, he is sinking into introspection and the control of stillness meanwhile confronting his body to diverse solicitations, or even aggressions: that is where the poetic space of the performer is located, in an often violent contrast between what his body is undergoing and an absolute impassivity.

His last pieces are solos, which he considers as a full-fledged style. Glassed (2011), Bain Brisé (Broken Bathtub) (2010), Ex-Pression (2009), Bleu Remix (Blue Remix) (2007), Nuit de Verre (Glass Night) (2007), Soif (Thirsty) (2006), Blessure (Wound) (2005), Traversée (Crossing) (2004), Autoportrait dans une fourmilière (Self Portrait in an Anthill) (2003), Morsures (Bites) (2004), have been presented in many festivals in Switzerland and abroad.

Yann Marussich is registered by the Department of culture and contemporary art funds of the city of Geneva. In 2008 he receives the Ars Electronica award in the category Hybrid art.
In 2008, he received the Ars Electronica price in the category Hybrid Art.
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source: yannmarussichch

Bleu Remix est la suite de Bleu provisoire crée en 2001, performance dans laquelle Yann Marussich laissait surgir de ses orifices, et suinter de son épiderme, des liquides biologiques teintés de bleu mettant en abîme les remous intérieurs de son corps. Le son original de Bleu Provisoire est retravaillé à chaque représentation dans Bleu Remix par un nouveau musicien local rendant cette performance à chaque fois unique. Dans Bleu Remix, le performeur vêtu d’un slip blanc est assis sur un siège dans une cage en verre transparente. Il nous propose un nouveau voyage intime et secret à travers son corps.

Son corps est immobile, yeux clos, yeux ouverts. Petit à petit commencent à rouler sur ses joues des larmes bleues, il pleure bleu. De son nez une morve bleue, de sa bouche s’écoule une bave bleue, de ses aisselles une sueur bleue et maintenant sur son front, sur son dos, sur son ventre, sur ses jambes, tout son corps suinte bleu. Toujours à la recherche de cet homme universel, il reprend l’essentiel de Bleu Provisoire, le malaxe, le transforme, le métamorphose pour ébranler les sens et mieux dévoiler cette réalité humaine vulnérable. Grâce à ses mouvements invisibles, au regard et à sa transpiration bleue rendue visible, Yann Marussich parvient à intérioriser notre extérieur et à conscientiser notre inconscient.

Pourquoi Yann Marussich choisit-il la couleur bleue ? Une couleur étroitement liée au rêve, à la sagesse et à la sérénité. En effet, elle est omniprésente autour de nous mais n’existe pas à l’intérieur de notre corps. Elle n’est présente que dans nos rêves et notre inconscient. Le bleu est l’écho de la vie, du voyage et des découvertes au sens propre et figuré (introspection personnelle). Avec sa qualité de présence, le perfomeur parvient à provoquer l’insoutenabilité du regard chez le public. Le sujet extériorisant tout son bleu emmène les spectateurs à travers une expérience humaine qui accède aux esprits de la surnature.
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source: platformaprojectru

В своем спектакле-инсталляции BLUE REMIX Янн Марусcич опять возвращается к теме, которую начал исследовать в 2001 году в спектакле BLEU PROVISOIRE («Синее временное»), когда он в-первые позволил таинственной жидкости синего цвета сочиться словно крови и поту из его тела. Таким образом Маруссич открыл проход между внутренним и внешним миром – тайные ходы из бессознательного прямо в сознание. В BLUE REMIX художник позволяет зрителю предпринять интимное путешествие по уголкам его тела. В поисках совершенного существа, универсального человека, он использует концепцию работы 2001 года, преобразует восприятие зрителя и таким образом еще нагляднее раскрывает секрет реальности, которая есть в каждом из нас. Зритель может только фантазировать, что именно происходит внутри тела перформера, с неизбежной экстраполяцией на собственное тело.

Каждый раз, когда показывается перформанс, новый (местный) музыкант сопровождает Янна. Это исключительное ­– уникальное и единожды повторенное – творчество музыканта и перформера устанавливает новую связь между звуком и создаваемым образом. Непредсказуемость результата встречи двух художников вносит элемент риска и уникальность в событие.

Перформанс BLUE REMIX на «Платформе» будет сопровождать российский музыкант и саунд-арт художник сергей касич.

