Creation : SUZANNE

Directors : Lorenz JACK CHAILLAT-CAVAILLÉ, Julien CHAUDET, Julien DERANSY & Eurydice GOUGEON-MARINE

Performers : Lorenz JACK CHAILLAT-CAVAILLÉ, Julien CHAUDET, Julien DERANSY, Eurydice GOUGEON-MARINE, Eva STUDZINSKI & Camille VOYENNE

Composer : MOLPÉ (Marina SANGRA)

Photography : Antoine GRÉDAI & Nicolas Dion

Creation : SUZANNE

Directors : Lorenz JACK CHAILLAT-CAVAILLÉ, Julien CHAUDET, Julien DERANSY & Eurydice GOUGEON-MARINE

Performers : Lorenz JACK CHAILLAT-CAVAILLÉ, Julien CHAUDET, Julien DERANSY, Eurydice GOUGEON-MARINE, Eva STUDZINSKI & Camille VOYENNE

Composer : MOLPÉ (Marina SANGRA)

Photography : Antoine GRÉDAI & Nicolas Dion

CANON

“ …(the hands) are more beautiful when they do not mimic anything”
Henri Focillon, Éloge de la main, 1934.

 

With CANON, SUZANNE is interested in unnecessary and non-functional hand gestures. Populating our daily-lives, those “in between” ghost gestures – somewhere between the conscious and the unconscious – are never performed with the intention of “doing”. This instinctive language, born of an emotion, an attitude, a reaction and translated by the hands, SUZANNE studies it and lists this vocabulary imbued with its own sensitivity. Like laboratory technicians in an experiment, the performers perform a choreographic protocol aimed at gradually immobilizing the movement of these hands to capture the most canonical image. 

 

This subjective and intimate process that SUZANNE undertakes is part of a desire to canonize falsely insignificant and transitional gestures that are often invisible, and allow them to achieve an ideal of perfection. Taking up the words of the art historian Henri Focillon (Éloge de la main, 1934), SUZANNE draws the eye to “the bouquets of figures” formed by the hands when we are not looking at them, and magnifies them. 

 

CANON is a series of images featuring the real hands of SUZANNE’s performers. These hands are diverse in their forms: masculine, feminine, non-binary, with diverse skin tones. The generational hands of SUZANNE, through their materiality, embody the intention of canonization: to change the status of these “forgotten” hands but also that hands be those of the present, here and now. These hands belong to SUZANNE as well as everyone. In motion, the hands of each performer move slowly until they find a shape belonging to SUZANNE’s repertoire. 

 

Canonized images come to life from these figures which are broadcasted live by video projection, in a consistent format reminiscent of the large dimensions of history paintings, – casted on an architectural facade, the front of a monument or even the enclosure of a building. They show poetic stills, unpublished paintings. The immobility of the hands of the performers takes part in the process of canonization of these new images which is the climax of this protocol which is intended to be long, meticulous and precise.

 

“ I do not know if the man who questions this one has a chance to decipher a riddle, but I like him to gaze at this proud servant with respect”.

 

This protocol should be considered as a choreographic and performative device, where SUZANNE would canonically enrich her minimalist gestural repertoire which is so dear to her. SUZANNE here establishes the canonical praise of the anonymous by giving a whole new dimension to her own language.

(…) elles sont bien plus belles quand elles n’imitent rien.”
Henri Focillon, Éloge de la main, 1934.

 

With CANON, SUZANNE is interested in unnecessary and non-functional hand gestures. Populating our daily-lives, those “in between” ghost gestures – somewhere between the conscious and the unconscious – are never performed with the intention of “doing”. This instinctive language, born of an emotion, an attitude, a reaction and translated by the hands, SUZANNE studies it and lists this vocabulary imbued with its own sensitivity. Like laboratory technicians in an experiment, the performers perform a choreographic protocol aimed at gradually immobilizing the movement of these hands to capture the most canonical image. 

