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DANCING ON THE CEILING (extension)
This post is an extension of that one.
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delightfully ingenious and thoroughly convincing Corporate Cannibal
During the stretching sessions of my dance courses, I often happen to broadcast Grace Jones’ Corporate Cannibal piece and while working on the elongation of specific muscles & muscle group, I ask my students to focus on the experience of fascination, which I interpret to be at the crossroads of the imaginary and the corporeal.
Rather than asking how one would have to define the ontological status of fascination, I actually wonder why fascination proves to be a paradigm “par excellence” to cover, that is to say, both nominate and legitimate, contemporary artistic experience?
Pleased to meet you, pleased to have you on my plate
your meat is sweet to me
your destiny
your fateyou’re my life support, your life is my sport
I’m a man-eating machine
I’m a man-eating machineyou won’t hear me laughing, as i terminate your day
you can’t trace my footsteps, as i walk the other wayi can’t get enough prey, pray for me
i can’t get enough prey, pray for me
(i’m a man-eating machine)
corporate cannibal, digital criminal
corporate cannibal, eat you like an animalemployer of the year, grandmaster of fear
my blood flows satanical,
mechanical, masonical and chemical
habitual rituali’m a man-eating machine
i’m a man-eating machinei deal in the market, every man, woman and child is a target
a closet full of faceless nameless pay more for less empitnessi’ll make you scrounge, in my executive lounge
you pay less tax, but i’ll gain more backmy rules, you fools
we can play the money game
greedgame, power game, stay insane
lost in the cell, in this hell
slave to the rhythm of the corporate prisoni’m a man-eating machine…
i can’t get enough prey
pray for me
corporate cannibal…
digital criminal…i’ll consume my consumers, with no sense of humour
i’ll give you a uniform, chloroform
sanatize, homogenize, vaporize… youi’m the spark, make the world explode
i’m a man-eating machine, i’ll make the world explode
corporate cannibal…

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“TOPOLOGIE” by Les Gens d’Uterpan
With the concept of “re|actions”, Annie Vigier and Franck Apertet reveal the approach that they have adopted and which constitutes the uniqueness of their work. The work touches upon the interpretation of systems of representation. It is developed by confronting the identity of exhibition contexts that it infiltrates. Each piece produced expresses a unique position, its presentation is developed using procedures that are incessantly re-interpreted. This approach of individualising implementations constitutes the choreographers’ unity of reflection and places the progression of the work at the centre of the debate over transdisciplinary issues and the exportation of works into other contexts.
On March 5th and 6th, the company will perform the first application of “Topologie” in the frame of the residency at the National Choreographic Center of Franche-Comté in Belfort.
More infos:
Centre Chorégraphique National de Franche-Comté à Belfort
3, av. de l’Espérance
90000 Belfort
Tél. : + 33 (0)3 84 58 44 88
E-mail : infos@ccnfc-belfort.org
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Make you gag
You know how sometimes, during late-night wanderings around the internets, you stumble upon lost favorites and new classics to treasure? Something about fashion week put me in mind of these fuh-IERCE catwalk bitches. First up, Dramatics queen Alloura (RIP), followed by a little taste of that departed genius Willie Ninja of the House of Ninja. Divas, to the runway, please!
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A glance at SB contributors LES GENS D’UTERPAN
Our action touches upon several points, by exploring, among other things, the limits of the human body and of representation. This process implies redefining the practice of dance and the function of the dancer. By appearing in different frameworks that reveal the action of the body, or by adapting to them, we provoke the conditions for a new reflection on the different methods of representation, production and interpretation of dance. The interpretation of this physical presence also puts into question the positions of the spectator and the choreographer in these processes. Initiated with innovative collaborations with cultural operators from different sectors, our action includes the economic aspect as part of the artistic project. The fine arts sector accompanies this movement of opening up by sharing viewpoints and highlighting the answers provided to these issues.Annie Vigier et Franck Apertet, founders of Les Gens d’Uterpan.
Felix Ruckert & Peter Hoennemann for SB5 – preview

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