ImPulsTanz 2012: Benoît Lachambre – Snakeskins

For years I’ve been hearing about Benoît Lachambre and how splendid and illuminating his work is. From the same crowd who love Jerôme Bel and detest Anna Teresa de Keersmaker and passionately loathe ballet.

Hence Lachambre’s work has always appeared conceptual and fairly painful to me. In the best case, instructive or prophylactic, like a trip to the dentist. The tangy taste I had of his work with Clara Furey at the Franz West Tribute did inspire me to attend a full show. What impressed me there was his intensity. Lila, under Lachambre’s mentorship for the summer, told me that his main speech to DanceWeb was all about intensity on stage. A very good point to make.

Benoit Lachambre Snakeskins photo Christine Rose Divito
Benoit Lachambre Snakeskins: LaChambre is bottom left, Albanese is bottom left
Rowe is on top of the rig pounding a thunder sheet
photo Christine Rose Divito

In “Snakeskins”, Lachambre begins by hanging upside down in a harness under a vast set of cables which dip four metres out to the audience. On the left of the netting is a guitarist with some computers and sound decks. As Lachambre waves his arms and the cables move, he appears to be flying like a giant bird. As he flies the music soars.

Throughout the piece Hahn Rowe’s sound is incredible. The closest equivalent which comes to mind (without Frip’s vocals) would be King Crimson. Or the Canadian band Black Emperor. Rowe for extended passages even plays his guitar with a bow like a classical violinist.

ImPulsTanz 2012: Benoît Lachambre - Snakeskins Continues »

Impulstanz 2012: Franz West Tribute

Franz West died July 25. West was a conceptual artist who collaborated often with the dance creators at ImPulsTanz. Karl Regensburger moved quickly to put together a tribute by many of the dance makers who had worked with West or were influenced by his work last night.

Franz West by Ludwig Koeln
Franz West by Ludwig Koeln

Moderator and hands on organiser Jennifer Lacey did her best to keep the program on track but at two hours without a formal break and some real trouble moving the performers on and off, momentum was uneven. Had Lacey known how many pauses there would be, she could have passed on the introduction and done that in forced breaks. She told one joke which made me laugh while waiting what seemed like half an hour for Philip Gehmacher to get out of the back and onto the stage. Gehmacher’s equipment in the end was moved out onto the stage by force by Intendant Regensburger himself.

“As dancers we learn young to come on time or ahead of time and to be ready. Visual artists don’t ever seem to get this message – they are almost always late and badly organised – so collaborating with them is always an adventure for us.”

To open there was a beat poetry reading in the upper foyer of Kasino. Then the doors opened and a blonde transvestite in the most amazing electric blue platform heels pranced out.

Impulstanz 2012: Franz West Tribute Continues »