Concept and interpretation: Yann Marussich

Artistic collaboration and light: Daniel Demont

Decor construction: David Châtel

Sounds remixed by: kasich

Production: Perceuse Productions Scènes

Diffusion: Thuy-San Dinh

With the support of the City of Geneva, la Loterie romande et Pro Helvetia

ARS ELECTRONICA 2008 – CATEGORY HYBRID ART

Об авторе

Янн Маруссич – это уникальный практик современного танца и перформанса, его постановки оказывают сильное воздействие на аудиторию. С 1989 года его постановки и выступления были представлены по всему миру.

В 2001 году Ян поставил BLUE PROVISOIRE, первый полностью статический перформанс. С тех пор его художественный поиск углубился в самоанализ, изучение контроля неподвижности при размещении его тела в прямом контакте с различными внешними факторами. Он продолжает работать в сольном жанре и с поэтическими аспектами боди-арта. Также есть несколько совместных работ:
L’Arbre AUX Clous («Древо ногтей») и «Остекленные» (2011) с пионером индустриальной музыки Картером Тутти (ранее Throbbing Gristle); Hyphos со студентами из Женевского университета искусства и дизайна; и «PO» в сотрудничестве с Винсентом Баррасом (2012).

В 2008 году он выиграл приз Ars Electronica в категории Hybrid art. Он был приглашенным художником в театре Grutli на сезонах 2010-2011. С 2011 года творчество Янна Маруссича поддерживают Департамент культуры и Муниципальный фонд современного искусства (FMAC) города Женевы. С 1993 по 2000 год Маруссич был директором Théâtre de l’Usine в Женеве, где он создал репертуар, почти исключительно состоявший из современного танца и новых форм.
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source: prohelvetiaorgza

Em Blue Remix, Marussich deixa que um misterioso líquido azul seja emitido pelo seu corpo, como se fosse sangue, viajando através das várias camadas da pele, causando a impressão de fazer parte dos processos internos do seu organismo. Marussich abre assim as vias que ligam as passagens secretas do mundo interior ao mundo exterior, do inconsciente ao consciente.

Cada exibição de Bleu Remix é acompanhada por um músico. Este confronto invulgar e excepcional de um músico e de um artista de interpretação define uma nova relação entre o som e a imagem criada.
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source: europapresses

El artista suizo Yann Marussich ofrece este viernes un viaje a través de la epidermis en ‘Blue Remix’, una performance en la que los espectadores del Festival València Escena Oberta (VEO) podrán asistir a la representación anatómica interior del organismo, según ha informado la organización del certamen en un comunicado.

En esta “coreografía bioquímica”, los fluidos corporales danzan por el cuerpo semidesnudo del artista suizo Yann Marussich. la representación que podrá verse este viernes y el domingo 26 en el Laboratorio de Arte en Vivo.

‘Bleu remix’ ofrece una mirada “muy particular” sobre la danza contemporánea. Se trata de una performance en la que la quietud y la inmovilidad del cuerpo “sustentan un trabajo en el que la única acción está protagonizada por los fluidos naturales que segrega el cuerpo del intérprete tras la ingesta de un líquido azul”. Supone una “intoxicación artística” cuyos síntomas “se hacen visibles a través de las membranas permeables de la piel”.

Así, lágrimas, sudor y saliva discurren por el cuerpo estático del bailarín como afluentes de un mismo río. Un recipiente transparente de cristal, regulado a una determinada temperatura, es el espacio escénico en el que se desarrolla este trabajo de introspección y de seducción óptica que el mismo Marussich define “como la primera pieza en la que se recrea una danza inmóvil”.

Es un trabajo que trasciende los límites entre el arte y la investigación, que ha sido representado en espacios “poco convencionales” como iglesias o museos, y que fue reconocido en Austria hace tres años con el Premio Ars Electrónica en la categoría del mejor Espectáculo de Arte híbrido.

El joven músico valenciano Alozeau (Josué Coloma), autor de una amplia discografía y de bandas sonoras en directo para diversas películas, manipulará y mezclará los sonidos del propio cuerpo de Yann Marussich para transformarlos en música y crear en directo la ambientación sonora de Bleu Remix.

Los trabajos del bailarín y coreógrafo suizo, nacido en 1966, son “difíciles” de clasificar. Su trayectoria artística está marcada por la exploración de las posibilidades expresivas del cuerpo humano y el control de la inmovilidad. ‘Noche de los cristales’ (2007), ‘Sed’ (2006), ‘Herida’ (2005), ‘Travesía’ (2004) o ‘Autorretrato en un hormiguero’ (2003) son algunas de sus creaciones en las que confronta su cuerpo a diversas formas de transformación que asume con una “pasividad inquietante”.