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: Ivo Dimchev, The P Project

The word on the street is that this Ivo Dimchev guy is unpredictable, even dangerous. You just don’t know what will happen when you enter the auditiorium. Mystery and danger, powerful human aphrodisiacs. It starts calmly enough.

Ivo Dimchev The P Project
Ivo Dimchev The P Project:
Projection of the cancelled verbal game
Readable 3456 pixel version

A guy walks onto the stage half naked shaved head and gold chains. Sits down at an electric piano. Holds his hands solemnly in prayer. Looks good and safe so far. First sign of trouble: Dimchev pulls out a little vertical jar, holds up to his nose and takes a couple of big snorts. Poppers he says.

He plays the piano rather well and then starts pounding on the keys so hard and so randomly you wonder if he knows how to play the piano at all. But then his fingers find the keys again. Dimchev stops occasionally to laugh maniacally, shaven head and UR-slavic features like some James Bond villain prototype.

Time to talk. Inspiration for the show: playing games with the word “pussy”. Word game works like this: adjective (fervent, macrobiotic, powerful, interrupted) plus “pussy” plus preposition (in, to, of, from, without) plus noun (airport, future, foundation, university). For some reason this word game doesn’t satisfy Dimchev’s requirements for interaction with audience. Too abstract.

ImPulsTanz 2012: Ivo Dimchev, The P Project Continues »