|oct.2420:00|| HOT BODIES — STAND UP|
@ LA CHAPELLE MONTREAL
|oct.25 20:00|| HOT BODIES — STAND UP|
@ LA CHAPELLE MONTREAL
|oct.27 20:00|| HOT BODIES — STAND UP|
@ TANZFABRIK BERLIN
|oct.28 20:00|| HOT BODIES — STAND UP|
@ TANZFABRIK BERLIN
|nov. 15 21:00|| Tarek X|
@ SPECTACULAR FESTIVAL REYKJAVIK (IS)
|nov.3 20:00|| Tarek X|
(LIVE) @LE CHAFF BRUXELLES
HOT BODIES OF THE FUTURE ! is a trans-disciplinary research cycle initiated in 2017 by Gerald Kurdian.
With the means of the performance, musical composition, film or documentary photography, he experiments within it, a criticism of the contemporary aesthetics with regard to the political revolutions initiated by the sexual minorities - LGBT +, queer, eco-sexual, feminist, pro-sex etc -.
These emancipation efforts allow him to imagine what forms or artistic experiences could, in the relation of the audience to the object, give way to other forms of subjectivities, of narrative and thus, to open other possibilities for our poetics and our collective political utopias.
The projects HOT BODIES - STAND UP (a solo performance), HOT BODIES - CHOIR (a participative feminist choir), A QUEER BALL FOR HOT BODIES OF THE FUTURE (a series of celebration of love for the celebration of queer bodies and their revolutions), HOT BODIES - DRIVE IN (a performance installation) and the musical project Tarek X are its first objects.
HOT BODIES - STAND UP is the title of a musical performance for a performer - Gérald Kurdian -, a sampler and video projector.
Borrowing from the vocabularies of stand-up comedy, live electronic music and documentary photography, its booklet unfolds Gerald Kurdian's self-fictional journey through the experience of the revolutionary aspects of his sexuality.
Like a Dante going through the afterlife, it gives light with humor and physicality to Donna Haraway's Cyborg, Annie Sprinkle's Her-Story, Starhawk's political magic or Paul B. Preciado’s Contra-Sexual Manifesto by seeking the musical and performative transductions of the queer, fetishist or eco-sexual political alternatives they defend.
The HOT BODIES bring together groups of individuals willing to share and expand their feminist and queer practices in the frame of writing and choral singing workshops.
In their frame, we exchange experiences and ideas from the collective reading of queer and feminist documents (Déclaration des droits de la femme et de la citoyenne Olympe de Gouges, Cyborg Manifesto Donna Haraway, Scum Manifesto Valérie Solanas, etc) towards the writing of revolutionary texts
These unique, polyphonic and unruly manifestos form the basis of a choral score, musically arranged by Gerald Kurdian and performed live by all the participants.
Party d’amour for the queer revolutions, A QUEER BALLROOM FOR HOT BODIES OF THE FUTURE honors those who electrify bodies, desires, political utopias and collective joys: Gender-benders, eco-sexual, feminists, afro-futurists, witches, faeries, fetishists, lesbians, gays, bi, trans, cyborgs, non-binary, poly-sexual, party animals and other creatures of the future sharing happy and subversive experiences.
Initiated by Gerald Kurdian, it reinvents herself at leisure and campaigns with a magical collective body against patriarchy and xenophobic institutions.
Sometimes it likes to read, kiss strangers and dance naked on a Mykki Blanco record.
The project HOT BODIES - DRIVE IN ! stems out from a desire to understand how a re-evaluation of our "images" of sexuality could draw the outlines of a political utopia outside the norms proposed by contemporary dominant ideologies.
For that, I invent a video practice towards a series of short post-porn science-fiction films where the sexuality has function of care.
Just like American open-air cinemas, HOT BODIES - DRIVE IN ! is foreseen as a performative video installation in a hybrid space halfway between the cine-club, the concert hall and the art gallery.
Using a few loungers, popcorn and beers, we would create the conditions of a collective de-construction of the sexual body on screen and, in the same movement, of the many power games that surround it.
Tarek X is a mix of experimental pop, lo-fi techno-and dark ambient. It gives the voice to the minority bodies under the kicks subs and the stroboscopes.
Tarek sweats, Tarek leaves traces.
Tarek has horns, voices, sisters.
Tarek's heart beats hard and fast. Tarek dances like fauns and faeries.
The 1999 project holds on the 48 episodes of the Cosmos 1999 TV series and their imaginary, kinesthetic and political dynamics in order to use them as a score / s performative / s for the stage .
In a practical way, it is a cut-up of small actions (talking, walking, running), small dances (tango, mambo, jerk) and love songs.
The various schemes of 1999 therefore tend to parallel the utopian dimensions of anticipatory cinema and those of musical self-production.
