La danse, n° 1-8
2009
collage
36 x 29 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
La danse, n° 3 -1
2009
collage
36 x 29 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
La danse, n° II-1
2009
35 x 43 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
La danse, n° III-1
2009
35 x 43 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
La danse, n° III-2
2009
collage
35 x 43 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
La danse, n°I-1
2009
35 x 43 centimeters
Unique
"La Danse" [Dance] is a series of collages made by Étienne CHAMBAUD from a postcard of Irma DUNCAN (1897-1977), the foster daughter of the American dancer Isadora DUNCAN (1877-1927). Photograph of a movement—a dance step in a garden—, the document is reproduced and assembled, in as many configurations as there are collages. First reified by the 1910 photograph, the dancer motif is set in motion by the repetitions driven by the artist, within the photomontages themselves and also within the series they together make up. 'Performing documents'—doing what they show, dancing—, they aren't 'performative documents' that would fuse into a new medium the photographic document and the performance art. Instead of choosing one mode of representation that vacillates between metamorphosis—metamorphosis of the real when it is photographed or painted—and illusion—the artwork creates the illusion of what it represents—, "La Danse" rather stages an operation: the gash. Variation around the concept of Separation which Étienne CHAMBAUD developed in his film entitled "Contre-Histoire de la Séparation" (2010-2011, with Vincent NORMAND), the gash indeed appears in the girl's body each time that the document is repeated. Each stratum is another blade. From then on, "La Danse" is a reflection about the technique of collage. The rural scene is played by a mechanical mise-en-scene which, with the aim of recreating the movement which the photography has initially stopped, is in reality decomposing the integrity of the body which it represents. Before being stuck, the body is above all cut.
