Soirée PARTA G#1

“During performances, I activate the sculptures I’ve made, using them as instruments and microphones. In this way, I pretend to play and sing playback to my broadcast music.

I’m fascinated by experimental music concerts and DJsets. People crowd in front of someone moving buttons or moving wires. They listen to the sound, but what do they see? What do we look at when we see a concert? What do they want to see? What do we really see? I never learned music. However, through my performances, I give myself the right to be a musician in my own way. Pretending to make music helps me to make music. It goes back to children’s games, in which pretending is a way of learning to distinguish between a representation of reality and reality itself. In fact, when I perform, I feel like I’m putting on a show for my parents, but in a more accomplished way.
I find an excitement and a freedom to be very pleasant, and I’m not the only one. Today, we’re witnessing a new appreciation of Lip-sync thanks to Drag and the TikTok app. There’s a real pleasure in pretending to sing.

The installation I set up to “play my music” allows me to create an aesthetic universe of the order of the valorized scrap. Indeed, I mainly use poor materials (polystyrene, foam, cardboard…) to which I give an organic form (which is meant to be). I then coat these shapes with paint and pigments. I add a few electronic-style elements, such as electric cables or pedals. This helps reinforce the idea that the sculpture could be electronic and actually work.

The mood of the performance oscillates between humor, absurdity and poetry. Indeed, when we divert everyday elements, it makes things absurd and creates a second degree. Our reality diverges, it’s called into question.

The spectators who discover my performances don’t know that it’s a faux-concert. It amuses me to discover how they apprehend my performances. Some get carried away and decide to believe it, while others realize, after a while, that it’s a fake and are disappointed. This raises the question of beliefs and how we deal with them.

To get a more concrete idea of what this looks like, you can see some of my performances on my youtube channel Nastassia Takvorian.”

Nastassia Takvorian website

Charles Mounal and Chloé Dorémieux form a duo of performers primarily focused on the question of otherness and connection, both with each other and with the audience. Their work is based on the following principles :

Love : Finding the connection

Suffering : Finding the limit

Love is real

Suffering is real

Give the frame, NOT the path

Give the frame, NOT the destination

Lure it to the body

Lure it to the words

Chloé Dorémieux is a contemporary dancer, actress and performance artist based in Paris. With ” classical ” conservatory training behind her, for several years she has been developing a sensitive, fragmented universe of body and mind that questions inter-human relationships and those we weave with our environment. A performer for several emerging companies (Cie Traü.Me, Cie Sage), Chloé also creates contemporary performances, in particular for There’s A Way, and teaches contemporary dance in classes and in schools.

Charles Mounal was born in Corrèze in 1988. A graduate of the Ecole de Mise en Scène Barouf (dir. Laurent Leclerc), he has explored several worlds: digital arts (author and producer), music (singer-songwriter under the name Oural), writing (novel Nuit sans écailles published in 2023) and live performance (author, director, performer). He has written and directed several plays within his companies, notably Lucha Libre (2016 , in his previous company MAP); then with Traü.me : Bloom – Demain la nuit ; and above all Chère chair fraîche, broadcast from 2024. His next play HU’LER COMME HIER is currently being created.

For more information: https://charlesmounal.com/performances

Camille Lacroix is a composer and visual artist. She studied scenography at ENSAD and electroacoustic music composition at CRD de Pantin. She currently evolves between the fields of music, visual arts and performance. 

Beginning as a scenographer for the performing arts (notably with Cie Pli – Flora Détraz), her work has gradually turned towards sound creation.
In 2020, she began work on a multidisciplinary project based on a text by Marcel Duchamp: “Transformateur destiné à utiliser les petites énergies gaspillées”, which takes the form of a collection of sound pieces, an illustrated booklet, and now a performative form. 

His work is regularly presented at festivals dedicated to sound creation: Le Musée Transitoire (Paris), Festival Futura (Crest), Supersonique (Marseille), Exhibitronic (Strasbourg).

+ info: http://www.camillelacroix.fr/