 

This subjective and intimate process that SUZANNE undertakes is part of a desire to canonize falsely insignificant and transitional gestures that are often invisible, and allow them to achieve an ideal of perfection. Taking up the words of the art historian Henri Focillon (Éloge de la main, 1934), SUZANNE draws the eye to “the bouquets of figures” formed by the hands when we are not looking at them, and magnifies them. 

 

CANON is a series of images featuring the real hands of SUZANNE’s performers. These hands are diverse in their forms: masculine, feminine, non-binary, with diverse skin tones. The generational hands of SUZANNE, through their materiality, embody the intention of canonization: to change the status of these “forgotten” hands but also that hands be those of the present, here and now. These hands belong to SUZANNE as well as everyone. In motion, the hands of each performer move slowly until they find a shape belonging to SUZANNE’s repertoire. 

 

Canonized images come to life from these figures which are broadcasted live by video projection, in a consistent format reminiscent of the large dimensions of history paintings, – casted on an architectural facade, the front of a monument or even the enclosure of a building. They show poetic stills, unpublished paintings. The immobility of the hands of the performers takes part in the process of canonization of these new images which is the climax of this protocol which is intended to be long, meticulous and precise.

 

“ I do not know if the man who questions this one has a chance to decipher a riddle, but I like him to gaze at this proud servant with respect”.

 

This protocol should be considered as a choreographic and performative device, where SUZANNE would canonically enrich her minimalist gestural repertoire which is so dear to her. SUZANNE here establishes the canonical praise of the anonymous by giving a whole new dimension to her own language.

Extract of the performance during the NUIT BLANCHE 2020 in Paris at the Musée des Archives Nationales de Paris

PROTOCOL

CANON takes place according to a precise iterative protocol : in an open and confined space, reminiscent of a photographic studio as well as a laboratory, and around which the public can circulate, three cameras are positioned on feet oriented towards three black backgrounds, projectors come to dress the space and illuminate each black canvas. 

 

Within this visually complex and unstructured organization space, the six performers follow a very precise choreographic protocol which consists in creating “bouquet of hands”  in front of the cameras. This protocol is reminiscent of the methodology of a scientific experiment, responding to specifications whose stages are as follows : 

  1. One of the performers stands behind one of the black backgrounds, puts his hands into the slits and positions them facing the camera (so that only his hands are visible on the screen). 
  2. The performer then rubs his hands for a few seconds and freezes his movements in a chosen hand position (which belongs to SUZANNE’s repertoire).
  3. Another performer known as the “flywheel” will come to check regularly that the position is right and can if necessary give indications to improve the position.
  4. After a few minutes, one or another performer will come and stand behind the same black background to take his place to do the same thing as his predecessor. 

This protocol is executed at the same time by different performers on two other black backgrounds, in canon and according to a very precise sequence. Each of the videos taken by the cameras is broadcasted live by video projection and projected in large format (adaptable to the support) on the facade of a monument, on the walls of a gallery or even on a series of objects for instance in a space located nearby the actual performance. 

 

Although the dimensions adapt to the support: the whole structure remains the same the three projections are placed horizontally, one after the other, thus creating a frieze made of vignettes. 

 

Eventually, all the performers leave their position or their task at regular intervals during the show to gather in the center of the performance space and start to sing a polyphonic song like a choir.

CANON

is

JULIEN CHAUDET
JULIEN CHAUDET
EVA STUDZINSKI
EVA STUDZINSKI
JULIEN DERANSY
JULIEN DERANSY
EURYDICE GOUGEON-MARINE
EURYDICE GOUGEON-MARINE
LORENZ JACK CHAILLAT-CAVAILLÉ
LORENZ JACK CHAILLAT-CAVAILLÉ

&

 

CAMILLE VOYENNE

CANON

in pictures

previous arrow
next arrow
previous arrownext arrow
Slider