A few photos from 𝙍𝙚𝙛𝙧𝙖𝙘𝙩𝙞𝙤𝙣𝙨, adapted for the
@champdespossibles
Big thanks to FRAIS-tival for having us and for all those who came out and offered the gifts of their presence and attention. It was such a delight to dance with the last of the asters, chicory and primroses. Call me Isadora Duncan, I don’t care! (although in my defence I wasn’t barefoot in a flowy chiffon dress and she probably didn’t have to remove burrs from her hair after her performances).
The champ des possibles is such a special place. In a time where gentrification, habitat destruction and the cogs of the profit-at-all-costs beast feel at an all time high, it’s feels good to be reminded (and to celebrate!) of the work that people have already done, and the feats they have accomplished, to create spaces for human and more than human life to thrive.
In 2007, in support of the champ des possibles, artist
@emilyrose.michaud created The Roerich Garden Project, a collaborative land artwork maintained for three years by a team of gardeners.
The Roerich symbol was originally used to prevent aerial bombing during WWII in Europe. It was internationally recognized to protect monuments of historial, scientific and cultural importance. Culturally equivalent to the Red Cross sign, this symbol was painted on the rooftops of museums, churches and universities.*
I really love this work, and while we were adapting 𝙍𝙚𝙛𝙧𝙖𝙘𝙩𝙞𝙤𝙣𝙨 for this space, I found myself imagining that the circles of our mirrors were reflecting, back in time, the circles of the Roerich Garden project.
Performance documentation by 📷
@vraiment_poule
The second to last photo is the champ in 2009 (the location where we danced next to the fence, but facing east) 📷 Marke Ambard
The last photo is The Roerich Garden Project (2009?) 📷 Kevin Brown
𝙍𝙚𝙛𝙧𝙖𝙘𝙩𝙞𝙤𝙣𝙨 was originally created for the
@angles.of.consequence project 🪞
*description pulled from artist’s website
#artandecology #sitespecificart #contemporarydance