They are conceived from the "frameworks" of the music industry and take up the "staged roles" of the production of a record: the musician, the singer, the engineer sound, the graphic designer, the photographer, the director of video clips, etc. Voluntarily lo-fi, 1999 thus questions the accessibility conditions of "spectacle", for both creators and audiences, and wishes to leave to the spectators the choice of their investment.
18 chansons (ou comment, de joie, le phénix ému s’éteint) is a lo-fi musical performed by the employees of the Mac / Val museum in Vitry.
Holding as much on the codes cinematographic passion than on the recent events of of Gérald K.’s love life, this choral show unfolds 18 lovesongs. Each of these songs, sometimes coming from This is the hello monster!, his avant-pop solo band’s repertoire or from a pop-music repertoire extending from the 60’s to the beginning of the twenty-first century, is a pretext for a narrative thread halfway between generic fiction and personal diary, all in 6 x 3 x 3 minutes.
I have never played in a club or seen the sun rise on the concrete slab of a rave party. I do not have a latex uniform, no feminine clothes and could not seduce anyone dancing on a table. As part of the CCCB - Cultura Contemporània de Barcelona 's Nuits Salvages - I will try, with the trans singer La Prohibida, to challenge my sense of performance, beat and energy by using the sensory and political vocabularies of Club Culture.
No future No no limits No future No no limits
The Magic of Spectacular Theater project uses an invented approach of anthropology to try to unfold the notion of magic by joining the means of performance, conjuring and pop music.
Conceived as a distanced ceremony, an inhabited conference or a theoretical concert, The Magic of Spectacular Theater is a lo-fi celebration of the extraordinary tempting to simultaneously observe, rethink or underline the ghostly aspects of spectacle and thus to highlight the place of wonder in a world shared between analysis and intuition, obviousness and invisibility.
Just like the classics of cinema Z (Godzilla, Plan 9 from Outer space ...), the project La Solidité des Choses brings up questions relating to the influence of new domestic technologies (computers, tablets, smartphones) on our bodies and our perception of reality.
It addresses as much the need of human beings to overcome their disappearances (celebrity, posterity, resilience) as their inevitable relationship to power (marketing, performance, heritage). It questions the solidity of our means considering both the living and its image, what allows perspective (nature, science, imagination, the ideal, the common , etc.) and what stops it (the exhaustion of resources, minds, communities).
On y écoute les voix de ceux qui se renouvellent, se réinventent, se réincarnent en y retrouvant nos mythes, nos croyances, nos monstres.
On y avance, quelque part, en équilibre, entre solidité de nos choses et liquidités de nos mondes virtuels.
"Bernard ... very nice, very sweet, silver gray hair, sucks and fucks normally. 80 francs. " " Bald lecherous old man. Keep your panties as long as possible. Moans, ball, fuck, 70 francs." “Roger. Sucks. Motherfucker. Comes immediately in the mouth. 100 francs." " Huge pig ... cop, brute, ejaculates between the breasts. 70 euros.” "Handsome young man, blond, muscular, mysterious. Maso ... Slave. Sucked, fucked. 100 francs. The total one hundred bullets ... eh!”
Short descriptions of customers who say a lot about the hidden face of the male. Invited to deliver their daily at the microphone of Gérald Kurdian, a group of Toulouse sex-workers have an amused look at their secrets. They skew with delight and sometimes a bit of consternation in a documentary broadcasted Sunday on France Culture.
[...] MARC LAUMONIER for the french newspaper LIBÉRATION
6M1L / 6 Mois 1 Lieu is the name of a choreographic experience initiated by Xavier Le Roy and Bojana Cvejic.
It took place between July 7th and December 21st 2008 at the Centre Chorégraphique de Montpellier and gathered 16 workers curious to question their methodologies, their bodies, their practices (creation, interpretation, relationship to the public, institutions, information sharing, theory, etc.)Halfway between the experimental residence and the process of collective self-education, this logistical challenge helped to stimulate group dynamics while questioning each of its actors in its relation to the idea of responsibility.
It revolved around 3 key principles:
* Propose a project
* Get involved in at least two other projects
* Stay at the Choreographic Center for at least 5 months
My project in this context was to collaborate with them towards the production of critical audio materials.
At night, I gradually confronted our approach of theoretical work to my approach to composition and wrote, in the shadows, some miniature sound pieces, oddities in balance between their ideas, their bodies and the fragile instruments of my studio.
6 mois, 1 lieu et le comportement de l’ensemble has therefore gradually become the audio diary of our activities, a pop documentary focusing as much on the issues of contemporary dance as on the strangeness of a moving whole.
Archive Now is a radio project written in the context and with the actors of the contemporary choreographic field. Halfway between sound design and documentary, it consists in a cut-up of audio documents taken choreographic creation contexts (festivals, theaters, studios, stages, symposia ..)
