Utopia #2: The Cabin in the Woods
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The fire crackles. He’s sitting at the perfect distance where he can barely feel the heat, so that he is reminded of it every few seconds, every time it momentarily builds up, enveloping him. It’s only when it makes a sound, when a flame breaks a piece of the wood that he looks up and observes the fire for a moment. He always found beauty in anything that refuses to remain still, in anything that refuses to be captured.
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2016 as Dance Memories (Mostly)
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1. Judson Church is Ringing in Harlem (Made-to-Measure) / Twenty Looks or Paris is Burning at the Judson Church (M2M), Trajal Harrell (Festival TransAmériques)
American choreographer Trajal Harrell’s work has always been impressive if only for its sheer ambition (his Twenty Looks series currently comprises half a dozen shows), but Judson Church is Ringing in Harlem (Made-to-Measure) is his masterpiece. In the most primal way, he proves that art isn’t a caprice but that it is a matter of survival. Harrell and dancers Thibault Lac and Ondrej Vidlar manifest this need by embodying it to the fullest. The most essential show of this or any other year. Keep reading... |
Best Concerts of 2016
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1. Bas + EarthGang @ Le Belmont (Greenland Productions)
For years, I’ve suspected that indie rock audiences were the worst and this year my suspicions got confirmed. The crowd at this hip hop show not only knew the lyrics to all the Bas songs, they also knew the lyrics to all the openers’ songs and to the ones spun by the DJ in between sets. I seriously had no idea Montrealers could be that enthusiastic about anything. I lost my shit that night and am pretty sure no one who knows me would have recognized me. Keep reading... |
Best Albums of 2016
Best Singles of 2016
Favourite Reads of 2016
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The Moon and Sixpence (1919), W. Somerset Maugham
“I have an idea that some men are born out of their due place. Accident has cast them amid certain surroundings, but they have always a nostalgia for a home they know not. They are strangers in their birthplace, and the leafy lanes they have known from childhood or the populous streets in which they have played, remain but a place of passage. They may spend their whole lives aliens among their kindred and remain aloof among the only scenes they have ever known. Perhaps it is this sense of strangeness that sends men far and wide in the search for something permanent, to which they may attach themselves. Perhaps some deep-rooted atavism urges the wanderer back to lands which his ancestors left in the dim beginnings of history.” Keep reading... |
Best Movies Seen in 2016
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Moonlight (2016), directed by Barry Jenkins / written by Barry Jenkins & Tarell Alvin McCraney
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NDT: a review
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C’est un spectacle.
I don’t know why anyone would expect anything else when going to Place des Arts to witness Nederlands Dans Theater passing through Montreal for the first time in over twenty years. For the occasion, we were treated to a Crystal Pite sandwich on Sol León & Paul Lightfoot bread. Keep reading... |
AQUA KHORIA: a review
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Peter Trosztmer is both dancer and conductor in AQUA KHORIA, his collaboration with musician-digital artist Zack Zettle. Set within the dome of the SAT, Trosztmer evolves against a 360-degree animated projection that reacts to light and his movement. In the middle of the floor: a small circular pond.
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Hunter: a review
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A month ago, I wrote that I go see dance because I love when people shut the fuck up. Yet last night I was ready to completely backtrack on this statement. It just goes to show that, with art, there is never any definite set of criteria that one can judge a work by, that art is chemistry that produces as many reactions as there are elements and audience members.
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Wounds/Seduces
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I am interested in language because it wounds or seduces me. –Roland Barthes
“Tapette” is the French equivalent of “faggot”, though it actually means “swatter”, so “limp-wristed” would be closer to its meaning. “Tapette” is the word teens at my school would use to hurt me. Keep reading... |
Au coeur d'une étoile : une entrevue avec Aurélie Pedron
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En 2014, la chorégraphe Aurélie Pedron crée ENTRE, performance pour un spectateur à la fois. Les yeux bandés, celui-ci découvre l’œuvre au toucher, en demeurant en contact avec la danseuse. L’année suivante, elle remporte Le prix DÉCOUVERTE de la danse de Montréal. Au début de 2016, elle poursuit avec INDEEP, une performance de dix heures où des jeunes de la rue, les yeux bandés, évoluent dans un espace clos. Cette semaine, elle récidive avec LA LOBA, un déambulatoire composé de douze performances en simultané dans l’ancien institut des sourds et muets, jadis géré par des religieuses.
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