Art stations fundation - by Grażyna Kulczyk

Studio Słodownia +3

Magali Milian and Romuald Luydlin

Magali Milian, Romuald Luydlin, Marc Sens

Marc Sens

texts and collaboration 
Caryl Ferey

direction and sound control 
Valérie Leroux

light creation 
Pascale Bongiovanni

Species (Latin, pronounced spe{k}iès): aspect, appearance, vision

Initially, there is a desire to turn things upside down.
To reverse the process refined by La Zampa over the years, to take as a starting point a place of disappearance in order to work on a form of appearance.
To consider the disappearance (of the body) as the ultimate goal.
To probe its presence while disappearing.

Then, there is an enigma.
A sentence from Jacques Derrida, projecting into the future and the past in a same gesture, referring to an impossible direction.
A sentence with hints of premonition and warning.
A dead end, almost a threat. “The future belongs to ghosts”.

From there, we had the will to contact a specialist of enigmas – Caryl Férey author of new detective fiction - for him to write a text that would be inspired by the Egyptian “Book of the Dead”. 
And the need to put a silhouette, or four hundred faces, behind these invisible presences of today. To sketch them implicitly.

“Spekies” is a variation around the disappearance of the body confronting a dancer (Magali Milian or Romuald Luydlin, according to sets) to a guitarist (Marc Sens), 50 survival blankets, and a few dictaphones.

A dancer who is relieved from any artifice. An interchangeable silhouette (because ghosts have no sex) which seems to slide on the tips of sneakers* in the landscape it builds for itself, until it sinks down.

A musical universe without beginning or end, which spreads out in order to expand the time, to put the body in tension, to reveal its presence by flashes, to empty its substance, and to finally orchestrate its demise.

Metallic membranes which sediment into mountains, move, unwrap themselves, unfold around the emptiness, become relics, get deformed and create shapes, generate strange feelings of déjà vu.

And an hypnotic litany that clings to the body, coming out of a thousand sound sources, as if to track the forgotten, the ones who are ejected and erased from our time.

“...the one upon whom the rain hits
the one who arouses no sleeper
the one who has millions of them
the one who sleeps in his body
the one who lies between the rocks of the deep
the one who believes in clouds of powder
the one who swallows his arm
the one who closes his eyes at night and makes everything enter the night...”
Caryl Férey

* in a movement inspired by turfing, a street dance born on the west coast of the United States.

Magali Milian studied at the Avignon Conservatory and went on to the CNDC in Angers. Romuald Luydlin following on from his English degree started to learn Butô with Sumako Koseki and Nô theatre with Master Kano. Together they began to train in Aikido and develop different approaches to movement.

They founded the compagny La Zampa and both work as choreographers and performers. Since 2000, they have produced Fleeting Smile, Pour quelques miettes (a short film), Les dents de travers, Le Ciel au-dessus de sa tête, Si tu veux je tue le chat and the special performance Temps 0 for the Center of Contemporary Art in Albi. In 2005 they created Dans le collimateur for DSN-Dieppe Scène Nationale and the Dream On project with the solo pieces Tracks 1 and 2 which they originally presented at the VISU festival before taking it to the Théâtre des Hivernales and the Festival d’Avignon Off the year after. They continued to work on these pieces and other projects whilst concentrating their research on sound and image with Tracks 3-4-5-6 which they worked on closely with Loran Chourrau (video director), Valérie Leroux (sound director) and Pascale Bongiovanni (lighting designer). Following this experience collaboration developed and continues with the GMEA/Albi-Tarn Musical Creation National Center.
La Zampa produced various performances with the Red Sniper collective (Patrick Codenys – musician, founder of the group Front242 and contributor to the company since 2005 and Kendell Geers – visual artist). They also performed in Crash(s) ! Variation, by Bruno Geslin (Antipodes 2008/ Le Quartz, Scène Nationale de Brest). In the same year they presented La Tombe du Plongeur at the Rencontres Chorégraphiques Internationales in Seine Saint-Denis and in some concert halls, Le Bikini in Toulouse and El Médiator in Perpignan, which gave them the possibility to experience new performance opportunities.
In 2009 in residence at the Théâtre de Nîmes, they approached yet another dimension to the theater stage and created Daisy Cutter, working with the scenographer Marc Lainé.
In 2010/11 they have started to work on the Requiem project with the guitarist Marc Sens and the rapper Casey. This piece is being created in successive steps using contexts and situations that have never been seen before – an abandoned swimming pool, a prehistoric cave, a loading bay and a chapel. This project is being supported by the European ‘Focus on Art and Science in the Performing Arts’ programme.
In 2012-2013, they joined Modul Dance / EDN - European Dancehouse Network - with their new project Spekies, duet for one musician and one dancer. They also participate in the Collectif Les Habits Noirs new project, Dégradés, written by the authors Caryl Ferey and Jean-Bernard Pouy.
Meanwhile, since 2007, they organize Laboratories Investigation (Paris / 2007; Berlin / 2008) with dancers, actors, musicians, visual artists, videographers, anthropologists..., placing the body, its nature, its alternatives in the heart of different perceptions.
Finally, since 2010, within the framework of the Initiatives Culturelles Eurorégionales thrown by the Region Midi-Pyrénées, artistic exchanges are conducted, with the company N'Naranja (Barcelona / Catalunya) and the Collective Moebius (Montpellier / Languedoc-Roussillon)

modul presentation

Supported by MODUL-DANCE and the Culture Programme of the European Union
malta2013 moduldance


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