It tries to unfold the stakes of an environment where the collective is inseparable from the idea of creation while enlightening the sensitive and kinesthetic properties of its sound environment.
Invited by the team of Petit Bain to direct a musical project in the Paris 13th district, we propose to realize a musical film written and interpreted by its inhabitants.We will apprehend this project on a principle of displacement and fictional reappropriation of the territory through the intimate and daily journeys of the participants. Thus what is summoned is not our imaginary visitor serving their "real" but the imagination of the participants in their own authorship. In this landscape, of work, of the employee, of the daily course, of the social function, of the hierarchy, of the economic crisis, the emergence of the singing and the joint manufacture of images seem to allow a take on reality and possible ramifications between utopia, imagination, fiction, power takeover, transformation and inversion.
Un audiorama dans les rues de New York à l’invitation de l’Atelier de la Nuit / France Culture
Les Îles Artificielles is the title of a documentary musical project initiated by Gerald Kurdian and written in collaboration with a group of individuals having a common place of activity - work, studies, research, leisure, etc. -.
This funny object opens the possibility to enlighten the poetic aspect of a contemporary lives.Directed and interpreted in the corridors, offices, gymnasiums, canteens, meeting rooms and others of our collective spaces, it takes the form of a short film and a site-specific choreographic show.
It is a pretext to observe, meet and mix genres while drawing its narratives from the inner journeys - thoughts, sensations, emotions - and exteriors - movements, paths, gestures - of each of his / her participants.
Gérald Kurdian, performer, musician and radio artist, studied visual arts at the National School of Arts of Paris-Cergy before joining the post-diploma in choreographic research Ex.erce 07 - National Choreographic Center of Montpellier, under the direction of Mathilde Monnier and Xavier Le Roy.
His oblique concerts - Royal Gala (2007), 1999 (2009), 18 Chansons (2010), My first club- song ever (2011), The Magic of Spectacular Theater (2012), La Solidité des choses (2014), TRKTV (2016) - are opportunities for him to invent synergies between the practices of pop music, performance and documentary. They are regularly presented in the context of visual arts (Center Pompidou - Metz, Cartier Foundation, MAC / VAL, Unique Place, Plateau Frac-Idf, Clark Center - Montreal, etc.), indie music (Centquatre, New Casino, Festival Rockomotives, Flying Music, Rock in the Seine, etc.) and performing arts (Usine C - Montreal, Crossing the Line - New York, Festival des Inaccoutumes - Paris, Steirischer Herbst - Graz, WUK - Vienna, etc.).
Since 2007, he composes radio shows and collaborates, among others, with the Atelier de Création Radiophonique of France Culture. In this context, he exchanges with sex workers - Je suis Putain (2007) - or dancers - 6 mois, 1 lieu et le comportement de l’ensemble (2009) - and explores with them some of the perspectives of our contemporary bodies.
In 2010, he won the Phonurgia Nova prize for his project Menace, Fantômes (2011) - led together with the author Caroline Masini and has since developed a series of projects using songwriting as a pretext for the testimony and the exchange: Nos jours, absolument, doivent être illuminés (2011) with the filmmaker Jean-Gabriel Périot and a group of detainees from the prison of Orleans, Les Îles Artificielles (2014-15) with a group of employees from an insurance company.
He composes music for film makers Héléna Villovitch - The smallest apartment in Paris (2014 - Canal Plus Collection) -, Louise Hervé & Chloé Maillet - The things we know (2009) -, Arnold Pasquier - Paramount (2010) - and Vincent Dieutre - Déchirés, Grave (2013) and choreographers Mette Ingvartsen, Philipp Gehmacher, Eszter Salamon, Thiago Granato, Carole Perdereau and Eleanor Bauer.
Winner of the Paris Jeunes Talents Award 09, and spotted by the Grand Zebrock and the FAIR 2010, his first album under the name of This is the hello monster! is selected among the best albums of the year 2010 by the daily newspaper Libération. In January 2016, he released a second EP, Icosaèdre, directed by Guillaume Jaoul and electronic music composer Chapelier Fou.
Since 2016, he develops HOT BODIES OF THE FUTURE!, a project of performative and musical research on alternative forms of sexuality and queer micro-politics with the support of ENSAB's post-diploma Arts and Sound Creation and the associations. Emmetrop and Bandits-Mages.
He will present its first objects
HOT BODIES - STAND UP, a solo performance,
HOT BODIES - CHOIR, a feminist choir
A QUEER BALL FOR HOT BODIES OF THE FUTURE, a collective mixing workshops, conferences, screenings and DJ sets to celebrate the actors of the queer scenes and Tarek X a new musical project between 2017 and 2020.